Podcasts about westwood village

ICYMI: Hour Three of ‘Later, with Mo'Kelly' Presents – A look at the Weekend Box Office, the end of an era with the closing of the Westwood Village and Bruin Theaters AND ‘Barbie the Movie: In Concert' - Featuring the Barbie Land™ Sinfonietta at the Hollywood Bowl - on KFI AM 640…Live everywhere on the iHeartRadio app

In this episode I discuss with author E. J. Stephen his book "Legends of Westwood Village Cemetery". Westwood Memorial Park Cemetery, located on Los Angeles's trendy west side, has been the leading choice for celebrity burials since Marilyn Monroe was interred here in 1962. The cemetery houses the remains of a plethora of household names, including Patty Andrews, Eve Arden, Lew Ayres, Jim Backus, Richard Basehart, Peter Bogdanovich, Ray Bradbury, Fanny Brice, Les Brown, Truman Capote, John Cassavetes, James Coburn, Jackie Collins, Richard Conte, Tim Conway, Bob Crane, Rodney Dangerfield, Richard Dawson, Kirk Douglas, Peter Falk, Farrah Fawcett, June Foray, Stan Freberg, Eva Gabor, Merv Griffin, Jonathan Harris, Hugh Hefner, Florence Henderson, Brian Keith, Stan Kenton, Jack Klugman, Don Knotts, Burt Lancaster, Peggy Lee, Janet Leigh, Jack Lemmon, Karl Malden, Dean Martin, Walter Matthau, Rod McKuen, David Nelson, Lloyd Nolan, Carroll O'Connor, Heather O'Rourke, Bettie Page, Wolfgang Petersen, Gregor Piatigorsky, Donna Reed, Buddy Rich, Minnie Riperton, Doris Roberts, Wayne Rogers, George C. Scott, Sidney Sheldon, Robert Stack, Dorothy Stratten, Alvin Toffler, Mel Tormé, Josef von Sternberg, Harry Warren, Cornel Wilde, Billy Wilder, Carl Wilson, Natalie Wood, Darryl F. Zanuck, Frank Zappa, and hundreds more.Doug Hess is the host!

Larry Taylor is the founder & Chief Executive Officer of Christina. He is responsible for vision, strategy & leadership. Larry is a seasoned investor with over 40 years of real estate experience in the Westside region of Los Angeles. His notable projects include the introduction of high-rise residential development in North Century City, the development of the Montana Avenue Shopping District in Santa Monica, revitalization of the South Beverly Hills Retail Shopping District & re-development of Westwood Village. Larry started his career with Ernst & Young. He received his Bachelor of Science degree from the University of Southern California in 1975.. Larry Taylor is a real estate investor who has a great story to share and words of wisdom to impart for both beginning and veteran investors alike, so grab your pen and paper, buckle up and enjoy the ride. Want to get in contact with Larry Taylor? Reach out at https://christinala.com/.Want to become financially free through commercial real estate? Check out our eBook to learn how to jump start a cash flowing real estate portfolio here https://www.therealestateinvestingclub.com/real-estate-wealth-book  Enjoy the show? Subscribe to the channel for all our upcoming real estate investor interviews and episodes.  ************************************************************************  GET INVOLVED, CONNECTED & GROW YOUR REAL ESTATE BUSINESS  LEARN -- Want to learn the ins and outs of real estate investing? Check out our book at https://www.therealestateinvestingclub.com/real-estate-wealth-book  PARTNER -- Want to partner on a deal or connect in person? Email the host Gabe Petersen at gabe@therealestateinvestingclub.com or reach out on LinkedIn at https://www.linkedin.com/in/gabe-petersen/  WATCH -- Want to watch our YouTube channel? Click here: https://bit.ly/theREIshow  ************************************************************************   ABOUT THE REAL ESTATE INVESTING CLUB SHOW   Hear from successful real estate investors across every asset class on how they got started investing in real estate and then grew from their first deal to a portfolio of cash-flowing properties. We interview real estate pros from every asset class and learn what strategies they used to create generational wealth for themselves and their families. The REI Club is an interview-based real estate show that will teach you the fastest ways to start and grow your real estate investing career in today's market - from multifamily, to self-storage, to mobile home parks, to mix-use industrial, you'll hear it all! Join us as we delve into our guests career peaks and valleys and the best advice, greatest stories, and favorite tips they learned along the way. Want to create wealth for yourself using the vehicle of real estate? Getting mentorship is the fastest way to success. Get an REI mentor and check out our REI course at https://www.therealestateinvestingclub.com. #realestateinvesting #passiveincome #realestate  Interested in becoming a passive investor in one of our projects? Kaizen Properties, is looking for passive investors for our upcoming deals. We invest in what are known as “recession resistant assets”: self storage, MH & RV parks, and industrial properties. If you are interested, go to the website and click on the “Invest with Us” button at the bottom of the page.Support the show

On our final episode of 2022, we look back at the music video/mini-movie for Michael Jackson's Thriller, on the fortieth anniversary on the release of the album which bore its name. ----more---- Transcript:   Hello, and welcome to The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. If you're listening to this episode as I release it, on November 30th, 2022, today is the fortieth anniversary of the release of the biggest album ever released, Michael Jackson's Thriller. Over the course of those forty years, it has sold more than seventy million copies. It won a record-breaking eight Grammy Awards. A performance of one of its signature songs, Billie Jean, for a televised concert celebrating the 25th anniversary of Motown Records would introduce The Moonwalk to an astonished audience, first in the auditorium and then on TV screens around the world. The album was so big, even MTV couldn't ignore it. Michael Jackson would become the first black artist to be put into regular rotation on the two year old cable channel. So what does all this have to do with movies, you ask. That's a good question. Because out of this album came one of the most iconic moments in the entertainment industry. Not just for MTV or the music industry, but for the emerging home video industry that needed that one thing to become mainstream. The music video for the album's title song, Thriller. Thriller was the sixth solo album by Michael Jackson, even though he was still a member of The Jacksons band alongside his brothers Jackie, Jermaine, Marlon, Randy and Tito. Although The Jacksons were still selling millions of albums with each release, Michael's 1979 solo album Off the Wall made him a solo star, selling more than ten million copies worldwide in its first year of release, almost as much as all of the previous Jacksons albums combined. After the completion of The Jackson's 1980 album Triumph, Jackson would re-team with his Off the Wall producer, the legendary Quincy Jones, to try and craft a new album that would blow Off the Wall out of the water. Jackson wanted every song on the album to be a killer. Every song a hit. Over the course of 1981 and 1982, Jackson and Jones would work on no less than thirty songs that could be included on the final album, and assembled some of the biggest names in the music industry to play on it, including David Foster, James Ingram, Paul McCartney, Rob Temperton, Eddie Van Halen, and the members of the band Toto, who were having a great 1982 already with the release of their fourth album, which featured such seminal hits at Africa and Rosanna. Recording on the album would begin in April 1982 with the Jackson-penned The Girl is Mine, a duet with Paul McCartney that Jackson hoped would become even bigger than Ebony and Ivory, the former Beatle's duet with Stevie Wonder which had been released a few weeks earlier and was be the number one song in a number of countries at that moment. There would be three other songs on the final album written by Jackson, Beat It, Billie Jean, and Wanna Be Startin' Somethin', which Jackson would co-produce with Jones. The other five songs, Baby Be Mine, Human Nature, The Lady in My Life, P.Y.T. and the title track, would be written by other artists like James Ingram, Steve Pocaro of Toto, and Rob Temperton, who were also working on the album as backup singers and/or musicians. The final mixing of the album would continue up until three weeks before its expected November 30th, 1982 release, even though The Girl Is Mine had already been released as a single to radio stations and record stores on October 18th. While the song wouldn't exactly set the world on fire or presage the massive success of the album it had come from, the single would sell more than a million copies, and hit number two on the Billboard Hot 100 charts. When the album was released, it sold well, but it wouldn't be until Billie Jean, the second single from the album, was released on January 2nd, 1983, that things really started to take off. Within three weeks, the song would already hit #1 on the Billboard R&B charts. But it would still a few more weeks for white America to take notice. In early 1983, the music world was dominated by the cable channel MTV, which in less than two years had gone from being a small cable channel launched in only portions of New Jersey to making global stars of such musical acts as Duran Duran, Eurythmics, U2 and even Weird Al Yankovich. But they just were not playing black artists. The lack of black music on MTV was so noticeable that, in an interview with MTV VJ Mark Goodman timed to the release of his comeback album Let's Dance, David Bowie would admonish the VJ and the channel for not doing its part to promote black artists. MTV's excuse, for lack of a better word, was that the network's executives saw the channel as being rock centered, and Billie Jean was not “rock” enough for the channel. The president of Jackson's record label, CBS, was more than just enraged by the channel's refusal to show the video for Billie Jean. He threatened to pull every single CBS act off the air, and never give MTV another music video to air. Could MTV really afford to lose Bruce Springsteen and Billy Joel and Journey and Toto and The Clash and Joe Jackson, Eddie Money, Chicago, Judas Priest, ELO, Adam Ant, Cheap Trick, Loverboy, Heart, Men at Work and a hundred other artists that accounted for more than a quarter of all the music videos in rotation on the channel at the time? MTV would add Billie Jean to its rotation on March 10th, 1983. Within a month, both the song and the album would hit #1 on their respective charts. Lost in all the hubbub about Billie Jean was that Beat It, with its blistering Eddie Van Halen guitar solo, had been released as a single on February 14th, and it too would become a #1 hit song. In fact, after Billie Jean topped the charts for seven weeks, Beat It would become the #1 song in the nation, after a single week of Dexy's Midnight Runners taking the top spot. Ironically, despite how they felt about Billie Jean just a few weeks earlier, MTV would actually be the first outlet to show the Beat It video, not three weeks after it finally relented on Billie Jean. Wanna Be Startin' Somethin', Human Nature, and P.Y.T. were all released as singles between May and September 1983, but none of them would have the success enjoyed by Billie Jean and Beat It, and sales for the Thriller album were starting to wane. There were only three songs left on the album that hadn't been released as singles yet, and neither Baby Be Mine not The Lady in My Life were the kinds of songs that would be featured as singles. That left Thriller. There never was a plan for Thriller to be released as a single. The label saw the song, with its vaguely spooky lyrics and ending narration by legendary horror actor Vincent Price, as a novelty song, not unlike a Weird Al Yankovic song. In early August 1983, Jackson would see An American Werewolf in London. He loved the movie, especially the scenes where actor David Naughton would transform into a werewolf on screen. The film's director, John Landis, was working in London at the time, and late one evening, the phone in his hotel room would ring. It was Michael Jackson. The singer wanted to know if Landis would come aboard to make a music video based on this song, and help turn him into a monster. “Michael, it's 2am in London,” Landis would exclaim to the excited singer on the other end of the line. “I will call you when I get back to Los Angeles in a couple weeks,” he'd say, before hanging up the phone and went back to sleep. Except Landis didn't wait for his return to the States to call Jackson back. The filmmaker and the singer would, despite the eight hour time difference, speak several times over the phone about ideas for a music video. For weeks, Landis, Landis's costume designer wife Deborah Nadoolman, and Rick Baker, the genius behind the practical makeup effects for An American Werewolf in London, would meet with Jackson to discuss story, choreography, makeup and costuming.  Landis and his producing partner, George Foley Jr., would come up with a final story that featured a story about a young man and a young woman who find themselves being chased by zombies through the streets of Los Angeles, before the boy becomes, at various times, a zombie himself and a werewolf-like cat creature. It was going to be Landis's homage to fun horror movies of the past, from I Was a Teenage Wereworld to Night of the Living Dead. Landis and Folsey would present the president of CBS Records with a script for the project, and a $900,000 budget, ten times more than the average music video cost to make at the time and nearly triple the previous record for the highest budget for a music video at that time. And unlike most videos made at the time, it would be shot using 35mm film and Arriflex cameras. It was not going to be just a music video. This was going to be a mini-movie. The record label president was not pleased. Album sales for Thriller had been slowing, and it did not make sense for them to spend nearly a million dollars to make a video for what would be the seventh and riskiest single off the album.  They refused to pay for it. So Folsey, Jackson and Landis would go to the major television networks, to see if they would be willing to finance the project, which they pitched as not only getting a fifteen minute music video from one of the biggest artists in the world, but also a thirty minute making-of documentary, so the entire program could be slotted for a full hour of airtime including commercials. They would all say no. Then they went to MTV, who had seen a dramatic spike in subscriptions since they started airing Billie Jean and Beat it, in the hopes they would want in on the action. They would also decline, because they had a policy of not financing ANY music videos. Music videos were promotions for the record labels. They should be paying for the making of them. They then went to cable movie channels like HBO and Showtime. Imagine having exclusive rights to a fifteen minute mini-movie from the biggest music star on the planet, they would suggest, as well as a forty-five minute making-of feature that could be slotted for a full hour of programming. Imagine how many new subscribers you'd get if your channel was the only place to see it! Showtime would agree to finance half the video in exchange for exclusive movie channel rights to screen Thriller. Sensing there might actually be a market for this, Jackson's record label would commit to throw in $100,000, if they could find another partner to cover the rest.  MTV would make up the difference, after deciding they were not financing a music video but indeed a short motion picture and a making-of featurette. Landis would bring a number of his regular collaborators with him. In addition to producing partner George Foley Jr. and costume designer Deborah Nadoolman, Landis would have his American Werewolf in London cinematographer Robert Paynter behind the camera, Malcolm Campbell, who had edited American Werewolf and Trading Places, assembling the final footage, and the legendary music composer Elmer Bernstein, who created the scores for Animal House and American Werewolf, to provide an incidental musical score to the movie inside the movie, and other sequences not directly related to Jackson's song. The vast majority of the shoot, which took place over four nights in October, the 11th through the 14th, would take place around Downtown Los Angeles. The scenes at the movie theatre were filmed at the Palace Theatre on Broadway, while the zombie dance was filmed a couple miles to the south at Calzona Street and Union Pacific Avenue and the final house sequence was filmed in the Echo Park neighborhood just northwest of downtown.  Side note: the Palace Theatre is still there, and still occasionally shows movies to this day, and both the intersection where the dance sequence was filmed and the neighborhood where the final chase sequence took place still look remarkably similar to what they did forty years ago. And how quickly did it take for Landis and his team to get the footage assembled? Thriller would have its first screening at the Crest Theatre in Westwood Village on November 14th, 1983, not thirty days after filming was complete. John Landis would tell Nancy Griffin in a 2010 Vanity Fair oral history about Thriller that despite having been to events like the Oscars, the Emmys and the Golden Globes, he had never seen a turnout like the one he witnessed that night. Diana Ross, who had discovered the Jacksons nearly twenty years earlier, was there. As was Prince and Eddie Murphy and Warren Beatty. Ola Ray, Jackson's co-star in the film, was there too, and before the screening, she noticed Jackson was nowhere to be found. She would find him a few moments later, hiding in the projection booth with the projector operator. Ray would do her best to lure Jackson out, to mingle with the crowd. This was his night, after all. But Jackson would only compliment Ray on her dress, and tell her to go enjoy herself. Once the crowd was seated, Landis would warm the crowd up with some light banter and a screening of a new print of a Mickey Mouse cartoon, The Band Concert, that Jackson was able to get Disney to strike just for this occasion. It's one of Disney's best cartoons, and the crowd would enjoy it. But they were here to see what amazing thing Michael would pull off this time. Finally, the main event would begin. And the first thing the audience would see was a disclaimer… “Due to my strong personal convictions, I wish to stress that this film in no way endorses a belief in the occult. Michael Jackson.” This was in reaction to word that Jackson had gotten a couple weeks earlier from the leaders of the Jehovah's Witnesses, to which he was a practicing member of at the time, that he risked being excommunicated from the church. The church was worried the film, which, incidentally, they had not seen yet, would promote demonology to younger people. At first, Jackson would call his assistant and order them to destroy the negatives to the film. The assistant, with the help of the production team, would instead lock the negatives up in a safe place until a compromise could be reached. It would be Jackson's assistant who came up with the pre-roll statement, which was acceptable to Jackson, to the church, and to the production team. At the end of the screening, Jackson, Landis and the film received a standing ovation. Eddie Murphy screamed out “Show the damn thing again!” And they did. John Landis hadn't made a music video. He made a short movie musical. And he wanted recognition for his efforts. So despite his standing in the industry as a semi-pariah due to the ongoing legal troubles concerning the Twilight Zone accident, Landis wanted an Oscar for his work. The movie was that good. Even though he had never worked with Disney in the past, Landis was able to convince the studio to allow him to screen the PG-rated Thriller mini-movie in front of the G-rated Fantasia, which was going to be released on Thursday, November 24th, on one screen in Los Angeles. The L.A. Times newspaper ad would be a split image. On the top half, Mickey in his Sorcerer's Apprentice getup, and on the bottom, listed as an “extra added attraction,” Michael in his leather jacket, in a nearly identical pose to the cartoon mouse above him. Five shows a day for seven days, with an extra late show on Thursday, Friday and Saturday, Academy members and one guest could present their membership card at the box office for free tickets to see Thriller on the Avco Cinema Center, then stay and watch Fantasia as well. If you want to see a not exceptional image of the newspaper ad, make sure you head over to this episode's entry on our website, the80smoviepodcast.com Now, I'm not sure how many free tickets were given away to Academy members that week, but practically every screening was sold out. While the $52,000 worth of tickets sold in those seven days would be credited to Disney and Fantasia, it was clear from the audiences who were leaving after the fourteen minute short was done what they were there to see. And for that week, this was the only way to see Thriller on the entire planet. On December 2nd, MTV would show Thriller for the first time in prime time. Ten times the regular audience would turn in to watch. At the end of the video, MTV told their viewers they would watch it again if they wanted at the top of the hour. And they would show it every hour at the top of the hour for twenty-four straight hours. It would be MTV's biggest day to date. In February 1984, Showtime would air the video and its corresponding making-of featurette six times, and those airings would be amongst their biggest days in their nearly decade-long history. Vestron Home Video, a smaller videotape distributor based in Connecticut, would pay for the home video rights to the video and making-of featurette, and release it later in the spring. It would sell more than 900,000 copies at $29.99 MSRP. It would be the first major sell-through home video title, and usher in the mindframe that collecting movies on VHS was a totally normal thing, like a record collection.  And the album? It would quickly return to the top of the charts within weeks of the release of the video no one really wanted to make outside of Michael Jackson, and it would go on to sell another ten million copies just in 1984. The red leather jacket worn by Jackson in the video, designed by Deborah Nadoolman, would become as iconic in pop culture as Indiana Jones' fedora, which Nadoolman also hand-picked for that character. Shooting a music video as if it were a movie, and on 35mm film, would soon become the norm instead of the exception. Future filmmakers like Spike Jonze would use Thriller as a template for what they could get away with when they started making music videos in the 90s. Over the years, Thriller has been deemed THE single best music video of all time by a number of news organizations and fans all around the world. An official 4K remastered version of the video was uploaded to YouTune in October 2009, a few months after Jackson's unfortunately and untimely passing, where it has amassed more than 865m views over the past 13 years. And that's just for that one version of the video. There are dozens more copies available on YouTube, each with millions of views of their own. Thank you for joining us.  And with that, we wrap up 2022 and our fourth season. We'll talk again in early January 2023, when the podcast will return for its fifth season, as we take a much needed vacation to Thailand for Christmas and New Years.  2022 has been the best year for this podcast so far, and I want to thank every single one of you for spending some of your valuable time listening to me talk about older movies. I cannot tell you how much I appreciate all of you. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Michael Jackson's Thriller. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.

The passing of Mike David on October 25 2022 was a profound loss to many familiar with his work. His life was spent exposing injustice and his work covered a remarkably broad field, from the cost of European imperialism in the Global South to the urban crisis in the United States (especially his native California). In honor of Mike David, TIR is rerunning this episode broadcast as an audio-only podcast on January 17, 2021 (yes, there used to be an audio-only podcast). This was before many of you started following, so we hope you enjoy this. Here's to Mike! Rest in Power!   From the book "City of Quartz": "Like the Tramp scares of the 19th century or the Red Scare in the 20th, the contemporary gang scare has become an imaginary class relationship, a terrain of pseudo-knowledge and fantasy projection. But as long as the actual violence was more or less confined to the ghetto, the gang wars were also a voyeuristic titillation to white suburbanites devouring lurid imagery in their newspapers or on the television. Then in December 1987 frisson became fear as Southside gang hitmen mistakenly gunned down a young woman outside a theater in the posh Westwood Village entertainment district near UCLA. Westwood's influential merchants, who had recently induced the LAPD to enforce curfew ordinances to repel non-white youth from the Village, clamored for extra police protection, while local Council Member Zev Yaroslavsky, then essaying a Koch-like challenge to Mayor Bradley, posted a huge reward for apprehension of the "urban terrorists".   You can read Mike's latest piece in New Left Review here: newleftreview.org/sidecar/posts/ri…2FdJfrM4-udUdl_Y   You can watch Mike earlier in the year on Democracy Now! here: www.democracynow.org/2020/5/22/mike…face_dangerous   You Can Buy Mike's latest book, "Set the Night on Fire" here: www.versobooks.com/books/3164-set-…e-night-on-fire   About TIR Thank you for supporting the show! Remember to like and subscribe on YouTube. Also, consider supporting us on Patreon at https://www.patreon.com/join/BitterLakePresents Check out our official merch store at https://www.thisisrevolutionpodcast.com/   Also follow us on... https://podcasts.apple.com/.../this-is.../id1524576360 www.youtube.com/thisisrevolutionpodcast www.twitch.tv/thisisrevolutionpodcast www.twitch.tv/leftflankvets https://www.facebook.com/Thisisrevolutionpodcast/ Instagram: @thisisrevolutionoakland   Follow the TIR Crüe on Twitter: @TIRShowOakland @djenebajalan @DrKuba2 @probert06 @StefanBertramL @MadamToussaint @MarcusHereMeow

Larry Taylor has been through multiple real estate cycles and had to shift his business model multiple times to adjust to changes in tax and capital raising guidelines.  His vision on the macroeconomics of real estate and the global economy is admired by many of the world's wealthiest investors.  Larry shares his story and opinion about the future for US real markets.Larry Taylor, CEO, Christina Trust LP. Larry Taylor is the founder & Chief Executive Officer of Christina. He is responsible for vision, strategy & leadership. Larry is a seasoned investor with over 40 years of real estate experience in the Westside region of Los Angeles. His notable projects include the introduction of high-rise residential development in North Century City, the development of the Montana Avenue Shopping District in Santa Monica, revitalization of the South Beverly Hills Retail Shopping District & re-development of Westwood Village. Larry started his career with Ernst & Young. He received his Bachelor of Science degree from the University of Southern California in 1975.To learn more, visit:https://billbymel.com/Listen to more episodes on Mission Matters:https://missionmatters.com/author/bill-bymel/

In this week's episode of Living in the Sprawl: Southern California's Most Adventurous Podcast, host Jon Steinberg shares his list of top ten coolest Southern California movie theaters. His list includes the Art Theater in Long Beach, the New Beverly Theater in Hollywood, the Van Buren Drive In in Riverside, the Vista Theater in Los Feliz, the Landmark Theater in West LA, the Big Newport in Newport Beach, the Fox Village Theater in Westwood Village, El Capitan in Hollywood, the Aero Theater in Santa Monica and the Cinerama Dome in Hollywood.Instagram: @livinginthesprawlpodcastEmail: livinginthesprawlpodcast@gmail.comCheck out our favorite CBD gummy company...it helps us get better sleep and stay chill. https://www.justcbdstore.com?aff=645Check out Goldbelly for all your favorite US foods to satisfy those cravings or bring back some nostalgia. Our favorites include Junior's Chessecakes from New York, Lou Malnati's deep dish pizza from Chicago and a philly cheesesteak from Pat's. Use the link https://goldbelly.pxf.io/c/2974077/1032087/13451 to check out all of the options and let them know we sent you.Use code "SPRAWL" for (2) free meals and free delivery on your first Everytable subscription.Support the podcast and future exploration adventures. We are working on unique perks and will give you a shout out on the podcast to thank you for your contribution!Living in the Sprawl: Southern California's Most Adventurous Podcast is on Podfanhttps://www.buymeacoffee.com/sprawl  Looking to start a podcast? Buzzsprout is the best and easiest way to launch, promote and track your podcast...trust me, I did a lot of research beforehand. Let Buzzsprout know we sent you, support the show and get a $20 Amazon gift card when you sign up.  https://www.buzzsprout.com/?referrer_id=1735110Support the show (https://www.patreon.com/livinginthesprawlpodcast)

The eternal home of celebs from Marilyn to Mrs. Brady, Westwood Village Memorial Park is a quirky star cemetery that's easy to miss—but you mustn't.

Never become a bitter turd, no matter what happens to you.   For the first time in 37 years I had to cancel show due to illness because I got Covid 19! I am fully vaccinated so I felt bullet proof and hugged way too many people at the shows in Las Vegas last week. Fortunately I was about to perform at Brad Garrett's comedy club in Las Vegas when I found out that I had it. Brad Garrett is one of the most loving & generous people in show business & the glorious humans who work at his club are like family to me. I was allowed to stay at the MGM Grand hotel & quarantine here. The first few days I felt like a truck had run me over & the big jacuzzi tub in the room was a great relief to my body aches. Las Vegas is currently a hot bed for the Delta variant & it got me. Now this is just one more thing that I have survived. In this episode I talk about how the last 8 days of quarantine have been, the beautiful memorial celebrating the life of Carl LaBove that I spoke at that was held at Brad Garrett's comedy club on July 18. I tell you here about the legacy of the bright soul that was Carl LaBove is to never become a bitter turd, no matter what happens to you. I also talk about the influence that Annick Piel had on me, she was the mother of my first adult love story Nathalie & Annick recently passed away in Paris. With my girlfriend sitting beside me we talk about the Westwood Village memorial cemetery where we saw the graves of Rodney Dangerfield and Marilyn Monroe. We also talk about seeing Kool & the Gang at the Hollywood Bowl & seeing Charley Crockett at the Belly Up in Solana Beach. Going to cemetery's remind you to live & so does getting Covid 19. I'm ready to live & bust out of the MGM in Las Vegas & be rejuvenated & healed in the wilderness. The great wide open West stands open before me. I'm ready to breath easy among the mountains. Special thanks to Brad Garrett for paying me this week even though I didn't do any shows. I'm grateful for the people in my life & that is the best thing I learned during this illness. God bless the good hearted true friends! Hollywood be thy name!   patreon.com/tomrhodesradiosmartcamp

Sponsored by Masterworks.ioIn today's episode, we zero in on one of the biggest markets in the country, Los Angeles. Our guest is Larry Taylor of Christina Real Estate. He is the founder and Chief Executive Officer of Christina. He's also a seasoned investor with over 40 years of real estate experience in the Westside region of Los Angeles. Some of his notable projects include the development of the Montana Avenue Shopping District in Santa Monica, the revitalization of the South Beverly Hills Retail Shopping District and the re-development of Westwood Village. He shares what he learned through a career in real estate investing and why Los Angeles still has opportunities for savvy investors.0:00 Introduction 1:20 The California exodus and the multifamily market in Los Angeles 5:30 California business reopening 7:18 Tech companies plan for remote work long term and how it will affect retail businesses11:18 The history of the west side & how it's changed15:36 Hidden gems in Los Angeles 19:48 The effects of wildfires on California real estate22:12 Cheap money making it hard to find opportunities 29:55 1031 Exchanges and other tax law changes 35:51 What does the Christina real estate portfolio consist of44:20 Is office real estate coming back quicker than people think47:15 How long will favorable lending last and what will come from it55:05 Is foreign investment coming back to the westside

I can't lie, I discovered the work of Mike Davis late.  I had heard the name before, but didn't really know his work.  After hearing him on a podcast earlier in the year I got decided to buy his book "City of Quartz" and reading it, I was blown away by it's prescience.  If you don't know Mike Davis, he's a social commentator, urban theorist, historian, and political activist. He is best known for his investigations of power and social class in his native Southern California. He is the recipient of the MacArthur Fellowship and the Lannan Literary Award.   Again, thank you Mike for taking the time to talk to all of us, we appreciate your work and all that you continue to do.     From the book "City of Quartz":   "Like the Tramp scares of the 19th century or the Red Scare in the 20th, the contemporary gang scare has become an imaginary class relationship, a terrain of pseudo-knowledge and fantasy projection. But as long as the actual violence was more or less confined to the ghetto, the gang wars were also a voyeuristic titillation to white suburbanites devouring lurid imagery in their newspapers or on the television.  Then in December 1987 frisson became fear as Southside gang hitmen mistakenly gunned down a young woman outside a theater in teh posh Westwood Village entertainment district near UCLA.  Westwood's influential merchants, who had recently induced the LAPD to enforce curfew ordinances to repel non-white youthfrom the Village, clamored for extra police protection, while local Council Member Zev Yaroslavsky, then essaying a Koch-like challenge to Mayor Bradley, posted a huge reward for apprehension of the 'urban terrorists'.  You can read Mike's latest piece in New Left Review here: https://newleftreview.org/sidecar/posts/riot-on-the-hill?fbclid=IwAR2DwoZPFJOVm2ceim2NHUQHI6kJna7A3dJTRfun07O2FdJfrM4-udUdl_Y You can watch Mike earlier in the year on Democracy Now! here: https://www.democracynow.org/2020/5/22/mike_davis_as_workers_face_dangerous   You Can Buy Mike's latest book, "Set the Night on Fire" here: https://www.versobooks.com/books/3164-set-the-night-on-fire   Thank you guys again for taking the time to check this out.  We appreciate each and everyone of you.  If you have the means, and you feel so inclined, BECOME A PATRON! We're creating patron only programing, you'll get bonus content from many of the episodes, and you get MERCH!    Become a patron now : https://www.patreon.com/join/BitterLakePresents?   Please also like, subscribe, and follow us on these platforms as well, (specially YouTube!) THANKS Y'ALL   YouTube: https://www.youtube.com/channel/UCG9WtLyoP9QU8sxuIfxk3eg   Twitch: https://www.twitch.tv/thisisrevolutionpodcast   Facebook: https://www.facebook.com/Thisisrevolutionpodcast   Twitter: @TIRShowOakland   Instagram: @thisisrevolutionoakland   Medium: https://medium.com/@jasonmyles/they-dont-really-care-about-us-e2f1703ca39e  

The Westwood Village legend is laid to sprinkled, peanut butter stuffed rest with longtime Stan's super fan and all around L.A. donut lord, Hollywood agent Matt Rice.

Espree Devora, got tagged as “the Girl Who Gets it Done.” Later, when a friend observed her enthusiasm in tackling a number of business tasks for Tony Hsieh, then head of Zappos. Her passion for content creation began when she was in the 6th grade and her father gave her a video camera. She filmed hundreds of sequences featuring “extreme” sports (skateboarding, motocross) and built the first online action sports social network. In 2012, she attempted to start “We are LA Tech,” featuring local startup founders. She shot 12-episodes, but her enterprise partner refused to edit the material. Dead end. Two years later, in September 2014, Espree resurrected “We are LA Tech” as a podcast. By October 2014, it topped Apple's New & Noteworthy. She had learned on YouTube everything she needed to know to run a podcast. In 2015, Espree launched “Women in Tech” in response to the dire “glass ceiling” warnings so prevalent at the time. Her purpose? To “create a positive piece of content whose sole purpose is to show us what's possible, to expand our belief system, so listeners walk away feeling, “'If she can do it, so can I.'” Much of the theme of her work is what Espree calls “vulnerable leadership.” She wants to share “how people have built their companies and their professions in ways that are really empowering, and what can we learn from them.” In this interview, For people interested in getting started in podcasting, Espree recommends the technical equipment and software that she has found to be most helpful, planning and motivational strategies, She provides a series of podcasting training videos.  The first tool in Espree's podcasting toolbag was an app to help her maintain focus on daily goals, to help her deal with her fear of “ creating this thing, and then creating a thing that didn't work out.” Tools she uses today: An Audio Technica 2100 microphone, Sound Studio editing software. As podcasting has grown, the demand for podcasting training has likewise increased. Espree teaches everything from large groups to intensive, private, month-long master classes. She recommends continuous outreach to maintain relationships and lists a number of tools effective for doing this, and offers tips on techniques and frequency . . . in order to be “un—annoying.”  Espree had been scheduled as a speaker at this year's now-cancelled South by Southwest. She has given many presentations there in the past, performed live podcasts, and led meetup groups. She credits her success to being where hard work meets luck and opportunity, a variation of the Roman philosopher Seneca's “Luck Is What Happens When Preparation Meets Opportunity." Espree can be reached on LinkedIn and all social at (Espree Devora), and onTwitter @espreedevora. Her podcasts are on: WeAreLATech.fm http://podcast.wearelatech.com/ and WomeninTech.fm http://podcast.womenintechshow.com/.  Transcript Follows: ROB: Welcome to the Marketing Agency Leadership Podcast. I'm your host, Rob Kischuk, and I am joined today by Espree Devora, “the Girl Who Gets It Done.” She is the Creator and Host of the We Are LA Tech podcast and also the host of Women in Tech. Welcome to the podcast, Espree. ESPREE: Hello, hello! Thank you so much for having me. I'm excited to be here. ROB: Very excited to have you here. Why don't you tell us a little bit about your own journey into becoming “the Girl Who Gets It Done” and hosting the things that you do?  ESPREE: Oh my gosh. A lot of people ask me when I became an entrepreneur, like when I made that decision. I feel like I was born an entrepreneur. I remember walking into Westwood Village with my father and looking into the empty office buildings, picturing what businesses I would put in them. As I went along my journey, I think I just became very resourceful in a lot of different areas, from junior high to high school to college, and eventually the tagline “the Girl Who Gets it Done” came from when I was hanging out with Tony Hsieh, who is the head of Zappos, and a bunch of his entourage. I was taking care of some things and people kept asking me, “Are you his assistant? Are you his publicist? Who are you?” My girlfriend who was with me at the time just said, “She's the girl who gets it done.” [laughs] It just stuck, and it's been that way for a really long time. ROB: Excellent. I think if you get a nickname around Tony Hsieh, you stick to it for the most part. ESPREE: Definitely. ROB: What about the journey into these podcasts that you host? When did you realize that was something you wanted to do and then really caught your ongoing attention? ESPREE: I think the first moment that I realized I was really excited by content creation was in the 6th grade, when my dad gifted me a video camera and I got to explore. I ended up building the first action sports media company online. It was the first action sports social network, and we produced hundreds and hundreds of video content across skateboarding, motocross, all these things. Then in 2012, I had this urge to continue creating content, but at that point in my life I was more interested in the startup world. I had already been in the startup tech world, obviously, building the first social network for action sports, but I didn't understand that. At that time I was just doing things. They weren't a global trend like it is now. Terms like “social media,” “entrepreneur,” “founder,” “accelerators,” these things were not a thing then. In 2012, when LA started to have more startups and have more founder stories, I wanted to capture that moment, so I partnered with someone to create a video series called We Are LA Tech. Unfortunately, that person didn't share the same work ethic I had. We shot 12 episodes, and that person's responsibility was to edit them and none of them were edited. My heart was broken. I waited a year, and I ended up going on a backpacking trip to escape this reality that this video series would never be completed that I felt so passionate about. While backpacking in Europe, my friend Mark who founded a company called BetaList, started showing me podcasts on his iPhone. At the time I was an Android person. He's like, “You've got to listen to these podcasts. They're so funny. You'll love them.” I get back to the States; I get an iPhone because I want to stay connected with my friends in Europe and it was the easiest way to do that at the time. I start listening to podcasts. I didn't realize that years before, I had actually been listening to two podcasts, Podcasts and Product People by Justin Jackson, who actually has now co-founded a podcast hosting company called Transistor. He was one of the early podcasters, and I just loved his show. But at that time I would move the audio files from the computer to my phone. It wasn't the thing it is today, so I didn't even know I was listening to podcasts. Anyway, at the same time, I was like, wow, if I start a podcast too, I never have to rely on a video editor again. [laughs] So in 2013 I started stirring up the We Are LA Tech podcast in my head. It launched in I think September 2014, and by October 2014, it was number one on Apple's New & Noteworthy. It was just really exciting. I'm completely a self-taught podcaster. I taught myself how to edit. I taught myself everything. I just watched a lot of YouTube videos, and I've been podcasting ever since. Then in 2015, I launched the Women in Tech podcast, and the story goes on and on. ROB: What made you realize that maybe it was worth at least experimenting with the Women in Tech podcast? Or were you all-in from Day 1 and you knew it had to be a thing? ESPREE: The Women in Tech podcast was inspired because at the time, these women's groups were becoming a thing. They were never a thing before. I'm like, “Oh look, that's me. I founded companies and I am a girl too, so I want to check out what's going on.” All these groups I would go to at the time, the whole conversation would be about how women are held back or statistics that are in the negative and this and that. I'm like, man, I've never felt held back. The only person I've ever felt held back by is me. If I had heard all these messages about how much was not possible for me, I would have never built the first action sports social network. I wouldn't have raised money. I wouldn't have done all these things because I would've believed it wasn't possible for someone like me. So I wanted to create a positive piece of content whose sole purpose is to show us what's possible, to expand our belief system, so listeners walk away feeling “If she can do it, so can I.” ROB: There's a common thread, it seems, between both of the podcasts. You have, with LA, an underappreciated market for startups – I think perhaps even still to this day, there's some very good companies, but also with a chip on their shoulder. And then with Women in Tech, similarly, there's sometimes a lack of appreciation, a lack of highlighting, a lack of encouragement in both cases, you're putting a positive spin on it rather than saying, “Hey, pay attention because you're not paying enough attention.” ESPREE: Yeah. I think my brand theme – I call it vulnerable leadership, where it's not that I want to just be positive. I don't want to be Instagram perfect. But I do want to share a vulnerable message in a way that we could shift our belief system to turn something that could be perceived as a negative into a positive. I think the process behind that is really important. It's not just about being like “Everything's great! You have it so much better than everybody else!” [laughs] It's about, okay, today sucks or whatever a person is dealing with, but here are the steps I went to, because do I want to feel sucky right now? No. If I don't want to feel sucky, what's something that I can do to potentially shift myself out of that mindset? I think that's what my shows exemplify, just vulnerable leadership: how have people built their companies and their professions in ways that are really empowering, and what can we learn from them? ROB: For those of us who are outside of the LA tech world, certainly we've heard of some of the newer fliers – I think maybe Byrd or Lime scooters is from there. I apologize for not knowing what you know. ESPREE: That's okay. ROB: I've definitely ridden plenty of scooters. But what are some of the companies that are maybe trending right now that people may not fully be aware of, but should be? ESPREE: Oh wow, trending? I don't know who's trending right now because I tend to stay laser-focused on sharing people's stories. But some companies that are iconic that you may have seen – of course, Snapchat is here. FabFitFun is here. There's really huge companies that are popular at least across the U.S., if not globally, that were created – Myspace was in LA. Google has tons of offices here now, and they're really a dominant force in the LA tech scene. YouTube has their Creator Hub here. It's definitely a thriving tech city. My primary interest is the lifestyle and culture of a tech professional, more than what is the latest gadget. However, if you tell me the latest video or microphone gadget, I will be interested, but that's just for personal, selfish reasons. [laughs] ROB: I was going to ask – I think a lot of people, when they hear about podcasting, they feel very intimidated in terms of the whole process, from creation of the content to editing and publishing. What was in your first podcasting tool bag? ESPREE: That's a great question. I'd say the first thing that was in my podcasting tool bag was actually the app. I don't even remember what it was called. It's like Daily Goal. It was some daily goal app. The reason that was the first one in my bag is because I was so afraid of, one, creating this thing, and then creating a thing that didn't work out. What I did was I created a goal every day. It could be like “create podcast artwork,” “get a microphone,” “schedule an interview.” Just one thing. And I wouldn't allow myself to not do the thing. I remember when I got my first podcast poster designed, and I didn't like the design and I thought it was really ugly, but my goal for that day was “post it,” like it's done. So I just went with it. It was about the forward movement; it wasn't about being perfect. I actually happen to really like that flyer now, but at the time I did not. That was my first one. Then as I became more educated by watching YouTube videos, I bought a Snowball mic because I knew my episodes would be in-person and it would be more than one person, so I wanted a mic that picked up more people. A Snowball mic is actually the lowest level mic because it's really meant for musicians, like a guitarist or something like that. It's not meant for multiple people. Those are for technical reasons that I can get into another time. Feel free to tweet me @espreedevora if you'd like to know more reasons why. But it was a Snowball. What I'd recommend to everybody starting out is an Audio-Technica 2100, and that's actually what I'm using right now. Again, I could share with you the technicalities of why in another conversation. Then I had my computer. I have a Mac, so I found an editing program called Sound Studio. I found it on a random forum. They do a terrible marketing job because they're very hard to find. [laughs] But they're an incredible software program. The way I describe it, it's like iMovie for audio. They just make it stupid simple to edit audio. It's great. So I used that. I remember my very first interview, I didn't even know how to record it. I was just confused, and I plugged the Snowball into the computer and I was trying to figure it out. It's scary, but what matters is that we take a step forward. In my speeches, when I give speeches on how to podcast, the thing that I tell the whole audience is on their way home, I want them to take out their phone and, in their voice memo app in their phone, I want them to record their first interview on the drive home, or their first podcast episode. Then I want them to send me that via Google Drive or email or whatever it is, because that's all that matters in the beginning, is taking a step forward and just taking action. ROB: If you take that step forward every day, which you were doing with your app, it's like those challenges when people talk about if you just get 1% done better every day, it really does add up. Are you still editing, or have you managed to delegate that opportunity? ESPREE: First of all, I happen to love editing. I call it “painting audio.” But it is not who I want to be in the world. [laughs] I'm very lucky; an editor that I hired in 2014 has been with me since, and he works with me and edits everything. I have other editors that I've worked with as well. So I do have the editing done. Every so often, I'll tell them that I want to contribute and I'll do an episode here or there, but I do not rely on my own time for editing anymore. ROB: It's the same as my experience. We actually did a quick cycle episode that we recorded yesterday about the financial stimulus involved in the CARES Act and how marketing agencies can claim that money for themselves to keep their team onboard. But normally, I have trained editors – and I think what you said before, audio versus video is very, very forgiving. ESPREE: Completely. ROB: If there's a glitch in the middle of a word, it's remarkable. You can just highlight it, delete it, and it sounds great all of a sudden, whereas if you did that with video it would look insane. ESPREE: Totally, completely. And there's so much that goes into video, from lighting, color correction, angles, audio. There are so many variables, you just cannot get away with high quality video if you don't know what you're doing. It's a huge learning curve. The main components of a podcast – and again, I can dig into this deeper in a different conversation – are the tracks: is each person's voice being recorded on a separate track or is everybody's voice on the same track? How does it sound, the mic that you're using? Are you doing it remotely or in person? Because that will have an impact on your equipment decisions. Things like that. But there's just so much more that goes into editing and shooting video. ROB: As you mentioned, all the information is out there. Everything is essentially figureoutable. I think there's a book to that effect. I first figured out how to record live because I was at the Social Shakeup Conference and I saw somebody there recording live, and I just walked up to them and asked them, and because they'd done it enough, they had a page that listed all their gear, and they had affiliate links. Normally I don't even click on affiliate links because I'm kind of ornery about that, but I totally clicked their affiliate links. It was something done with a mix of generosity and sharing, and if they get a few bucks, to your point, for that Snowball mic or for the Zoom recorder that we use when we're in person, who am I to be upset about that? ESPREE: Yeah, totally. But I don't have an affiliate link for you. [laughs] ROB: Maybe another revenue stream there. ESPREE: Yeah, it's something I've thought about. It's one of the many things that still is on my to-do list for way too long. ROB: But you're figuring it out step by step. How did you make that jump? I think a lot of agencies, marketers, organizations develop a competency without taking it to the next level. You went from creating podcasts to training people to do podcasts. How did you evolve into that shift? ESPREE: I think it's a few things. One, I was just asked by several people. I got into podcasting in 2013, when it wasn't a thing and it wasn't cool. It didn't start to become more – I mean, obviously podcasting has been around for several years, way before that, but it just became this mainstream thing in the last few years. In 2013, it wasn't on the radar. In 2014, it started to bubble up on the radar because of the StartUp podcast. Then Serial came out, so then the mainstream news started talking about podcasting, and it was a domino effect from there. At that time, I think it was just supply and demand. [laughs] Even today, it's supply and demand. People have a really hard time finding any indie production companies for podcasts, so I get a lot of inbound on that because I've been creating my show for several years. You can't find a lot of people who have been both producing and hosting for several years. Maybe they just started 10 episodes ago or something. I have hundreds and hundreds of episodes done and distributed. So sometimes it's just getting there early. Now my “why” is interesting. I get asked a lot to teach. Initially I did it just for the community so that they can learn and express themselves, but I found that it was really exciting to be a part of their journey in creation and to really help facilitate them creating something meaningful so it's not just another audio file, but it's something people feel mentally subscribed to. That's been great. So I do a couple things, whether I'm teaching classes for the general assemblies of the world or USC and organizations like that or I'm doing semi-private masterclasses that are a month-long immersive, and I meet with a small group of people and I have expert guest speakers on. It's just really, really fun. So I've really enjoyed it. That's why I do it, because I love it and love being a part of their journey. ROB: There's so many cool little hidden skills in there. I think you're able to keep going on a podcast because of that rhythm that you put into your life overall. I think people might not think entirely – you're based in the Los Angeles area, and that's content city. That has to partly pervade who's interested in talking to you. When I look at how you've picked up these skills along the way, one skill you picked up that I think a lot of people would look at with some jealousy is you have figured out how to be selected as a speaker at South by Southwest. That's where we originally intended to speak in person. How did you figure out that process? I know people who have been trying for years and can't sort it out. I imagine you did it one step at a time. ESPREE: Honestly, I feel like I got – what's that saying? “Where hard work meets luck and opportunity” or something like that, or preparedness? I've bene working so hard for so many years. I started going to South by as a journalist, and then I became a speaker at South by – I don't remember what year, but I've given many talks there and performed the podcast live and led meetup groups. But the meetup groups I've led have been the podcasters meetup, and like I said, in 2013 no one cared. I said I would do this thing; I was the only person offering myself up to do this thing. Or maybe there weren't a lot of people. And the talks that I've given have ranged from anything from in the early days it was more on entrepreneurship, and now, again, podcasting. It's just about demonstrating where my unique value proposition is, the unique insights, the energy that I bring to the table as a speaker, what makes me a speaker that stands out amongst the rest. So just really think about that for yourself. What is an interesting angle? Actually, I think I'll do a thing for you in a second, just for your audience, so you can have a little sampling of what that sounds like. The last thing is performing my podcast live at South by Southwest. I performed the Women in Tech podcast live last year and then also this year. Again, it's over time, establishing myself as a podcaster, my relationships, the audience that I have. The purpose and mission of why my content exists in the first place is very clear. It's just this stew of hard work, and then it's the luck of being noticed. Sometimes you can even manipulate being noticed. I should say positively manipulate, meaning that you're doing enough outreach, that you're using programs like Pipedrive and Contactually to make sure that you're continuously doing your outreach. That's maintaining your relationships. My mom comes from an entertainment background, and she always said – it was her or maybe my grandmother who said “the squeaky wheel gets the oil.” So when she talks about being in the entertainment business, she says they'd cast the people who called last because that's the person that was on the top of their mind. I'm like, that's really interesting. And it's true; the more you're on the top of people's minds, in a non-annoying way, the more they'll think of you when there's an opportunity. The more you make yourself helpful – I was featured in Forbes randomly, and the reason I was featured in Forbes, that feature happened because I was doing an interview I think a year or a year and a half before, and the interview went something like 3 hours late. So I was just sitting in a waiting room for several hours. I never complained and I just chilled there and I was nice about it. Then the person who kept coming back in to apologize to me was so grateful that I did that that when there was the opportunity for Forbes, I was the first person that was thought of. Just because I waited in a chill manner. [laughs] ROB: Which anybody can do. ESPREE: Totally. So it's like, how are you showing up to life in unique ways that make you stand apart? If it's okay with you, Rob, I'm going to do a quick thing. I'm going to show you how I start my speaking engagements and my podcast, because it's not this tone of voice. Is that okay with you? Can I do that? ROB: Run with it. ESPREE: Okay, cool. Everybody watch your eardrums just a little bit. I'm going to hold the mic a little bit away because I don't know the levels of how we're recording right now. But this is what it sounds like, and the reason why I'm sharing this with you is because this is what sets me apart and makes me a unique speaker and podcaster. I'd say the thing that sets me apart is my energy when I show up to the stage. Three… two… one… “Welcome back to the Women in Tech podcast, celebrating women in tech around the world! So excited for our next guest here today. Welcome…” and then you say the person's name. But that's just crazy, right? That's out of nowhere. Where it's inspired from is growing up, I was super into wrestling. [laughs] ROB: Yes, it sounds like wrestling. [laughs] That's amazing. ESPREE: I was super into wrestling and I loved the wrestlers being announced onstage, and then I was really into Steven Tyler's stage performance and how he would really be into the mic and really be energized. So that's why when I do my podcasts and my interviews, I stand. You never see people stand when they're doing it. I stand. And I do it for a lot of other reasons too, because of your vocal cords. Onstage, I stand. Sometimes I'll kick my shoes off. I'll never stand behind a podium. There's just all sorts of techniques. My friend Mark, who actually built the YouTube Player, gave me the best speaking advice. He said, “People don't remember what you say; they remember how you made them feel.” I think about that with my podcast. I think about that onstage. How am I making everyone feel? Are they feeling the way I intend for them to feel? And if not, what do I need to do? When I show up that way, the guest feels more energized, the audience feels more engaged, and to the event organizer, I'm a unique speaker that brings something different to the table. ROB: Absolutely. I love it. We have a wrestling announcement right here on the podcast. [laughs] I think you mentioned something that is really key that would be easy to get lost in the mix. You mentioned staying on people's minds in an un-annoying way. I think we are in a very perhaps more challenging moment for that, where people who don't have that skill may be a little bit lost. We are sheltering in place right now in our homes to avoid getting and spreading the coronavirus. What you can't count on is bumping into somebody in the halls, in a restaurant you usually run into, at a networking event. How do you think about staying on people's radar in an un-annoying way? Because quite often, I think people give advice of sending a link – and you actually did send me a very good link in our chat – but I think there are often times where that can feel still very inauthentic and people can tell. You're still just sending them a link because someone told you to send them a link to stay on their radar. ESPREE: A hundred percent. I think there's a lot of different ways, and we need to find the tools that are right for our own personalities. The kind of things that I look at – one of them, the first thing I want to say, there's a tool called Bombbomb which does video messaging. It's really great to make something a bit more personal, to show somebody that you care. I find that even when I send a Bombbomb video, if I don't say the person's name, they may think that I created it for a lot of people. I remember I made one for even my friend, who's also a customer, one time. She said, “You know, it was until you said my son's name, I thought it was a video for everyone.” It's really interesting to me because it was personalized. There's tools – like I said, Contactually. There's a ton of other tools. I know Tim Ferriss uses Evernote a lot. I don't necessarily know if he uses it for maintaining follow-up, but Evernote is a great tool. There's WorkFlowy. There's different programs that will spit out who you haven't followed up with lately. LinkedIn is such a powerful resource for all of us. I think it's about really thinking, who do you want to connect with? Why do you want to connect with them, and how often? And are you tracking that follow-up? I use a CRM system called Pipedrive, and like I said, I'm a huge fan of Contactually as well. I think Contactually is just a great follow-up tool. I've heard good things about Nimble. You could find out what's going on in someone's life via Twitter, via Instagram, via Facebook. Really paying attention to their social networks. I call it ego marketing. It sometimes sounds like a bad thing, but all of us – all of us – we operate on our egos. We feel like the world is revolving around us at all times. “What's that person thinking of me? What's that person doing,” blah, blah, blah, me, me, me. If you all of a sudden come to someone and say, “I watched your talk online,” and say the specific talk, and then say what you got out of it and maybe a timestamp, it is just so clear that that is about them. The kind of messages I can't stand – because I get an abundance of inbound messaging for the Women in Tech podcast, or even one yesterday, perfect example, the We Are LA Tech podcast. Someone messaged me asking to be on the show and they weren't in Los Angeles. If they knew the show, they'd know every single episode is from someone in Los Angeles. So obviously you don't care. You're just mass mailing. With Women in Tech, I'll get messages about the controversial topics someone could talk about, and if they knew the show, they'd know we do no controversy, no politics. So it tells me that you really don't care. I'm just some name on your list. So when you're thinking about follow-up, you want to think about: who do you want to follow up with and why? What's a meaningful way to follow up with them? And then tracking that follow-up. And not following up too much. Another example is somebody followed up with me three times in one week, and I hadn't seen any of the messages. Then on the third message they said, “I know you're probably getting annoyed with my messages” – which just shows me it's an automated system. “You're getting annoyed with my messages,” and the truth was I hadn't even seen the other two. My response back was, “One, I'm not interested, and two, I recommend you not follow up in such a short period of time.” [laughs] Imagine if I'm giving a talk, if I'm at South by Southwest this week, I am not really on email or paying attention. If you follow up three times this week, during this particular phase of my life, the chances of me seeing them is so low. That's why it's way more effective to follow up 3 weeks to a couple months apart. But just really be sincere in why you're even following up with the people in the first place. ROB: If you're following up 3 weeks or 3 months or anything like that, also, you have to have a mindset where you're playing the long game. You're not playing the short game where it's “How many times can I message you in 2 weeks and then either ignore you or maybe you've answered me.” ESPREE: Right. ROB: If someone looks at the Women in Tech podcast, I think one thing they'll realize is, number one, your level of commitment there. I think I'm seeing over 400, almost 450 episodes. But also, I think they'll notice that you do the work, and you do the work authentically. What I mean by that is you're not just cherry-picking and trying to ladder up to the biggest name. You have some names on the podcast that are known, but you also have – again, in this theme – people that your listeners might not know but they should. It looks to me like quite often you are going far and wide. You're doing the work of actually reaching out to people across the world, and probably even going there to have those conversations. ESPREE: Rob, I love how you did your homework. [laughs] You would be an email that I would open, because that is so spot-on. I get a lot of messages from a lot of super fancy people, thinking that they're just entitled to be on the show. My personal excitement is sharing a story of a woman that normally doesn't have access. I've traveled to Bosnia; recently I was in Kazakhstan. I've traveled to over 100 countries just to celebrate these women in tech in person, share their stories, be in their culture. People say, “Why not just do remotely?” I wouldn't see the bullets in the buildings on the streets of Bosnia if I wasn't in Bosnia, understanding that the girl I'm interviewing, as a child, she had to be in a bomb shelter to be safe from the war. These are just things you don't get on a 1-hour Skype call or something like that. So really discovering all these magnificent women in tech around the world, giving them the opportunity – I'm really proud that the Women in Tech podcast is, for the majority of guests, the first podcast they've ever been on. It just blows my mind. And it's not necessarily even, by the way, Rob, that these people aren't seasoned; they're just not the internet celebrities of the world. They're not the Gary Vaynerchuks. [laughs] Then I also have the more well-known people, as you mentioned, and I'm excited to share their stories as well. But my “why” in doing the show is not for social status. It's not to look good. It's really to be this bridge for women in tech around the world to be able to discover the resources and mentorship that they need to accelerate. Hearing stories of how women have pulled over to write notes, listening to the episodes, or shared the stories with their family, or investors have reached out to them because they've been on the show – truly social impact. It's amazing. So it's not about “do I look the coolest?” It's about “am I creating the biggest impact?” ROB: That resonates completely with who you are and what you want to accomplish. I think it's also a little bit of a secret – and it's not a secret because we're talking about it, but candidly, it makes booking a podcast a lot easier when you're booking people who are interesting and have a story, but it is their first podcast. They say yes a lot more. ESPREE: Oh yeah, I'm sure. Well, the one thing about women in tech – yes, I think your point is accurate, and, unfortunately, with women in tech – a lot of people ask me, “What's the biggest commonality of all the women in tech that you're met with?” They're expecting some technical answer. Unfortunately, the biggest commonality is that I think as a culture, oftentimes we feel we're not enough. So I will get women who will say “I don't think I'm good enough for your show” or “I haven't spoken before” or something. Then it's my responsibility as a person who wants to be empowering to give them the level of confidence, and also to say, “Listen, I wouldn't be picking you unless I thought you were good enough to be on the show, so how about I make the decision on that?” [laughs] I've had a couple people not want to be interviewed because they're scared, but yes, you are absolutely right that it's going to be a lot easier. You're also right that it's a huge pain point in the podcasting industry for new podcasters, or even a lot of seasoned podcasters, to get yeses from guests. It's a huge pain point. It is one that I do not have, and maybe that contributes to it, you're right. ROB: And you do in-person a lot, which always helps with that rapport. It would be great if we were, but that's not an option right now. We're not getting on planes right now. ESPREE: Totally. ROB: That is okay. We'll hope that we can meet up at South by Southwest next year, perhaps. ESPREE: A hundred percent. ROB: Espree, when people want to check out all the things that you're doing, where should they look to find you? ESPREE: Man, if only I had been smart enough to have one link that says all the things. [laughs] Honestly, look me up on LinkedIn, Espree Devora on LinkedIn. Add me there. It's also Espree Devora on all social – on Instagram, on Twitter, on Facebook. I do really engage on Twitter. And check out the podcasts, WeAreLATech.fm and WomeninTech.fm. ROB: It's all those little things. You put in the work on the domains too. ESPREE: Yeah. ROB: Fantastic. You're consistent on the brand. Espree, thank you so much for coming on the podcast. It's been a true joy to get to know you a little bit, and I know our audience has enjoyed your challenging example of just doing one more thing each day and how that carries through in everything you do. ESPREE: Thank you so much for having me, Rob. This has been great. I'm happy that you made it remote and we were able to make this happen. ROB: That's great. Be well. ESPREE: Bye. ROB: Thank you for listening. The Marketing Agency Leadership Podcast is presented by Converge. Converge helps digital marketing agencies and brands automate their reporting so they can be more profitable, accurate, and responsive. To learn more about how Converge can automate your marketing reporting, email info@convergehq.com, or visit us on the web at convergehq.com.

This flash briefing is all about West Seattle in Washington (WA) State. For more info, visit: http://www.Sea-Town.com/welcome-to-west-seattle If you own an Amazon Echo device, you can enable this daily audio content by simply saying "Alexa, enable West Seattle Daily Skill" or click here - https://www.amazon.com/gp/product/B082NR5KM4, login to your Amazon account and click the "Enable" button. ---- It’s Thursday friends. Thirsty Thursday. Have you been wondering where in West Seattle you can still get good beer? We are going to run through a list of who in WS is still open for pickup, delivery or curb-side pick of brew. Treat yo self. Support a local business. Enjoy the sunshine, pull up a lawn chair & enjoy a much needed cold beer. Thanks for joining us for West Seattle Daily, Episode #060, brought to you by Sea-Town Real Estate. I'm your host, Christian Harris. We start our list with my personal favorite... and closest to my office: Good Society Brewery @goodsocietybeer open from 3-7 M-F and 12-7 Sat and Sun for pickup or delivery of Crowler's, canned fresh from the tap Order online, for pick up or delivery, at https://shop.goodsocietybeer.com. OUNCES TO-GO
@ounceswestseattle Place your order online at www.ounceswestseattle.com , then choose to either pickup at the taproom OR have it delivered to your door! - Pickup Available: Tue-Fri: 4:30-6:30 & Saturday: 3-6pm - Pickup only available with clean growler Best of Hands @bestofhands Order online during these times at www.bestofhandsbarrelhouse.com We will let you know if your selection is available. Pick up in-store only during posted hours of operation. 24 hours prior notice strongly encouraged. Mon, Thurs & Fri - 3-7 Sat - 12-7 Sun - 12-5 The Beer Junction @thebeerjunciton Tue-Fri: 4-7 Sat: 2-7 To maintain distance, plan to enter the store using our front door on California Ave SW and exit using the rear door that leads into the back parking lot.  Limit is six customers inside at a time. West Seattle's newest brewery addition: Cold Crash Brewing - a gluten free beer option! @coldcrashbrewing PICK UP HOURS SATURDAYS ONLY 12-5 PM Order and pay online at www.coldcrashbrewing.com. They will have your order ready for pickup within 1 hour (if during pickup hours). All items will be thoroughly sanitized and placed in a bag with your name on it. 
Super Deli Mart on 35th Ave SW (East of Westwood Village) @superdeli_mart providing to go growler fills during their regular business hours Call ahead for order to go at (206) 937-1442 Elliot Bay Brewery @elliottbaybrewingco They are still offering the full menu, kids menu and 1/2 priced growlers. Call-in to to place an order.
Monday: CLOSED Tuesday-Thursday: 4-8 Friday-Sunday: 12-8 Tin Dog Brewing @tindogbrewingco Located at the entrance of the Cloverdale Business Park Open M-F 4-6 Sat/Sun 2-6 pm Call or visit their website at tindogbrewing.com to order for pickup Beverage Place Pub @bppub Order for pickup online at www.beveridgeplacepub.com Pick-up will be at the back drive-way, so everyone can stay at a safe distance. Pick-up times: Wed, Thu, Fri 4-7pm; Sat 1-5pm Please have your ID ready to show from your car door so we can make sure we have the right order…and that you’re 21 or over. (yes, it’s OK to bike/walk, too) BONUS: When you get your growler filled at Beverage Place, receive a 15% discount off your next order at the neighboring restaurant, PEEL & PRESS! What has become your "go to" WS place to get your beer? Thanks for you for supporting local businesses during these unusual & difficult times! Don't forget to subscribe to this on your favorite podcast app or on your Amazon smart speaker by simply saying, "Alexa, enable West Seattle Daily".

This flash briefing is all about West Seattle in Washington (WA) State. For more info, visit: http://www.Sea-Town.com/welcome-to-west-seattle To enable on your Amazon Echo device say "Alexa, enable West Seattle Daily" or click here - https://www.amazon.com/gp/product/B082NR5KM4, login to your Amazon account & click the "Enable" button. ---- Happy Friday everyone! Thanks for joining us for West Seattle Daily, Episode #018, brought to you by Sea-Town Real Estate, West Seattle's only Indie Community brokerage. I'm your host, Christian Harris. Let's go over some of the events happening around WS this weekend: Karaoke happens regularly around West Seattle every Friday and Saturday night, to include Yen Wor Village, Talaricos and the Admiral Pub Friday *Plant for the Planet West Seattle meetings @ Puget Ridge Cohousing Jan 17 @ 7:00 pm – 8:00 pm With the growth of Plant for the Planet (a youth-led climate organization) in Seattle and enough Climate Justice Ambassadors in the South, we have officially kicked off our monthly West Seattle meetings. Every 3rd Friday we’ll meet at 7 PM at the Puget Ridge Co-housing Common House. Children who would like to be active to get our planet back to a stable climate and their parents are always welcome to join. Please RSVP by email – pftp-west-seattle@googlegroups.com West Seattle Tool Library @ Youngstown Cultural Arts Center is open mid-day on most Saturday and Sunday's, for all of your home & garden projects. Saturday *Mobile blood drive @ Westwood Village Jan 18 @ 9:00 am – 3:00 pm The BloodworkNW’s Bloodmobile will be parked at the Barton St. entrance to Westwood Village from 9 am to 3 pm (closed 11 am to 12 pm for a break). Blood drives are open to the public. Check here to find the drive and make your appointment. *Paper Boat Booksellers Family Reading Time - Everyone’s welcome. Jan 11 @ 11:00 am
*King County Democrats 2020 Kick-off Party @ Duwamish Longhouse and Cultural Center Jan 18 @ 6:00 pm – 9:00 pm Sunday *West Seattle Farmers Market @ West Seattle Junction Jan 12 @ 10:00 am – 2:00 pm *West Seattle Amateur Radio Club’s monthly breakfast @ Be's Restaurant Jan 19 @ 9:30 am – 10:30 am The West Seattle Amateur Radio Club’s monthly breakfast is the third Sunday of the month at 9:30 am at (new location as of Summer 2017) Be’s Restaurant. Our breakfast gatherings are open to members as well as non-members interested in Amateur Radio and emergency communication.

Explore the past this week in San Francisco, Westwood Village, Ashland, Mountain View, and even New York City. Gurdjieff meditations, Digi-sax, sound poems, and Stickmen. 1977 to 1997.

In one of the biggest physical and social changes in school history, UC San Diego will create its first "front door," a grand entrance meant to appeal as much to the public as students and ease crowding on a campus where enrollment could hit 40,000 this fall. Plans are being drafted for a gateway that will blend art, culture, entertainment, dining, education and research — the same mix that helps funnel people from Westwood Village to UCLA. UCSD will exploit public transit, placing everything from an outdoor theater to an art-filled plaza to a consumer-oriented design building next to the Blue Line trolley station that's being built on campus, near Geisel Library. The school also will add a massive student center nearby, and. in a bit of whimsy, it is proposing to hang 20 play swings on cables attached to the bottom of the depot. "Anybody who comes to San Diego should have this campus as a destination in addition to Balboa Park or the Gaslamp district," said UCSD Chancellor Pradeep Khosla.

On this fantastic journey through the purple and blue skies we fly alongside an extremely talented copilot named Josh. We were on our way to UCLA to spread the Roomer Resume name when we stumbled upon Josh doing some very difficult athletic moves on and around some stairs. He's a Parkour specialist who was gracious enough to sit down with RoomerRick on the fly and provide us with some great value. If you're interested in becoming a Parkour specialist and even possibly making a career out of it you'll want to definitely pay attention to his great advice on how to make it happen. Thanks for supporting RRQ, RoomerResume, and RoomerRick!Support the show (https://www.youtube.com/roomerresume)