Podcasts about Wild Oats

Len and Beave go through the career and films of Demi Moore, who shockingly lost Best Actress earlier this year for her performance in "The Substance". What were her best performances? Is she in fact a good actress? What is the key to her appeal? What movies are among her best? Has anyone seen "Wisdom", "Forsaken", or "Wild Oats"? Is "Striptease" a good movie? (Beave will defend that one to the death) And of course, has St. Elmo's Fire aged for the better or worse since its premiere 40 years ago? Tune in!

In this episode of the Hot Wife Podcast, hosts Donna Lynn and Vince delve into the complexities of sexual maturity, particularly focusing on why women tend to explore their sexuality later in life compared to men. They discuss the impact of menopause on sexual desire, the importance of communication and trust in relationships, and how couples can navigate the waters of sexual exploration together. The conversation is filled with humor, personal anecdotes, and insights into the dynamics of modern relationships. TakeawaysWomen often mature sexually later than men, typically around their 30s.Men tend to peak in sexual desire earlier than women, often in their late teens to early twenties.The experience of motherhood can lead women to rediscover their sexuality after raising children.Menopause can significantly affect a woman's sexual desire and overall intimacy.Open communication is crucial for couples to explore their sexual desires together.Trust between partners is essential when discussing sexual exploration.Women in their mid-30s often feel more empowered and confident in their sexuality.The podcast emphasizes the difference between making love and casual sex.Couples should approach discussions about sexual desires delicately to avoid misunderstandings.Exploring new sexual experiences can enhance intimacy if both partners are on board

Eight films! Blitz, The Canyons, Goodbye Lover, Wild Oats, Nutcrackers, Fracture, A Real Pain, and The Order (2024)

On today's edition of the podcast, Eric is joined by Mary Clarkson to discuss the latest happenings from the Houston restaurant and bar scene including Underbelly Hospitality closing Wild Oats, Nando's Peri-Peri claiming it's 3rd Houston area location, and Postino WineCafé adding it's first ever cocktail menu. In the Restaurants of the Week portion, Kira is featured. Follow Eric on Instagram/Threads @ericsandler. You can also reach Eric by emailing him at eric@culturemap.com. Check out some of his latest articles at Culturemap.com: Embattled Houston Hospitality Group Shutters Texas Comfort Food Eatery Famous South African Chicken Chain Flies into New Montrose Development Buzzy Houston Wine Bar Shakes Things Up with First-Ever Cocktail Menu Heights Pizzeria and Ice Cream Shop Team Up on Cheesy New Flavor Heights Burger and Taco Favorites Now Serving at UH's New Dining Hall

This week we are bringing you something a little bit different - Nicola and Di recently headed off to Hamilton Island Race Week and interviewed a collection of world-class sailors whilst they were there. This week's episode brings you all 4 of those inspiring chats.  First up we talk to Alice Parker - a remarkable 30-year old navigator who's raced in 4 Sydney to Hobarts, as the only female on an all-male crew, as well as several world championships that have taken her to many different countries. We hear about Alice's best moment at sea, as well as the most frightening, which happened during one of her Sydney to Hobarts. Not only is Alice an incredible young sailor, she's also a physiotherapist and is back studying at uni again to upskill in some maths and physics. You'll want to hear Alice's answer for who she wants to meet at the back fence because it's truly beautiful.  We then get the chance to chat with Mark Richards, the sailor and boat builder that many listeners would know as the long time skipper of Wild Oats, who has won the Sydney to Hobart a stunning 9 times! We hear the amazing story of how Mark got started in sailing and how he credits it to being adopted by the right people. Mark tells some great stories about his friendship with Bob Oatley, the comradery of the sailing community as well as his greatest achievements and most harrowing moments at sea.  Our third conversation is with the dynamic sailor girl Nic Douglass. When you listen in to this chat you'll hear just how much passion and enthusiasm Nic has for sailing. Having just returned from the Olympics where Nic was part of the team commentating for the crowds on-the-ground in Marseille, we hear how the work she does now and the media company she started actually came after she was at one of her low points when she didn't qualify for the London Olympics in 2012. Nic is proof that sometimes it's the low moments in our lives and careers that become turning points and lead to really great opportunities.   Finally, we talk to the incredible Stacey Jackson who has sailed in a whopping 16 Sydney to Hobarts and is nowhere near stopping! Not only that but Stacey has also competed in a 9-month round-the-world race not once, but twice including conquering Cape Horn, which is known as the Mt Everest of the sailing world. We hear what it was like the first time Stacey sailed around the world and the most incredible story of how her crew survived after their mast broke shortly after they'd rounded Cape Horn on her second trip around the world. Stacey was also the skipper on Wild Oats when Julie Bishop famously jumped off the back of the boat after the start of the race in Sydney.  This week's episode is full of so many great stories and wonderful personalities. It was so much fun recording on location up in Hamilton Island and we really hope you love tuning in to this one.   Follow Alice Parker on IG here Follow Wild Oats XI on IG here  Follow Palm Beach Motor Yachts on IG here Follow Sailor Girl Nic Douglass on IG here Follow Stacey Jackson on IG here Follow Hamilton Island Race Week on IG here Follow Nicola and Di on IG hereSee omnystudio.com/listener for privacy information.

Sandra and Mandy cover all the play in Season 14 Episode 2 of Real Housewives of New Jersey. Sandra talks about Pampered Pet Play and what Teresa's dog needs to do to step it up to the level of Melissa Gorga's dog. Mandy teaches us that there's no such thing as bad Fashion Play and together, we create a hit song about Gia.  Find out who we pick for our Plays of the Game and our MVPs in an episode all about a Celebration of Life party for Danielle Cabral's (not dead) spouse. It's confusing, I know.   Instagram: @RealHousewivesofBendOregon TikTok: @RealHousewivesofBend   Please rate, review, subscribe & share!!!   Intro and Outro Music: “Stomping Rock” by Alex Grohl    Inspired by Game of Roses  

Stephanie Beacham is without a doubt one of Britain's most talented, beautiful and well-known actresses. Despite becoming world famous and an icon of the 1980s due to her role as Sable Colby in the American soap operas Dynasty and The Colbys and going on to have starring roles in shows such as Sister Kate, Seaquest DSV, Beverly Hills 90210, and Bad Girls, Stephanie Beacham had already carved a solid acting career back in her home country. Born in Hertfordshire in southern England, one of the four children of an insurance executive and a housewife, Beacham began an interest in acting at a young age and studied mime at the respected and renowned school of Étienne Decroux in Paris before completing her studies at the Royal Academy of Dramatic Art (RADA) in London. Guest roles on British television followed in the late 1960s such as The Saint and UFO, however Beacham's breakthrough was her starring role opposite Marlon Brando in the cult horror film The Nightcomers that brought her critical acclaim and widespread attention. She became a regular staple in British horror films for the remainder of the 1970s and early 1980s such as Dracula A.D. 1972, House of Mortal Sin, Schizo and Inseminoid, however she was still a commonly seen face on television, such as being given her own soap opera in Marked Personal as well as regular modelling work. It was in the 1980s however that Beacham's career became supercharged. She had starring roles in the acclaimed television series Tenko and Connie, the latter gaining particular interest in the US.Beacham moved to Hollywood in the mid-1980s and was given the role of Sable Colby in the ABC soap opera The Colbys, and then joined it's parent show Dynasty where she remained until the show's cancellation. Both shows made Beacham a household name on both sides of the Atlantic as the glamour-puss wife of Charlton Heston's character Jason and cousin of Joan Collins' Alexis, with the two regularly involved in a 'battle of the bitches' scenario. Following the cancellation of Dynasty, Beacham headlined the sitcom Sister Kate for which she was nominated for a Golden Globe Award, before going on to have main roles in Beverly Hills, 90210 as Iris McKay, Steven Spielberg's Seaquest DSV as Dr. Kristen Westphalen and Countess Bartholomew in Star Trek: The Next Generation as well as film roles opposite Christopher Plummer in Secrets and Anthony Hopkins in To Be The Best. Beacham maintained a regular presence on television and in theatre both in the US and the UK for the remainder of the 1990s until she played Phyllida Oswyn in the prison series Bad Girls, a role she would play until the show's end in 2006. She would later have parts in films such as Love and Other Disasters, Moving Target and Wild Oats and played Martha Fraser in Coronation Street.Her theatre credits are extensive and include roles in the West End and on Broadway. Most recently she completed UK tours as Judith Bliss in Hay Fever and Maria Callas in Masterclass. It is the role of Mrs Cheveley in Oscar Wilde's An Ideal Husband in 1998 that brought her to Australia and it is this production which reunites us both after a couple of decades to reminisce and catch up.The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Today on the podcast Eric is joined by Nina Quincy and Sarah Dowling of Underbelly Hospitality. Nina and Sarah speak with Eric about how their respective career paths that led them to Underbelly Hospitality, what the transition period was like at Underbelly following the departure of Chris Shepherd, the current state of Underbelly Hospitality, how things have changed at Georgia James with their new chef making the restaurant more approachable, Sarah's amazing ability to pick the right wine every time, why Underbelly decided to close Pastore Italian Kitchen, what's happening at Wild Oats, the latest with Comalito, what's next for Underbelly, the goals for the beverage programs, and much more!    Follow Eric on Instagram/Threads @ericsandler. You can also reach Eric by emailing him at eric@culturemap.com. Check out some of his latest articles at Culturemap.com: Bakery Known for Houston's Best Croissants Rolls into The Heights New Sugar Land Food Festival Features More than 30 Houston-Area Chefs Tilman Fertitta's Master Chef Receives Prestigious French Agriculture Award Houston Developer Plans Major Changes for Historic Westheimer Properties Local Foods' Bigger, Better Galleria Location Opens with Covered Patio and More Wine Local Foods Owner Maximizes Tacos at Newly-Opened Modern Mexican Restaurant in West U.

Why did Blockbuster really go bankrupt and what did Google have to do with it? Today I'm joined by James Keyes who is the visionary CEO behind three mega successful companies: 7-Eleven, Blockbuster, and Wild Oats. He's also the author of "Education Is Freedom: The Future Is In Your Hands." Today we're exploring how Jim increased the shareholder value at 7-Eleven by 10x, the challenges of navigating Blockbuster through the 2008 financial crisis and the rise of streaming platforms, and why Jim's philosophy of "Change Equals Opportunity" has yielded so much success. Discover the critical role of effective communication, how to genuinely engage with your team, and the secrets to cultivating a culture of relentless positivity and innovation. James Keyes lays bare the foundational pillars of leadership that not only build empires but also foster the growth of those who make them.   ________________ Start your day with the world's top leaders by joining thousands of others at Great Leadership on Substack. Just enter your email: ⁠⁠https://greatleadership.substack.com/

On this week's episode, I have actress Paula Marshall (Euphoria, Walker, Gary Unmarried, and many many more) and we dive into the origins of his career. We also talk about how she dealt with being a new mom and working on a sitcom at the same time. There is so much more so make sure you tune in.Show NotesPaula Marshall on Instagram: https://www.instagram.com/thepaulamarshall/?hl=enPaula Marshall IMDB: https://www.imdb.com/name/nm0005191/Paula Marshall on Wikipedia: https://en.wikipedia.org/wiki/Paula_MarshallA Paper Orchestra on Website - https://michaeljamin.com/bookA Paper Orchestra on Audible - https://www.audible.com/ep/creator?source_code=PDTGBPD060314004R&irclickid=wsY0cWRTYxyPWQ32v63t0WpwUkHzByXJyROHz00&irgwc=1A Paper Orchestra on Amazon - https://www.amazon.com/Audible-A-Paper-Orchestra/dp/B0CS5129X1/ref=sr_1_4?crid=19R6SSAJRS6TU&keywords=a+paper+orchestra&qid=1707342963&sprefix=a+paper+orchestra%2Caps%2C149&sr=8-4A Paper Orchestra on Goodreads - https://www.goodreads.com/book/show/203928260-a-paper-orchestraFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Newsletter - https://michaeljamin.com/newsletterAutogenerated TranscriptPaula Marshall:But a lot of parents, they go to jobs and then they come home or they don't work at all, and then it's just mom 100% and they're probably exhausted and happy. Some of my friends, I feel like they're like, I'm so glad. Finally I get to whatever. And either they're retiring and they get to go travel and like, no, I'm an actor. I'm looking for a gig, whatever. I don't think actors ever truly retire. I think we don't. I don't.Michael Jamin:You are listening to What the Hell is Michael Jamin talking about conversations and writing, art and creativity. Today's episode is brought to you by my debut collection of True Stories, a paper orchestra available in print, ebook and audiobook to purchase. And to support me on this podcast, please visit michael jamin.com/book and now on with the show.Welcome everyone. My next guest is actress Paula Marshall. She has been, I worked with her years ago on a show called Out of Practice, I think it was like 2005. But Paul, before I let you get a word in edgewise, I got to tell everyone, your credits are crazy long, so your intro may take a long time. So I'm going to just give you some of the highlights to remind you of your incredible body of work here. Really these are just the highlights. She works a ton. So well, let's see. I guess we could start with One Life To Live. That might've been your first one. Grapevine Life goes on. Wonder Years Seinfeld. I heard of that one. Perry Mason diagnosis. Murder Wild Oats. I'm skipping here. Nash Bridges. You did a couple Chicago Suns Spin. City Cupid Snoops Sports Night, the Weber Show. It doesn't end.Just shoot Me, which I worked on. I didn't even know you were on that. Maybe I wasn't there. Hitting Hills and Out of Practice, which we did together. Veronica Mars, nip Tuck, shark ca Fornication. You did a bunch of Gary Unmarried House friends with Benefits, the exes CSI, the Mentalist, two and a Half Men Murder in the First Major Crimes. What else have we got here? Goer Gibbons, I dunno what that is. You have to tell me what that is. And then Modern Family Euphoria. You did a bunch of them. Walker. Paula, I'm exhausted and I'm going to steal your joke here. You can because I'm going to say you're Paula Marshall, but you may know me as Carla Gina. That's what used to tell me CarlaPaula Marshall:And I know Carla,Michael Jamin:But knowPaula Marshall:She's like the younger version of me. Slightly shorter,Michael Jamin:Bigger, bigger. Boop. But you have done so much. I'm going to jump, I'm going to jump into the hardest part. I'm wondering if this is the hardest part for you is being a guest star on a show because you have to jump in with the cast, you have to know the rules and everything. Is that harder?Paula Marshall:Yes, a hundred percent. It's harder when I guest star on any shows, if I haven't seen the show, I watch three or four on YouTube just so I know who's who and the vibe and the energy. When I guest star on Modern Family I their last season and some could say I canceled the show by being there. I've been called a show killerMichael Jamin:Before. I remember You don't let Right.Paula Marshall:I still have not let that go. I like to say I've just worked on so many different shows at its peak and then it died anyway. It's hard because they're all in a flow and depending on the other actors, how cool they are to kind of throw the ball at you.Michael Jamin:But do you have to identify who's the alpha dog on set? Is that what your plan is? It'sPaula Marshall:Pretty clear right away. Really? Yeah. I mean besides whoever's first on the call sheet, I remember one of the producers of Snoop's, David Kelly's first big bomb. That was me.Michael Jamin:It was a sure thing what happened?Paula Marshall:You know what? I'm not sure. Well, when it was supposed to be a comedy quickly turned into a drama, it was not great. But as one of the producers of Snoop said, you don't fuck with the first person on the call sheet. You don't fuck with him. And so you identify that person and depending, it's funny because I've worked with so many great people and so many assholes too. Like David Deney. Damn, is he cool? He's so nice. When I worked on fornication with him, he set a tone for just the set, the crew, the actors, this freedom just to try things. And I remember during my, it was like the first day naked throwing up,Michael Jamin:Wait, were you nervous? Why were you throwing up?Paula Marshall:Hello? Of course. But IMichael Jamin:Remember you're never nervous, Paul, let me tell you who you were. I'm totally nervous. No, you're the most self-assured person probably I've ever worked with. You're very confident.Paula Marshall:Thank you. I'm actingMichael Jamin:Acting.Paula Marshall:But California occasion, it was my first day onset naked, fake fucking. And I remember standing there, it was yesterday, and either tweaking you and touching you up. And I say to everyone, what's amazing, what I'll do for $2,900 when a strike is pending? It was the writer's strike way back in the day. And I remember getting this part on fornication and I'm like to all the girls in the audition room, when we used to have auditions in rooms with other people, I looked around, I'm like, we're not going to really have to be naked. We're not those type of actresses. And they're like, no, no, no. And I'm like standing there. Yeah, yeah. I was naked.Michael Jamin:Was that your first time in a show being naked? I meanPaula Marshall:ToplessMichael Jamin:ShowPaula Marshall:On a show?Michael Jamin:Yes. Because you were in a model, I'm sure as a model, you're doing wardrobe changes all the time.Paula Marshall:I used to model. I was naked a few things back in the day.Michael Jamin:So were you really nervous about it? I mean, I imagine you would be, butPaula Marshall:Standing there naked is one thing. You just kind of have to dive in the pool, in the cold, cold pool and let it go because you got to put on the confident jacket, I guess I obviously wore a lot around you, but I mean it's more uncomfortable, the fake sex scenes, it's more technical and awkward. It's just but nervous. I dunno. Yeah, you're excited. But I'm also excited when I walk on stage on a sitcom before, if I'm not already in the set, when they start rolling, I'm backstage. How's my hair? Shit, how am I doing? Okay? I get hyped up until you do it once and people laugh and you're like, oh,Michael Jamin:Okay. Are you worried about going up on your lines at all? Is that at all you're thinking about?Paula Marshall:Yes, especially now. Oh shit, my memory. It's just that prevagen, I'm going to look it up later, but yeah, you do. But if you in a sitcom situation, we run it, we rehearse it all week. StillMichael Jamin:The lines are changing all week. That's all IPaula Marshall:Know. But they're changing all week. But then you run it and you drill it on TV shows like euphoria or whatever. Yeah, you run it. But then again, they don't really change the lines at all. But yeah, you were a little bit, but then you got a great script supervisor that you're like, I'm up. And then they say it and then you go back and you do it. But yeah, always, I'm always really nervous until maybe the second takeMichael Jamin:Of any, the hardest thing it seems to me is just like, okay, you're naked and you have to forget that there's all these people there. You havePaula Marshall:ToMichael Jamin:Completely, it's almost like you're crazy to have to be able to forget that,Paula Marshall:Michael, when you paid $2,900.That's right. I was shocked. That's all you get for being naked. Yeah, you do. You are nervous. But I don't know. I was 40 then, so I looked pretty good naked, although I only had four days notice. Back then we didn't have ozempic, so I was like, okay, I can't, no salt, no bread. And I remember in that shot that the camera guy, they decided in the moment, Hey, can you walk over to David? And then bent over, he's on the bed and then kiss him. I'm like, well, that depends. What's your lens there? You got there? And I'm like, how wide is your lens? And he looked at me and I'm like, I'm a photographer. I like taking pictures. So I know. And I'm like, so I'm going to bend over with my white ass and I had four days notice on this and my ass is just going to be in the pretty much. And you're like, okay, I could do it. But you hope for body makeup. I don't know. Don't you think I had any, I should have demanded bodyMichael Jamin:Makeup. And this was probably even before there were, what do they call them now? IntimacyPaula Marshall:Coordinators?Michael Jamin:Yes. Right.Paula Marshall:I mean, here's the thing. I guess it helps when you're not a loud mouth person like me. And even then it's hard to go, Hey dude, keep your tongue in your mouth. You don't want it in your mouth. Sometimes you're like, damn. He's a great kisser. Jason Bateman, I enjoyed the tongue in my mouth. SoMichael Jamin:It kind of dependsPaula Marshall:On who's sticking in the tongue. But the intimacy coordinator, I think it's just so people know what's going to kind of happen and get it. But California case, no, we didn't have that. This movie I was naked on with Peter Weller called The New Age. No, I remember in the middle of the scene, I'm on the bed and he's looking down at me and during one take he decides to suck on my nipple. Shocking. I turned bright red, which is what I do when I get nervous. And I'm like, dude, what are you doing? He goes, I dunno, I just thought it'd be fun. I'm like, okay. And I don't think they used it, but if there was an intimacy coordinator back then, I probably would've known.Michael Jamin:Yeah. So it'sPaula Marshall:Good I guess. But it's corny and you feel silly.Michael Jamin:Oh my God, I'm glad you mentioned the photography thing. That was one of my memories from working together and out of practice. This was before people had camera phones and cell phones and you carried a camera everywhere. And I remember thinking, you're the star of a sitcom. You're the star. I mean, you're an artist doing her craft, and yet it's still not enough that you wanted to work on something. You wanted to do something else as well.Paula Marshall:Maybe it's my parents growing up, they always had these really cool black and white pictures of them. And I used to look at them and go, wow, that was your life then. And it was hard to even imagine when they were so young. And so it's like photos are life to me. And I guess I don't want to forget the moments of my life that are important. And so I always would bring a camera with me on set, on location more than sitcom stages aren't as conducive to really cool shots. But yeah, I like capturing life.Michael Jamin:And you're still doing it on 35Paula Marshall:Millimeter? I still do it, although I did give in and I have a digital now because it's easier. It's easier. Develop film.Michael Jamin:Many. You took my headshot from me and for many years I way too long. I used that as my headshot.Paula Marshall:Yeah, it was good. I rememberMichael Jamin:It was great. And I wore Danny's shirt, you go, yeah, put this on. You look terrible. Whatever I was wearing, stillPaula Marshall:Do that. People still come over my friends and I'm like, you need a headshot. Put Danny's shirt on. He has some nice shirts.Michael Jamin:It's so funny.Paula Marshall:Yeah, I do. I still like taking pictures.Michael Jamin:I got to share another memory I had from out of practice, which I cherish this one. So it was right before it was show night for some reason. I don't know why. I had to run up pages to the cast. And maybe you were in the green room or you were somewhere upstairs. I don't know what the hell dressing. I don't know what was going on. I knock on the door and all of you we're standing in a circle holding hands. And Henry goes, Michael, you're just in inside. Come on in. And then I go in time for what? And then he tapped. This blew my, I love this memory. And you guys were just like, I don't know what you would call it, but you were invoking a good show to be supportive of each other and to be brave and true. And I was like, I can't believe I felt so honored that I was included in, I was like, are you serious,Paula Marshall:Henry? I actually forgot that memory and thank you for reminding me of it. Henry's just, he's something special.Michael Jamin:He is.Paula Marshall:I know there's rumors. Oh, who's the nicest guy in Hollywood? Henry Winkler. It's because it is, is I could text him right now and he would literally text me. Within eight minutes he will text me back. Oh, Paula, it's been so, he's just a dear. And so he is, again, back to the, when you go on set and who creates that energy? Although Chris Gorham, I think was the first on the call sheet, not Henry Winkler, but Henry was our dad. I mean, he was such a pro and yeah, he just created this lovely energy there.Michael Jamin:Yeah. Oh wow. So that's not common then for other shows that you've worked on. People don't do that. That's not a theater thing. It seems like a theater thingPaula Marshall:You would think. I think, I don't know, maybe it was a happy days thing.Michael Jamin:Why don't you start it on your next show? Why don't you start doingPaula Marshall:It? I think I might. I'm going to make it now.Michael Jamin:I thought it was so interesting. I was like, wow. But it's getting back to that first point, even the first, the first person on the call sheet technically is the head cheese. But they might not be the most difficult by far at all. I mean, you don't know who's the boss. That's true, right?Paula Marshall:I mean sometimes the and character is an asshole. I mean, I think mostly people when they don't really want to be there, they kind of rebel. I've always wanted to be on a sitcom. IMichael Jamin:Remember. Did that change? Oh, go ahead, please.Paula Marshall:I just remember, I believe my first sitcom was Seinfeld. I may have done a guest spot on some other one that maybe never aired or I can't remember. Or maybe I just think it's cooler to say my first sitcom was Seinfeld. I'm not sure. But that show, I don't know. There's a magic. But they didn't do any of that either. But they kind of really invited me in and I dunno, I'm just thinking,Michael Jamin:Do you prefer to do sitcoms, multi-camera sitcoms? Yes. Yes. Because the audience.Paula Marshall:Because the audience, because it's a high, I've never gotten anywhere else in my life. Not that I need to be high, but damn. When you go out and you make people laugh with a look or a line or a physical movement, I mean it's magic. And working with the actor, knowing more like theater, which by the way, I've never doneMichael Jamin:Well, why don't you do theater then?Paula Marshall:I don't know. I don't know. I'll call my agent another thing I'll write down.Michael Jamin:Yeah, do that.Paula Marshall:But probably only if it's a comedy. But it's that magic that you don't have to go and do another take and then they turn around and then you got a close up again. I mean, it's boring. Like our television, there's no magic in itMichael Jamin:Ever.Paula Marshall:Except on euphoria. I have to say there's magic there.Michael Jamin:Why do you say that?Paula Marshall:Because the writing directing the story level of, I mean, when Marsha is my character, when Marsha actually had a couple things to say. I remember I called or I spoke with Sam Levinson and I was like, dude, it's me, right? You wrote an eight page monologue almost for Marsha to say. And he goes, yeah, I can't wait to see it. And I'm like, oh my God. I was so nervous. I studied for three weeks. There was no rewrites. And then it's me and Jacob all Lorde on set. And we get there and there's no rush, there's no limitation. There's just like, what do you want to do? And he's like, I kind of feel like you're doing this and then you're doing the cookies and a lot of movement. But we did it until it felt good, and then we knew it, and there was a magic there. No one's laughing at me. But there's something special about that show. I mean, I've heard rumors like, oh, and on set. And I'm like, ah, not for me. Not for me at all. Not for you. No, it's amazing.Michael Jamin:What do you do though? When you're on set and you have an idea how you want to play or speech, how you want to deliver speech, and your scene partner is just on doing something completely fucking different. How do you handle that?Paula Marshall:If you know, don't have a say, meaning you're a guest, darn. You do what they tell you to. How high do you want me to jump? That's what you do. But if you're working together and you're equal parties, you probably have run it before. But I would say if they're not doing something that I want, then I use it and I am frustrated in the scene, or I just use whatever they're giving me because that's all I got. And I try to put that into my character.Michael Jamin:How much training have you had though? That's very actor speak.Paula Marshall:It really did sound a little actory, and IMichael Jamin:Apologize for that. No, it's good. I like it.Paula Marshall:I mean, I don't know. I lived in New York City and I took acting class with this guy named Tony Aon and Jennifer Aniston was in my class and Oh wow.Just a bunch of young people, but not all that much. Not all that much. I think the comedy thing, I didn't even know I was funny with Seinfeld, the guest stars aren't usually funny in sitcoms. The lead, the main characters, the stars of the show are funny guest stars just kind of throw the ball and you know what I mean? But something happened after I was on Seinfeld and then I read for, I guess it was Wild Oats, which was with Paul Rudd and Jan Marie hpp. And Tim Conlin. It was a sitcom on Fox. It was the same year that another show called Friends was coming out. And I remember them. Someone was interviewing us saying, oh, there's another show that NBC is doing with a group of friends. It's kind of like yours. And we're all friends. What's that cut to?And ours was canceled after one season, but I think the first time I was like, oh shit, I can do this. I know how to deliver a joke. But I never learned that again. It just happened one year in pilot season just kind of happened. And my agents were like, oh, Paul is funny. Okay. And then one time I remember I read for a pilot, after you do so many comedies, then people go, well, she's a comedic actress, she can't do drama. And then you're like, the fuck. Of course I could do drama. I remember one time during this callback, no original, just the first audition. And I had heard the casting director doesn't think or only thinks you're funny, doesn't think you're as good. Dramatic. Wow.Michael Jamin:Obviously if you could do comedy, you could do drama.Paula Marshall:No, you would think it's the other way around. It never works. It is really hard to doMichael Jamin:Comedy.Paula Marshall:But literally, I was like, well, I'm so angry that she thinks I can't. Finally, they couldn't find this girl, the character for the pilot. And then they finally, okay, Paula, we'll see her. So I get in there, and it was Davis Guggenheim was the director. I love Davis. After I read, I think it was three scenes. And during the last scene, I broke down and I was in tears over something and I look up with, you couldn't have placed the tear better. And I look up and I ended the scene and Davis goes, my god, Paula Marshall, you are one fine actress. And I do this. I look at the casting drifter and I go, you see, I'm not just funny. And I grabbed my bag and I walked out and I go, well, I just fucked myself for any future director again. There was something that came over me and I was like, I need you to know that I am not just one thing or the other. And then Davis probably three weeks later, texts me, I've been fighting every day for you. And I'm like, what are you talking about when you get these weird texts from people? I'm like, did I get the part? I got the part and they didn't want to see me.Michael Jamin:It's so interesting. I mean, obviously you're a working actor, you work a lot. You're successful, and yet you still feel like you're placed in this box and you have to prove yourself and get out of it.Paula Marshall:But there's something I really love about, there's part of me that I want to read, and I want everyone to look at that tape and go, fuck, I wish we could hire her. I wish there weren't the limitations and we didn't have to pick Carla at you now or whatever. I wish we could pick Paula. I want them to go, fuck man. She was really good. I want to stick in their brain. I always would cancel auditions if I wasn't ready for it. If I really knew I wasn't going to kill it, I wouldn't go, or I won't put myself on tape. I don't have enough time to prepare for it because that's the last thing they see of you.Michael Jamin:IPaula Marshall:Want it to be the best thing they see of me. So I only want to leave them with that because they're not going to remember that other stuff.Michael Jamin:That's a good point though. Are you doing a lot of self tape now? Is there anything in person?Paula Marshall:I have not had any auditions in person yet. Wow. Her actress ever Carradine. I think she's had her third one, and she always posts about it. She's so cute. And I think she booked one. No, I have a room now in my house. It's the tape room. And I've got a nice beauty light and I've got the tripod again. It's kind of easy for me because I have photography stuff.Michael Jamin:But who are you acting again or does Danny help you out?Paula Marshall:Well, Danny will sometimes read with me. My daughter would read with me. And sometimes when I'm all by myself, I read with myself. I will have a tape of the other voice, which is, or sometimes I leave space and then I put the audio in later. I mean, it's crazy the stuff that happens during Covid. We've got very creative over here.Michael Jamin:But in some ways though, because this sometimes a casting director is like, yeah, yeah, there couldn't be more wooden. And so in some ways it's got to be easier for you, right?Paula Marshall:Yes and no. Yes, because I get to pick the take I want,Michael Jamin:Right?Paula Marshall:Two, because two, I didn't even say one a b, I don't get nervous, so there's no nerves to hold me back or Oh man, I should have done it. Or I mess up. I just do another take. But then there's also, there's something about going in and being vulnerable in front of all those people and showing them what you can do. And especially in a comedy, I, it was like a zoom callback for a comedy. And I live in the hills and maybe it was the wifi or that slight timing was off just enough or the reader wasn't funny and I'm trying to connect with this dot. It was hard. There was no magic in it and you couldn't feel the other person. And so I think in a way, it's good in a way. It's really not good. So I'm willing to do whatever to get anything because I pay for college.Michael Jamin:But also, there's also the fact the to drive across town, I mean, that's got to get old, right? Driving everywhere.Paula Marshall:But when you're an actor, everything stops. You get a script, everything stops. You're not making dinner, you're not going out, you're not watching that movie or the show. You drop everything and then you focus on it. And hopefully, thankfully, because of the strike and the new negotiations that they got for us, I think we don't have to do a self tape over the weekend. We need to have enough time to actually prepare for it, which is amazing. Most of the time. Gary unmarried, I think I got the audition at eight o'clock in the morning. It was to meet producers at 11 o'clock the next day. And you're like, ah, okay, here I go. It's really hard to put all that energy and to them something great. And I never understand why you're casting people or producers. Don't give us more time because we want to give you something great. We don't want to go in there and read. I don't. I want to perform for you. And it's hard to do when I don't have enough time to do it. I also have a life, so I have other things, but you kind of do. You really drop it. You drop everything for an audition.Michael Jamin:It's interesting though. I want to get touched on something you said. You said it's hard to be vulnerable on camera, but then you said comedy, and do you feel like it's harder to be vulnerable? Because when I think of vulnerable, I think drama, not comedy.Paula Marshall:Yes. But there's nothing funnier. I remember my husband in many situations will say, I'll be upset or crying and I'll say something really funny, but humor comes out of the reality, like your honest to goodness, open soul, like your heart. The funniest stuff I think comes out of me when I'm in a vulnerable position, if I'm angry, if I'm sad when I'm just feeling whatever. So I don't know. I think in many sitcoms I've cried. And how do youMichael Jamin:Get past that though? How do you get past that vulnerability thing? I mean, are you a hundred percent past it or is there any reservations?Paula Marshall:Ask that again. Sorry.Michael Jamin:Very clear saying, well, when you're vulnerable on camera or trying to be, can you go, I don't know. Is there a limit to your vulnerability, do you think on camera or are you willing to go there all the time? As much, as far as you want?Paula Marshall:I guess so most of the time it depends on how much tears you have. And I usually, if the writing is good, and that's the big if this thing that I ended up booking with Davis Guggenheim, it was with John Corbett, and I had to cry and it was maybe like a steady cam up the stairs and going, and I break down and I crumbled to my knees, and I swear to God, I did it. Maybe 17 takes. And then we come around and turn around on him and I end up crying again. And John, after we, they yelled cut, he goes, Paula, what are you doing? Why are you crying again? I go, I don't know. The words are making me cry. I'm just tapped in doing it. They wipe it away. But you got to be careful because I'm vain and you got to look like you're not crying, and I'm really crying.So I get red and my eyes get bloodshot. You look different and the snot and you got to fix the whatever, makeup. But no, but when it's great, when the writing is great, of course, usually you don't have to do it. 17 takes, it was just had a lot to do with the steady cam and whatever. But usually you do it in three takes and you nail it and it's good, and they're like, wow, that was great. Let's move on. So you don't really have to in a movie, if you nail it, you nail it and they move on.Michael Jamin:What do you do though when you're in it and you feel like you're slipping out of it?Paula Marshall:Okay, so that when I drink this, soI have at least one of those before every tape night, I've always drink a Coke. If I can't, the writing isn't talking to me. If I can't relate to it, I do that substitute thing. If I have to cry, and this is really not making me cry, the subject and the words I substitute for something else that makes me cry. I'm a freakishly emotional person. I cry a lot. I'm very sensitive. You wouldn't really think that because kind of like Danny calls me bottom line, Marshall, and I'm very tough and whatever and no nonsense. And I say it like it is, and I will always tell you if you look fat in that dress, I like to be honest, but I don't know.Michael Jamin:But is there a moment where you feel like you're okay? You're on, you're giving a speech, you're in a scene, and then you're like, oh, I'm acting now.Paula Marshall:Yeah, yeah, yeah. I mean, every once in a while, I mean, I'll finish the scene. I don't want to stop myself. They might like it and for whatever reason, but I'll always say, can I have another one? Can I please have another one? Or Oh my gosh, I really like the second take. Just can you make a note of that, that the second take was much better. They know it's obvious when you see someone telling the truth, it's obvious which one is better, but you can't just tell the truth once and then move on because you don't know. Maybe there was a sound issue on that take. No. So it's tricky. Every once in a while you think you have it. The crappy thing is when they come around to you or they start on you and then you finally figure something out. I remember Bette Midler, we were doing the scene and they were on us first.It was a movie, I guess Danny and I did the scene together and it was bet opposite on a table. And they go to her, they turn the camera on her, and then she goes, oh, I just figured it out. We're like, no, the opposite. We did her first. Forgive me. We did her first and then they came on us. And then she goes, oh, I just figured out the scene. Can I do it again? And Carl Reiner's like, no, we got to move. No, we're out of here. So sometimes it takes a while to figure it all out, and she just thought she didn't nail it. It's Bette Midler. She nails every take all the timeMichael Jamin:You are listening to, what the Hell is Michael Jamin talking about? Today's episode is brought to you by my new book, A Paper Orchestra, A collection of True Stories. John Mayer says, it's fantastic. It's multi timal. It runs all levels of the pyramid at the same time. His knockout punches are stinging, sincerity, and Kirks Review says, those who appreciate the power of simple stories to tell us about human nature or who are bewitched by a storyteller who has mastered his craft, will find a delightful collection of vignettes, a lovely anthology that strikes a perfect balance between humor and poignancy. So my podcast is not advertiser supported. I'm not running ads here. So if you'd like to support me or the podcast, check out my book, go get an ebook or a paperback, or if you really want to treat yourself, check out the audio book. Go to michael jamin.com/book. And now back to our show.Do you have these conversations with them? Do you have conversations with actors with more experience and I don't know, are you still trying to learn from them?Paula Marshall:I just pay attention to what they're doing. I don't think I pick their brains like that, but I just watch them and I watch and I seeMichael Jamin:What are you looking for?Paula Marshall:Well, sometimes technically how they do it. I remember my first movie, Hellraiser three, I learned a lot about continuity,Which is something they don't really teach in acting class. If I'm going to play my drink up and sip it, I have to do that every single time. If I'm going to eat in the scene, I got to do it every single time, and I have to figure that out. And you have to really, if you're really going to eat, you got to really eat. Not teeny little bites, make your choice. But I learned things from different people. I remember Robert Duvall, I played his daughter in a movie and he would act and he kept going until his body knew it was over. And I remember the director had yelled cut at one point and he got really mad. He goes, I wasn't done, but he had finished talking. And he goes, I'm still acting here. It's like, I'm still walking here. But it was like, I'm still acting.I'm still doing, there's still so much more there. I observe and I see how they deal with issues and problems in their focus. ISHKA Harte guest star on that show of hers, and we auditioned a lot in the beginning. We came up at the same time and just everything was so serious to her. She really so passionate about her show and she threw away nothing. It was really kind of impressive after a hundred seasons now that she cared so much because some people after four Seasons, they're like ready to go. They're like, I got a movie down, I'm ready to go. But there's certain people like Maka who from day one till again, I think it's 25 seasons or 24 or something crazy. I remember when I worked with her and I hadn't seen her in 15 years or something, I just am like, God, how rich is she? And so instead I was like, tacky. I'm not going to say that. So again, I walk up to her and it was emotional that we hadn't seen each other in so long. I hugged her and I said, how big is your house? She goes, I can't complain.Michael Jamin:I'm like,Paula Marshall:But she's very passionate and so many actors are, and then there's some who are not and who are ready to goMichael Jamin:And who are they? Not names, but why are they there? Are they just rock stars who became actors? You don't know. It just falls into a job like that.Paula Marshall:There was one person and he just seemed really angry all the time. I don't think he was just a happy person. If you don't like doing this, I'm not sure why you're doing it. I don't know. There's just something inside you. I mean, this is the greatest thing ever to be paid to do what you love. And again, when my daughter said she wanted to be an actress, an actor, sorry, I was so happy. I was like, that's where I found joy in my life. I grew up in Rockville, Maryland, and I didn't know anybody, and I just watched the Mary Tyler Moore show, and I went, yep, that's what I want.How do I do that? I had no idea, none. And to find joy there. So when a person is coming to set and they're angry, it could be, they don't like the words actors are very particular about. If your dialogue is not great, it's really hard. It's so much easier when you have great dialogue and the scene makes sense and the relationships you buy them. It's so easy to do it. It's effortless and it's so real and it's so honest. And then when you've got this other stuff and you have to say the name of the person to remember that it's very cookie cutter network television, which you would think at this point would look at streaming and go, yeah, there's always something right over there because the quality is just beyond Well,Michael Jamin:How did you figure it out then? Okay, you're in Maryland. How did you figure out you stopped in New York first. What was that about?Paula Marshall:Did I moved to New York? I modeled in Georgetown as a local model there, doing little ads for Montgomery reward. And I didn't really want to go to college. My parents didn't make me go to college. I think I had two grand in my pocket from doing things here and there. I started doing commercials locally. And this woman by the name of Jay Sumner, who was the booker at this modeling agency called Panache, she said, we were at Champions. It was a bar called Champions. And though how I was there drinking at the bar, I don't know, I think I was 18. She said, Paula, you're so much more interesting in person than you are in a piece of paper, meaning I'm pretty, I'm good enough on paper, but you're so much more interesting in real life. And she goes, I think you should be an actress.And I'm like, okay, really? And I'm like, well, I always used to watch Mary Taylor Moore and all of that, but I'm from Maryland, how am I going to do? And she goes, I know somebody. I know someone in New York named Dian Littlefield, who's a manager, and I can set you up with a meeting. I'm like, what? So I ended up moving to New York City. Modeling was my waitressing job. I got a lot of money. It didn't take a lot of time. It was really easy. I love photography. So there was that connection that I wasn't just sitting there like an idiot with bathing suits or lingerie or junior wardrobe or whatever. So that was kind of my waitressing job to allow me to pay for rent and acting classes. And then I was like, you know what? I think I really like it. It's true. Just a piece of paper. And it's funny, I love taking pictures. I love stopping life, but there was just, I guess more to me than just the piece of paper. So I guess that's kind of how it happened.Michael Jamin:How did LA happen then?Paula Marshall:So I would audition test for a lot of things. I would fly to LA for different pilot projects. I would read in New York, and then most of the things were shooting in la, not New York at all back then. So I would fly to LA and I think it was just one of my agents said, look, Paul, if you really want to do this, you got to live in la,Michael Jamin:Right?Paula Marshall:I was like, ah, okay. So I moved to LA and yeah, and I was young and 20, I think I was 25 when I moved here, kind of old to kind of start, but I looked really young. And when you read for enough things and enough people are interested, the head of my agency said to me after a pilot, I, or I tested for something and I didn't get it. And he told me back when we didn't have computers, we had to go pick up our scripts and there would be a box outside the script, their office, after hours, he would look through and go, these are my scripts. In the middle envelopes, it says Paula Marshall on it. Anyway, I was kind of sad and I'm like, I don't know. I'm not booking anything. And he goes, but you're testing a lot. You're very close. And I'm like, what does it take? What am I lacking? What am I missing that I'm not booking the thing? He goes, I believe in you and you need to keep doing this. And then I did. I slowly would start booking things.Michael Jamin:What were you lacking? Do you know?Paula Marshall:Maybe it was the confidence, maybe I was really nervous. I remember one time, I think it was during the Flash, it was a pilot called The Flash with John Wesley ship, and Amanda pays Amanda Paynes. Anyway, ended up booking it. But I remember in the audition room, I think it was at NBC or I don't know, one of the big three, the scene, I put my hand on my knee and I was shaking so much from being nervous that I was like, oh, stop doing that. I don't want them to know. I'm nervous because they want everyone to be fearless and confident.And I get that because it takes a lot to go stand in front of a bunch of people and say stuff over and over, or stand there and be naked and do it over and over. There's got to be part of you that's kind of cocky and confident, and not that you think that you could do that over and over with someone else's words. I mean, it's kind of crazy that I do this, but I don't know what tipped me over the scale. I never gave up. And I kept doing it and trying to figure it out and asking and asking the casting directors, and they always say nice things. They never say, well, you messed this thing. No, it's just there's a magic. If I don't book something now, I don't take it personally. Someone else just had a little bit more magic that day, and they tapped into the character and the writer saw that person that they wrote down and spent so many hours writing that Blonde Girl or Carla Gino just got it better than I did. Okay. IMichael Jamin:Know. To me, one of the hardest parts of acting, aside from the acting part is the fact that you really don't, don't have agency over your, you have to wait often. You have to wait. So what do you do in that time?Paula Marshall:Well, you find hobbies. I learned very early on to save money. You live under your means. So even if you get a gig and you're the lead in a show, you're making a lot of money per week. And like me, most of the shows, they did not go more than a season. So you have to take that and live under your means, and you can't spend money and buy fancy things. I invested my money in my house, I think maybe three or four houses now. I try to invest my money and I fill my days with other things.Michael Jamin:Do you stress about it at all or no?Paula Marshall:Yeah. Yeah. I think in the beginning, early on I was very busy all the time. There wasn't a lull. And when you do have a job on, if you're a series regular on a show, you love your weekends, you love your time off. If you're working crazy hours sitcom's, not crazy hours, you know that those areMichael Jamin:Great for writers.Paula Marshall:I mean, yes, that's true, but if you're a director, Jimmy Burroughs would be like, I got a tea time at three 30. We got to get out of here. It's a dream. And maybe that's why I love the sitcom so much, because you got to to act and have a real life. When I had my daughter, I remember going, how would I be a mom and work on a single camera show? I would never see the kid. So when I was pregnant or when I read for Out of practice, I had just had my daughter a week before I went in to test for the show over at CBS. There was a script on my doorstep when I brought her up on the baby thing. And I'm like, I'm a mom and oh, right, I'm an actress and I'm 20 pounds overweight. And oh, I thought I was going to push the, I'm not going to work for a year button.That was the plan. Then I saw the script and I read it and I'm like, oh man, it's a sitcom. I'm not going to work very many hours. I'm going to work three weeks on one week off. I'm like, maybe I'll just do it. Maybe I'll just read for it and we'll see. And I really liked it. I really liked the character. And then when I got it, I was like, oh shit, I don't even have a nanny. How do I do this? So Danny went with me tape night. He was my nanny. I remember them going home because the baby, they were cool. Once we got picked up, they allowed me to have a little trailer outside for my nanny, Mariella and Maya, and I was breastfeeding at the time. She was just born. And it allowed me to do that. And I remember Henry, Henry Winkler still was like, how's Maya? And it was just a great thing. I had my baby. You couldn't ask for a better job for a mom. I was living my dream and I was having a baby when I was 40 years old.Sitcom is the greatest thing in the world, and I'm still trying to get back on one. There's just not that many of them now. It's really sad. Multicam, I've written like three of them. Speaking of writing. Yeah, go on. The writer. So I remember, I think it was when the pilot that I did with John Corbett, when I cried 17 takes in a row, when that didn't get picked up, I remember I was dropping off my daughter at elementary school and Dave Grohl, yes, that Dave Grohl sees me. And I had just found out that the pilot wasn't picked up. It's called Murder in the First, no, sorry, different thing called something different. That was another show that I did. But anyway, so Dave Girl's like Paula Marshall, what's up? You look sad. And I'm like, oh, another pilot wasn't picked up. It just sucks.And he goes, Paula, when either his studio or something, they didn't like the music or whatever, and he goes, you know what? I did put his arm around me. We're walking down that hallway. And he goes, I just did it myself. I got this set up and I just did it myself. And he goes, you should do it yourself. Why don't you write something? And I'm like, yeah, why don't I? And I'm like, well, because one, I'm not a writer, but he goes, who cares? So because of Dave Grohl, that opened the door to getting ideas out, writing something for me. One thing actually, I mean it went kind of far an idea went very far that I ended up producing with Paul Riser and Betsy Thomas wrote it. This was a little bit before, but it's an outlet for me. I'm still not great at Final Draft. I'm still like, oh, how do I get the thing and the thing and the page? I can't even figure it out half the time. So I've written a few sitcoms, mostly from my point of view, because I want the job, because I wantMichael Jamin:To. So you wrote a single camera sitcom and then you showed it to Paul, and thenPaula Marshall:What happened? The Paul and Betsy one, I met Paul's, I believe his name was Alex, but I can't really remember. I met this guy at a wedding and he was like, oh, you're really funny and blah, blah, blah. I'm a big fan. I'm like, oh, that's nice. Thank you very much. And he goes, do you have any ideas? Do you write? And I go, no, I don't write. I go, I have this idea for a show. And he goes, really? Why don't you come pitch it to me? And my partner? I'm like, great. Okay. He goes, Hollywood. I'm like, who's your partner? He goes, who's your partner? And he goes, Paul Riser. I'm like, what? Okay. So I literally got his number and I'm like, oh my God, I'm going to go meet with Paul Riser. I go meet with Paul Riser. I give him my pitch.He really liked it. And he goes, I like it. I think let's do it. Let's work together. I was like, you couldn't have given me anything that would've made me happier than the fact that Paul Riser liked an idea of mine. It's almost like when I made Diane Keaton laugh in an audition. I literally called my agents and I was like, I'm good. I could die now. So the Paul Riser thing, it was just my idea. I had a lot of say. So I got to produce, I got to make a lot of decisions. It was probably one of theMichael Jamin:Greatest. So you shot it then.Paula Marshall:So we shot it and it wasn't picked up, butMichael Jamin:You sold it to a studio.Paula Marshall:All of them wanted it. This is great. Everyone but Fox, wow.Michael Jamin:Wanted it. That's amazing.Paula Marshall:It was crazy. But you have Paul Riser, I matter your stuff, but when you have someone like a Paul Riser or someone who is respected in Hollywood and has produced before, of course people are going to give them a shot,Michael Jamin:But not necessarily. I mean, they must've really liked it. So you wrote it and you started it?Paula Marshall:I started in it. It was my idea, but I did not write it. Later on, I ended up writing things and pitching, and a lot of people like my stuff, but I really mean should go out a little more aggressively than I do. But I have one right now that we're kind of sending around me and my buddy Jeff Melnick, that he really likes this story. And it was, I won't tell you what it is,Michael Jamin:But that's not nothing. I mean, that's a big achievement, honestly,Paula Marshall:For me. Yeah, I don't write. I still am a terrible speller. I have a reading disorder. I've got this thing where reading is hard for me because the font and the text is very contrasty, so I'm a terrible speller. Thank God for spell check, because otherwise,Michael Jamin:Well, so you're working on another piece for yourself as well then? Yes. I'm impressed.Paula Marshall:I have about three scripts that I've worked on here and there, and I remember I thought, oh, well, this is when I'm going to kill it. I'm going to knock these things out. I'm What happened with Covid? We were so scared. And my daughter was home going to now, whatever, ninth grade or 10th grade. And so it became, that whole time became about helping her find joy. I always said, every day, I'm going to help her get through this. And I really pushed all my stuff back. Any good mom does let everyone eat before you eat. Maybe the way I grew up. So I took care of her and all of that stuff before I focused on me. And then she went to college this year, and you would still think I'm like, Paula, I got to finish these things, which I did. I'm back. I'm back doing it, and I like it. I really like it. There's something about the story, but no one ever taught me to write. So I'm writing from my experience, the years of reading sitcom scripts, IMichael Jamin:HavePaula Marshall:'em in my closet. I have almost every single script, especially the ones that I loved, and I go back to it and I refer back. I'm like, how did they do this? Even setting it up, I'll go back and sneak a peek.Michael Jamin:That's really smart. Was it hard for you when she left the house?Paula Marshall:Jesus. Oh, here's the thing.Michael Jamin:Yeah, make up touching upPaula Marshall:Makeup breakMichael Jamin:Last looks.Paula Marshall:I mean, because she's not in Boston,She's down the road. It feels like if something bad happened, I could be there. I don't have to get on a plane and only one direct flight. There's one school in Connecticut that she got into, and it was a great school, and there's one direct flight at 6:00 AM I'm like, this is never going to happen. And she chose, I was like, whatever you want, wherever you want to go to college, it's your decision. I mean, I'll tell you what I, but it's all up to you. And she chose and it was something that's not too far away. And it's great. I get to see her and it's worked out. It's a win.Michael Jamin:What about the emptiness of the house? I'm going to make you cry now. That's what I feel like. The house is so empty. YouPaula Marshall:Know what? And I think though, Michael, I think if she was in anywhere else, I think if I couldn't get to her, and that's a weird thing as a mom, it's about protecting your child. But yeah, I could cry when I think about certain things. Thanks, Michael. It's about protecting them. And I think that the distance, because we are close, she's still in. She's still here. I don't like cooking dinner as much. I'm sorry, Danny, because I don't really have to. The big change is just her presence, her energy, the thought about, well, what's Maya doing? Or what does she got to do? Now it's not, and one of my scripts is, well, I'll tell you one of my scripts is about what happens when your kid goes away to college? What happens to a woman?Michael Jamin:And go ahead. Can you tell me a little bit?Paula Marshall:So it started a while ago, just like my fear of who am I? What do I do? I mean, yes, I'm an actress, but then I pulled from that and I'm like, well, if I'm not an actress and I don't have a job and everything has been bombed, there's so many places to go. Okay, you've just got to, it's like reinventing yourself, which almost every mom that I know who doesn't have a job, it's very true. I was so fortunate that I could have my cake, my baby, and also work. But a lot of parents, they go to jobs and then they come home and or they don't work at all. And then it's just mom, 100%. And they're probably exhausted and happy. Some of my friends, I feel like they're like, oh, I'm so glad. Finally I get to whatever. And either they're retiring and they get to go travel, and I'm like, no, I'm an actor. I'm looking for a gig, whatever. I don't think actors ever truly retire. I think we don't do.Michael Jamin:I guess it depends on how much you love it and how much it must come on. It's got a wear on you. The downs have to be, I don't know.Paula Marshall:Well, I think probably just like a writer,You have to be able to fill your day when you're not going to be working and making money again. It's why it's smart to save your money and invest it and not buy that fricking mansion. If you got that check. Remember one time I went to the bank and I was depositing, it was before they had the picture phone deposits, a really big check. And it was the biggest check I think I've ever gotten. The first time I got that kind of money on a show and the teller, and again, I looked very young, the teller who didn't look much older than me and took the check,And he looked at the check and he looked at me and he goes, what do you do? What do you do? And I laughed. I go, I'm an actor. I go, but trust me, this thing, this isn't forever. I know it's not forever. So I have to live my life. It's not forever. Because my goal is I never want to lose my house. I always want to be able to afford things. You hear these horror stories about these, you think you got it, and then it shows canceled, and then you can't do that. I've always been kind of smart when it comes to money, but it's hard. It's really hard. WeMichael Jamin:Spoke a little about this because your daughter's interested in acting and you were, this is before we started taping, and what's your advice for her?Paula Marshall:My advice is find a way to tap in and find the truth in anything. And if you can't, then again, you substitute. If it's not connecting, you got to figure out a way to connect to it. It's about being truthful In imaginary circumstances, it's really hard to walk into a room and pretend the thing and crying. You just really have to practice going there. I remember one time, and even in my life, life situations, I will take note of them. One time I was in San Francisco drunker than I've ever been before for whatever reason. And I remember the hotel I was, I think it was during Nash Bridges, and I was like, oh, I'm so wasted. I want to remember what I look like when I'm this wasted. So I, my, I guess I did have a cell phone then. So I took my cell phone or my camera, no cell phone, and I recorded myself being drunk.And it's like that one actor, he would always, Michael, he's an English guy, Michael, I forget his name. He would be like, you can't overdo the acting, but you're trying not to be drunk. Yes. To try to make sure that the words are coming out. And so that's what I did. I literally was like, this is me talking at my, it was the craziest thing. So in life, take advantage again, back to the advice to my daughter. Live these experiences and remember them. And if you cry, if you're sensitive and emotional, fucking use it. There's plenty of people who can't cry at the drop of a hat. I can cry. You give me something to people always know Paula can cry in a scene and even if I don't connect to it again, I substitute and I find a way. I'm an emotional person and the thing I think I have trouble doing is the angry part.I'm not great at being super angry. I don't think I play a lot of those roles like I was doing, I've worked with Steven Weber on his new Chicago Med. I was going to say new show, it is like year nine, but I play his ex-wife. I think it's airing tomorrow as a matter of fact. And there was a scene where I had to come in and I'm yelling at him and I'm like, God, this is so not me. I'm not a yeller. I don't yell even in the middle of a fight. If I'm fighting, I try to get it out and then I cry because I get frustrated because I can't say, I'm not one of those bitchy women wives who are like, I'm just not. Anyway, back to the advice from my daughter, you take life's experiences and you put a little marker on them and you remember them.So when you need them, and I didn't even think I was going to have any children because I started so late and as the actress in me, I just never thought, I dunno, mom and my mom material. I don't know. I was like, you know what? I could really learn a lot as an actress by tapping into that love. I remember you'd see my friends who had kids way, way early and I'm like, God, they love these things. What did that feel like? I never knew what that was and so I took that experience and without it, I don't think I would truly ever be able to play a mom as genuinely as I am. Love because man, I love my kid and I didn't think I'd be like a great mom. I am the best mom I am and I love her and I love being a mom and all of it. So I tell my daughter to practice. Practice, learn your lines very easy and don't go in if you're not prepared. That's kind of a big one. You're not really,Michael Jamin:Just because you said mom was there, that fear the first time you decided to play mom, they say once you play mom like, oh, now she's a mom.Paula Marshall:Well, it's just an age thing, so that was never a thing for me. I'm going to play whatever I look like for sure. So I don't care. I don't care about that at all.Michael Jamin:Interesting. Paula, this has been such a great conversation, so thank you so much. You'rePaula Marshall:Welcome. I had so much fun talking with you.Michael Jamin:Yeah, I mean, I just love talking the craft with people like you. You're a pro and you're just, I don't know, so much wisdom to share, so thank you so much. You'rePaula Marshall:Welcome.Michael Jamin:Thank you.Paula Marshall:I'm enjoying your Instagram posts.Michael Jamin:Oh, we'll talk about that, but alright, well thank you. That's it. That's you're released, but don't go anywhere now we are going to talk some more here. Alright everyone, thank you so much. What a great conversation. Paul. Should they follow you somewhere? Did they do anything or just watch you on something? What do they want 'em to do?Paula Marshall:Depends on when you get this.Michael Jamin:Venmo you the most. What do you want? Venmo? MePaula Marshall:Cash is great. I mean, my Instagram is the Paula Marshall. I guess I'm not really great at all that stuff.Michael Jamin:Are you supposed to be though? Do your agents tell you?Paula Marshall:No, agents don't. But if you have so many followers, then it used to be this thing called a TV Q, which is your TV quotes, how many people know who you are? And that's just, social media has kind of taken that over, really. So people, I think people care how many followers you have. I do notMichael Jamin:Again, but Tbq is not a thing anymore, you're saying?Paula Marshall:I don't think it is. Wow. No. I mean maybe they call it something else, but I know an actress friend of mine was early on in the Instagram thing. She's like, yeah, I got to join Instagram. Yuck. I'm like, yeah, the thing. She's like, I was told I have to have it and you got to pitch. I'm not that self-promoting and I'll say things that are inappropriate and crude and get kicked off of Twitter for it, but whatever. That's who I'm,Michael Jamin:Thank you again. Really, it was such an honor to have you on. Alright everyone, more conversations coming. Thank you so much for tuning in. Until next week, keep creating. You're an actor. Tell your friends about this. You're other actor friends. Alright, everyone, thanks so much.Wow. I did it again. Another fantastic episode of What the Hell is Michael Jamon talking about? How do I do it week after week? Well, I don't do it with advertiser supported money. I tell you how I do it. I do it with my book. If you'd like to support the show, if you'd like to support me, go check out my new book, A Paper Orchestra. It asks the question, what if it's the smallest, almost forgotten moments that are the ones that shape us most. Laura Sanoma says, good storytelling also leads us to ourselves, our memories, our beliefs, personal and powerful. I loved the Journey and Max Munic, who was on my show says, as the father of daughters, I found Michael's understanding of parenting and the human condition to be spot on. This book is a fantastic read. Go check it out for yourself. Go to michael jamin.com/book. Thank you all and stay tuned. More. Great stuff coming next week.

Tom Draughon has written & performed music for more than half a century, on his own, on all kinds of stringed and keyboard instruments, and as part of a wide variety of groups, including Wild Oats, Second Wind, 

On this weekend's show, guest host Lyndsey Smith is joined by: Tara Mulhern Davidson of Lonesome Dove Ranch, on enduring drought and business risk management programs; Megz Reynolds with Do More Ag on harvest stress; and Breanne Tidemann with a discussion on herbicide resistant wild oats, what now? Plus hear what details we have on... Read More

Thanks for tuning in to this Agronomic Monday edition with this week’s host Lyndsey Smith! On today's show, hear from: Breanne Tidemann of Agriculture and Agri-Food Canada on what to do about herbicide resistant wild oats; Kelvin Heppner’s recent interview with Kim Brown-Livingston of Manitoba Ag on herbicide resistant Canada fleabane; and, Peter Johnson on... Read More

Thanks for tuning in to this Agronomic Monday edition with this week’s host Lyndsey Smith! On today's show, hear from: Breanne Tidemann of Agriculture and Agri-Food Canada on what to do about herbicide resistant wild oats; Kelvin Heppner’s recent interview with Kim Brown-Livingston of Manitoba Ag on herbicide resistant Canada fleabane; and, Peter Johnson on... Read More

Claudia Myers was named one of "10 Filmmakers to Watch in 2015." by Independent Magazine. Most recently Claudia wrote and directed Above the Shadows, a supernatural drama starring Olivia Thirlby, Alan Ritchson, Jim Gaffigan and Megan Fox. The film opened the 2019 Brooklyn Film Festival where it won the Audience Award for Best Narrative Feature. Above the Shadows was released theatrically by Gravitas Ventures. Prior to this, Claudia wrote, directed and produced the dramatic feature Fort Blissstarring Michelle Monaghan and Ron Livingston. The film won several festival awards and top critics for The Washington Post and Philadelphia Inquirer both cited Fort Bliss among the best films of 2014. Claudia also wrote and directed Kettle of Fish starring Mathew Modine and Gina Gershon. The movie premiered at the Tribeca Film Festival and was released theatrically in 2007. She has directed two award-winning short films, including the Sundance short Buddy & Grace.Outside of narrative fiction, Claudia has worked with veterans and active duty soldiers to make a number of films about the military community. She produced and directed the documentary The Long Road Back, about soldiers who were severely injured in Iraq. The film won two Telly Awards, an Aurora Award, and was nominated for a regional Emmy. In 2010, Claudia produced and directed Women At War, a documentary about the evolution of women's roles in the military. She also wrote and directed the interactive role-playing feature, Outside the Wire for use by the U.S. Army, which won a Codie Award and a Brandon Hall Excellence in Learning Award. The film pushes the boundaries of traditional narrative by melding fiction film, gaming, and educational training. Claudia subsequently wrote The War Inside another large-scale interactive, role-playing feature that deals with the psychological impact of war and aims to build resilience in soldiers.As a screenwriter, Claudia has won numerous awards, was twice a finalist for the Sundance Screenwriters Lab, and is an alumna of the Hamptons Screenwriters Lab. Andy Tennant directed her script Wild Oats, starring Shirley MacLaine, Jessica Lange and Demi Moore, which was released in 2016. Claudia is currently in development on a drama series about women in Special Operations.Claudia studied literature at Yale then received her MFA in film at Columbia University. She is an associate professor in the Film & Media Arts division of American University's School of Communication in Washington DC.Support the show

This talk was given to the Philip Larkin Society in 2010 by Emeritus Reader of American History at the University of Hull, John White. John White is the PLS jazz consultant and along with Trevor Tolley, compiled the wonderful ‘Larkin's Jazz' 4 disc CD released on Proper Records. This was part of the Larkin25 commemorative events. The talk is a warm and witty exploration of Larkin's -sometimes extremely dry- sense of humour taking in camels, Jack Nicholson, raccoon coats and wine that tastes ‘like cricket bats.' Content warning- liberal use of swearing… References: Philip Larkin: A Writer's Life by Andrew Motion (Faber 1993) Pretending to Be Me- Tom Courtney (Hachette Audio Book 2003) The Philip Larkin I Knew- Maeve Brennan  (Manchester University Press, 2002) Selected Letters of Philip Larkin 1940-1985 (ed. Anthony Thwaite, Faber 1992) Philip Larkin: A Bibliography, 1933-1994- B Bloomfield All What Jazz: A Record Diary 1961 - 1971 (Faber) Philip Larkin Poems referenced: Church Going, Wild Oats, This Be The Verse, Vers de Societe,  Self's The Man read by Philip Larkin can be heard at the end of the talk. Produced by Lyn Lockwood and Gavin Hogg PLS Membership and information: philiplarkin.com  Theme music: 'The Horns Of The Morning' by The Mechanicals Band. Buy 'The Righteous Jazz' at their Bandcamp page: https://themechanicalsband.bandcamp.com/album/the-righteous-jazz

Today on the podcast Eric is joined by Monica Danna to discuss the latest happenings in the Houston restaurant and bar scene including Bobby Heugel saving Catbirds, Agricole Hospitality shuttering 2 of their concepts, and Underbelly Hospitality announcing that it's bringing a taqueria concept to the Houston Farmer's Market as it relocates Wild Oats from the market to Spring Branch. In the Restaurants of the Week portion, Golfstrømmen and CAPS Supper Club & Bar are featured. Follow Eric on Instagram @ericsandler, and on Threads @ericsandler. You can also reach Eric by emailing him at eric@culturemap.com. Check out some of his latest articles at Culturemap.com: Bobby Heugel Swoops in to Rescue Suddenly Shuttered Montrose Dive Bar Stylish EaDo Bar and Neighboring Gulf Coast-Inspired Restaurant Shutter with Plans to Reboot Historic Houston Farmers Market Replaces Texas Comfort Food with Netflix Star Chef's Hot New Taqueria Permission Whiskey Owner Promises Cool New Tune at Jazzy Heights Cocktail Bar 4 Smokin' Houston Spots Heat Up Texas Monthly's Top New and Improved BBQ Joints List Global Favorite South African Peri-Peri Chicken Restaurant Fires Up Opening Date for First Houston Locale

In "Her Wild Oats," the late author Kathi Kamen Goldmark writes a novel about two people at very different points in their lives who develop an unlikely friendship, a thirteen-year-old boy who plays the harmonica, and a young woman who recently discovered her husband was having an affair. In this discussion, the late author's husband Sam Barry talks about her life and how they completed the book after her passing. This conversation took place on a 2015 episode of "Conversations On The Coast with Jim Foster" originating in San Francisco, California. Photo: Chronicle / Eric Luse

The wild oat is a common weed in North Dakota. Wild oats like damp soil and are often found scattered along ditches and at the edge of fields. They are described as “a fierce competitor.”

Sowing and Reaping

ZOË WANAMAKER is an actress with a multitude of Film, TV, and Theatre credits to her name. Theatre: Zoë is a 2-time Olivier Award winner, and 9-time nominee, for her work on the West End including: Once in a Lifetime (Olivier Award - Best Actress in a Revival), The Time of Your Life, Twelfth Night, Mother Courage and her Children, Othello, The Crucible, Electra (Olivier Award – Best Actress), Boston Marriage. She has also received 4 Tony Award and Drama Desk nominations for her work on Broadway in Piaf, Loot, Electra, and Awake and Sing! (won a special Drama Desk award for Outstanding Ensemble Performance). Additional West End credits include: The Devil's Disciple, Ivanov, Wild Oats; or, The Strolling Gentleman, The Taming of the Shrew, Captain Swing, Piaf, Mrs. Klein, Dead Funny, The Glass Menagerie, All My Sons, All On Her Own and Harlequinade, The Birthday Party, Constellations. She has worked extensively with the Royal Shakespeare Company and the National Theatre, as well as other regional productions including: Cabaret, Much Ado About Nothing, Kiss Me Kate, The Importance of Being Earnest, The Crucible, The Last Yankee, The Old Neighbourhood, His Girl Friday, The Rose Tattoo, Much Ado About Nothing, The Cherry Orchard, Stevie, Elegy, and Two Ladies. TV: Zoë is most known for her British Academy of Film and Television Arts (BAFTA) Award nominated work on “Love Hurts” (Tessa Piggot) and “Prime Suspect” (Moyra Henson), in addition to other television work on “My Family” (Susan Harper), “Doctor Who” (Cassandra), “Brittania” (Queen Antedia), and “Shadow and Bone” (Baghra). Other TV credits include: “Edge of Darkness,” “Paradise Postponed,” “Once in a Life Time,” “Agatha Christie's Poirot” (Ariadne Oliver), and “Mr. Selfridge,” Film: Zoë received a BAFTA nomination for her role as Ada Leverson in Wilde. She has also starred in Harry Potter and the Philosopher's Stone (Madame Hooch), Five Children and It (Martha), It's a Wonderful Afterlife (Mrs. Goldman), and My Week with Marilyn (Paula Strasberg). Learn more about your ad choices. Visit podcastchoices.com/adchoices

 I've heard some say that Christian children are supposed to rebel from God so that they come back.  But do they come back? Subscribe to the Christ for Disciplers Podcast to learn more...

Darren Matthews is on the podcast this week and we are talking wild oats, Priest training school, childhood memories of South Down, goals for 2023 and drum wormholes... Patreon: www.patreon.com/slyguypodcast Video Podcast: https://www.youtube.com/watch?v=4E4oPt1tbq8 Modest Beer: modestbeer.co.uk

(or the lack thereof with these guys....)

In this episode I'm speaking with Alabama artist, music producer and musician, Byron The Aquarius, aka Byron Dewayne Blaylock. Byron has appeared on some of the most groundbreaking independent labels; Apron, BBE, Shall Not Fade, Eglo, Wild Oats, Sound Signature and now he is the owner of his own imprint Talknoise. Recognised globally in electronic music for his sublime jazz-infected house sound, his keyboard wizard skills and his deep love for melody and harmony, which has led him to work with the likes of Jeff Mills, Theo Parrish, Kai Alce and tour the world, playing festivals such as Dekmantel, Dimensions, Suncebeat and many others. Byron and I spoke about surrounding yourself with the right support and the importance of understanding the music business is just as important as understanding your art. FOLLOW BYRON THE AQUARIUS: https://www.instagram.com/byrontheaquarius/ https://ra.co/dj/byrontheaquarius/biography https://www.facebook.com/ByronTheAquariusMusic

On Thursday's show: COVID-19 cases and viral loads in wastewater are on the rise here in Houston. Is there another wave on the way? Dr. Stacey Rose from Baylor College of Medicine helps us understand what the numbers mean. Also this hour: Local sleep expert Dr. Sudha Tallavajhula answers your questions. And chef Nick Fine of the Houston restaurant Wild Oats is obsessed with dishes Texans think of as their own and seeks out local specialties and recipes. We talk with about what dishes and styles of food fall under the umbrella of "Texas cuisine."

In this episode, Lyn talks to Emeritus AC Bradley Professor of Modern Literature at Liverpool University Kelvin Everest and writer, lecturer and poet Dr Jane Bluett, who is the poetry editor for English In Education. Monica and Philip met in Leicester in 1947, and although Philip soon left Leicester for Belfast and then Hull, Monica stayed as a lecturer at Leicester University for the next 34 years until her retirement. Their life long love affair was a source of great joy and great anguish for both of them. Kelvin tells us about his two years working alongside Monica as a young lecturer in the late 1970s. Jane reflects on Monica's role as the woman in the background - like Emma Hardy or Viv Eliot - and discusses her influence on Larkin's poetry. Monica was born on 7th May 2022 and so this podcast marks her centenary which, of course, she shares with Philip Larkin. Having met through their shared background of poetry and education, Lyn and Jane also read their own poems about Philip Larkin. References: Philip Larkin: Letters to Monica ed. Anthony Thwaite (2011), Andrew Motion: A Writer's Life (1994), John Sutherland: Monica Jones, Philip Larkin and Me: Her Life and Long Loves (2021), Martin Amis: Inside Story (2020), Philip Larkin: Selected Letters ed. Anthony Thwaite (1993) George Crabbe: The Borough (1810), Benjamin Britten: Peter Grimes (1943), Dennis Telford: Monica Dearest Bun, A Haydon Bridge Love Story (2014) Kingsley Amis: Lucky Jim (1954). Haydon Bridge blue plaque: http://www.haydon-bridge.co.uk/larkin.php Larkin poems referred to: An Arundel Tomb, Annus Horribilis, Show Saturday, Talking In Bed, Wild Oats. Monica reads One More Quadrille by Winthrop Mackworth Praed (1802-1839). More information can be found here https://literarywoolgatherings.wordpress.com/2020/07/04/winthrop-mackworth-praed-part-1/ and The End of the Episode by Thomas Hardy (1909). Kelvin Everest: Keats and Shelley Winds of Light (2021) Keats and Shelley: Winds of Light combines unrivalled textual knowledge, biographical and contextual expertise, and profoundly insightful close readings of the poetry in a selection of outstanding essays from a leading critic of English Romantic Poetry. (OUP). This podcast is one of the many Centenary events that celebrate 100 years since the birth of Philip Larkin run by the Philip Larkin Society and Larkin100. Presented by Lyn Lockwood. Theme music: 'The Horns Of The Morning' by The Mechanicals Band. Buy 'The Righteous Jazz' at their Bandcamp page: https://themechanicalsband.bandcamp.com/album/the-righteous-jazz Audio editing by Simon Galloway. Follow us and get it touch on Twitter - https://twitter.com/tiny_air Find out more about the Philip Larkin Society here - http://philiplarkin.com/

While most of us can admire and look up to superheroes like Wonder Woman or oh, I don't know, Buffy the Vampire Slayer, we can't necessarily relate to them. I mean, I don't know about you, but I was not raised on an island of Amazons, trained to be a warrior, and given accessories that literally deflect bullets.   So while my good friend (and good friend of the show) Jenny Rapson and I have long enjoyed talking about the fierce female characters we love (see episode 7 of this podcast for an hour-long example of this), today we decided to talk about a different group of strong women. The women who have faced challenges, who are vulnerable, who are struggling in one area or another—but still manage to face the day with determination, perseverance, and strength.   If you're looking for a show about a relateable, strong woman, THIS is the episode and the list for you.   And of course, yes, this is still The Couch, where rabbit trails and side notes are always welcome, so we also talk about documentaries, movies about women of a certain age, and why I may be watching NCIS until the day I die. It is, as always, a good time, so let's get started!   SHOWS MENTIONED IN THIS EPISODE: The Gilded Age (HBO Max) Dead to Me (Netflix) The Crown (Netflix) Somebody Somewhere (HBO Max) The Marvelous Mrs. Maisel (Amazon Prime) NCIS (CBS) The Queen's Gambit (Netflix) Kung Fu (The CW) Mare of Eastown (HBO Max) Hacks (HBO Max) Sweet Magnolias (Netflix) The Flight Attendant (HBO Max) Single Drunk Female (Freeform) Miss Scarlet & the Duke (PBS) Impeachment: American Crime Story (FX)   ALSO MENTIONED: The Couch Podcast #7 – Fierce Female Leads with Jenny Rapson Designing Women Grace & Frankie Young Jane Young by Gabrielle Zevin   NOT-SO-GUILTY PLEASURES: WeCrashed on Apple TV+ POMS and Wild Oats (movies on Netflix)   DON'T FORGET: Join The Couch on Facebook! It's so much fun! Find Jenny on Twitter and her website. And you can find me on Instagram at @marycarver or at marycarver.com.   Welcome to The Couch!   This post may include affiliate links. This means that if you click and purchase, I might receive a small commission at no extra charge to you.

Today on the podcast Eric is joined by Mary Clarkson to discuss the latest news from the Houston restaurant and bar scene including Burger Bodega opening this summer, Benjy Levit's new concept, and Daniel Wolfe's fundraising efforts. In the Restaurants of the Week section BCN and Blue Stone Lane. In the Guest of the Week portion Eric is joined by Aaron Franklin of Loro. Aaron speaks with Eric about how Loro came together, his role in shaping the menu, why he decided to come to Houston for this, his approach with Loro with it's vast array of menu options, how the concept is doing so far, feeling the love from locals, whether more locations could be in the cards for the future, building the grill at Wild Oats, Franklin BBQ being back to normal since the pandemic started, his new sandwich shop concept that's in the works, and much more! Follow Eric on Instagram and Twitter, plus check out some of his latest articles at Culturemap.com, such as: Houston Food Influencer's Smash Burger Pop-Up Finds a Permanent Home on Washington Avenue Benjy Levit's New 'Urban Treehouse' Wine Bar Blossoms in Rice Village Courageous Houston Chef Battling Cancer Uncorks April Fundraiser to Help Restaurant Workers in Need New Heights Patio Bar with Sweeping Downtown Views, Treehouse Vibes, and Cool Cocktails Sets Open Date Casual New Neighborhood Bar bringing Craft Brews, Late-Night Eats, and Major Upside to Garden Oaks/Oak Forest Sizzling New Steakhouse Boasting Italian Fare Sets Open Date in Hot Montrose Mixed-Use Hub

Today on the podcast Eric is joined by Linda Salinas to discuss some of the latest news from the Houston bar and restaurant scene including Gr8 Plate Hospitality opening a new concept called Passerella this spring, Jackson Street BBQ closing, and Liuyishou Hotpot has arrived in Houston with a soft opening. In the Restaurants of the Week Loro and Tatemó are featured. In the Guest of the Week section Eric is joined by Nick Fine of Wild Oats. Nick speaks with Eric about how he got into cooking, the interesting origin story/road he took to get to this point, what it's been like working with Chris Shepherd, the difference between running a restaurant versus running a business, what made him pursue developing Wild Oats, how he describes the food at Wild Oats, developing the menu, the story behind Grilly Nelson, vision for Wild Oats, how it's going so far, what the future holds for him, and more! Follow Eric on Instagram and Twitter, plus check out some of his latest articles at Culturemap.com, such as: These Houston Restaurants and Bakeries are Standing with Ukraine Dynamic Team Behind 2 Hot Houston Restaurants Serves Up New Italian Eatery 7 Houston Chefs, Restaurants, and Bars Named James Beard Award Finalists Globally Renown Hot Pot Restaurant Steams Up Houston's Chinatown

In this episode I chat with our amazing tenant from Mako Marine,  Brett Tattersall. He is a boat painter, and passionate about the work he does and the lifestyle of boating.  Brett has loads of experience and currently operates his workshop at two marina's ensuring the hull of his clients boats are maintained.  Brett owns Sydney's leading professional marine boat painters and has over 20 years of hands on experience in the industry, which includes 7 years at McConaghyBoats where he was in charge of the painting department and in that time he painted Wild Oats, Alfa Romeo, Alfa Jr., Money Penny and Leopard 3 to name a few. Brett shared his favourite adventures on the ocean including a trip to Bora Bora. I'd also like to announce The Boat Princess is coming to the New Zealand International Boat Show

The Nomad on FIRE Podcast | with Casey Hogan | Episode #85 ShownotesGuest BioCasey Hogan is originally from the Northeast but now travels the US full time in her Ford Transit conversion van. We have a great conversation chatting all about van life, part-time work, van conversion, living on the road, remote working setup, meeting folks on the road, van life pros and cons, and much more!Links Mentionedhttps://www.instagram.com/towingwildoats/Tour of Casey's VanGoogle FISekrhttps://www.chasingthewildgoose.com/https://divineontheroad.com/Full Focus Planner® | A planner by Michael HyattShow NotesCasey's Background 01:07Van conversion and cost 05:12Casey's travels and preparation for living on the road 08:40Remote working setup 14:15What does a typical #vanlife week look like for Casey? 18:15Van life costs as well as pros & cons 20:00Tips for meeting folks on the road 30:20Vanlife Resources 33:40towingwildoats Casey on Instagram 36:10Future Travel Plans 38:50Daily Habits 39:45What has Casey learned about herself since living a van life 45:40Connect with Caseyhttps://www.instagram.com/towingwildoats/https://www.tiktok.com/@towingwildoats?Connect with Eric on social media or at Nomad on FIRE and check out the Nomad on FIRE Recommendations!Shownotes may contain affiliate links of products and services that we use and recommend at no additional cost to you. Please read my Disclosure for more information.

In which we talk about Doreen Cannon. One of the most important figures in the history of British Actor training. With very special guests Annie Tyson and John Bechizza. John BeschizzaJohn is the Lead Acting Tutor at Rada and teaches Acting Technique and Scene Study on the BA (Hons). RADA. He trained at The Drama Centre under co-founders Christopher Fettes, Yat Malmgren and the legendary Acting Tutor and first Head of Acting, Doreen Cannon – three of the most innovative and rigorous theatre practitioners and teachers of the 20th century. The challenges of training at the Drama Centre were immense; the rewards were life-changing. It was here that some of the greatest discoveries were made under the guidance of Doreen, who as Head of Acting at RADA in 1994 offered John the opportunity to teach Acting at RADA.The techniques he provides are simple, clear and specific and when fully engaged evoke a visceral gut, heart and head understanding of the acting process. He works for one goal: to guide the actor-trainee into transforming their raw, instinctive talent into real, dependable skill.John maintains a standard of excellence in his work, evident through the specificity and rigour of his teaching. Over 27 years, this has developed into a highly practical way of working that serves the ever-changing requirements and challenges of today's industry.Annie TysonANNIE TYSON Annie read Drama and Theatre Arts at Birmingham University before training at Drama Centre London where Doreen Cannon was amongst her teachers. She worked as an actor in regional theatre, in London and in TV and radio. Recent acting work has included work at the Octagon Theatre Bolton in Arthur Miller's The Last Yankee, the White Bear Theatre in An Honourable Man and the Park Theatre in Hell Yes, I'm Tough Enough.At Drama Centre London she was Course Director of the BA Honours Acting Course 2002-2010. Her public productions there included All's Well That Ends Well, Wild Oats, Mary Stuart, A Laughing Matter, Love's Labours Lost, Richard III, The Winter's Tale, The Second Mrs Tanqueray, Mother Courage.  She continued as an acting tutor and director there until Spring 2018  while also working at RADA. She directed Love For Love in the Vanbrugh theatre in 2013and Strange Orchestra in 2017. She directed Macbeth February 2020. She was part of the core team for the Royal Shakespeare Company's project Open Stages, running acting workshops for Dream 16 – A Play For the Nation. She has given masterclasses in Restoration Comedy at the Carnegie Mellon School of Drama where she directed The Rivals in 2012. She has contributed to the book Approaches to Actor Training and her book for the Crowood Press, Successful Auditions will be published next spring. She is writing for the next series of Arden Performance Handbooks for Bloomsbury Methuen: Shakespeare and Stanislavsky. She regularly gives both classical and contemporary audition workshops for The Mono Box of which she is a Patronand is an Open Door mentor.    Support the show (https://www.paypal.com/cgi-bin/webscr?cmd=_donations&business=EKHEKXBAZBQG6¤cy_code=GBP)

Herbicide resistance is a growing concern and one of those biggest worries is with wild oats. In fact, the Herbicide Resistant Wild Oat action committee found roughly 69% of wild oat across the prairies display herbicide resistance. Farmer Josh Lade saw the devastating effects of herbicide resistance in his home country of Australia and now farming in west central Saskatchewan he has been dealing with herbicide resistant weeds. He'll share his strategies for management including patch targeted spraying, herbicide layering and on farm trials.- The prairies and parts of Ontario are dealing with extremely dry conditions. There has been a great deal of focus on grains, oilseeds, and the livestock sector. Wayne Dobbie with Nutrien will discuss forage seed stands and provides a strategy for preparing the crop for 2022. See omnystudio.com/listener for privacy information.

When you are stressed, do you turn to a substance or food to overcome what you are dealing with? Have you been following a healthy diet and/or workout program but your body is not adjusting? Have you tried everything to get healthy but have not found anything that works? Today's guest dives deep into primal health and how our living environment has impacted our overall health.  Mauricio LluchMauricio Lluch is vitality expert, Primal health coach and owner of UberVitality.com. He has been in the wellness industry since the early 90's during the explosion of natural organic foods & product industry. Starting out as Vitamin Manager at Wild Oats in Boulder, Colorado, Mauricio graduated with a certificate in nutrition and western herbalism from Rocky Mountain Botanical School. He then was a Media Group Publisher for one of the leading natural health magazines before working as health practitioner and educator in 2010.Website: Uber VitalityInstagram: UbervitalityYou'll LearnWhat is primal health and quantum healthHow our living environment has impeded holistic healthWhy the outdoor environment impacts your energy cycleWhat is systemic metabolic inflammationWhat is mitochondria and how it can impact your energy levelsWhich side of the family your mitochondria comes fromHow natural medicine is different than modern medicineWhy working out indoors vs. outdoors increases blue light and stress levelsHow technology and screen time has weakened our health at a cellular levelHow can you overcome depression without taking prescribed medicationWhy natural sunlight is important for your overall healthWhy high stress will prevent your body from overcoming a plateauConnect with CoryBe sure to like my Facebook page @CoryCalvinOfficial to watch the live (video) podcast recordings and to receive updates on inspirational books and online courses I am creating. Become a member of my tribe.... www.corycalvin.com/tribe

Phil Pullen (Larkin researcher and chair of Larkin100) and Rachael Galletly (PLS Trustee) join us to discuss Larkin poems that are either about or are directly addressed to specific people in his life; Eva Larkin, Kingsley Amis and Winifred Arnott. We also find out about Larkin’s attitude to summer, his favourite poetic phrase, Kingsley Amis’s wilder moments, what book Rachael nicked from a library, and who made Philip Larkin ‘yowl’. Mother, Summer, I, Heads on the Women’s Ward, Reference Back, Hospital Visits, Love Songs in Age, Letter to a Friend About Girls, The Old Fools, Livings, Lines on a Young Ladies Photograph Album, Deceptions, Born Yesterday, Wild Oats, A Study in Reading Habits, Home is So Sad, The Mower, Maiden Name, Afternoons, Show Saturday, An Arundel Tomb, Broadcast, Poem about Oxford, Talking in Bed. Letters Home (ed. James Booth, Faber and Faber, 2018) Inside Story by Martin Amis (Jonathan Cape, 2020) The Letters of Kingsley Amis (ed. Zachary Leader, HarperCollins 2000) The Complete Poems of Philip Larkin (ed. Archie Burnett, Faber and Faber 2012) The Poet’s Plight by James Booth (Palgrave Macmillan UK, 2005) ------------------------------------------- Presented by Lyn Lockwood. Theme music: 'The Horns Of The Morning' by The Mechanicals Band. Buy 'The Righteous Jazz' at their Bandcamp page: https://themechanicalsband.bandcamp.com/album/the-righteous-jazz Audio production by Simon Galloway. Follow us and get it touch on Twitter - https://twitter.com/tiny_air Find out more about the Philip Larkin Society here - http://philiplarkin.com/

After years of hard work and running other shops, Becky Shepherd's dream was to open a successful coffee and pastry shop in Brunswick, Maine, and she did in the Tontine Mall, naming it Wild Oats. (November 24th, 2019) --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Slender Wild Oats - Sam Merrill trail to Echo Mountain --- Send in a voice message: https://podcasters.spotify.com/pod/show/pause-music/message

Tyler Gullen, Agronomy Manager

Melisa and Alli talk about sowing your wild oats as a newly out person -- and how that looks later in life.

We've all heard the saying, “they're just sowing their wild oats” or “they've got to get that out of their system”. But did you know these phrases are simply a way that Satan gets us to downplay sin? The Bible says we reap what we sow. 1 Corinthians 15:42-44

See omnystudio.com/policies/listener for privacy information.

Today's show welcomes Lisa on to discuss the movie Wild Oats; I consider the ongoing impact of gnosticism in the church and continue the search for ministry partners.

Travel Gluten Free Podcast Episode 91 Makeena App with Karen Frame   In this episode, we get into the development of Karen Frame’s Makeena app, the only app that offers rebates online for gluten-free and specialty diet foods! “Makeena is a free, easy to use loyalty app that earns you cashback and rewards after you purchase healthy & eco-friendly products at any retailer.”   How Makeena Started   Karen’s dad was a science professor at the University of Illinois. Through her dad, she learned science, mathematics, social studies, and English on a device that was a touchscreen back in the ’60s and ’70s.    After she married, she and her husband went to a small natural foods and products store in Urbana, Illinois, called Strawberry Fields. “ Their team was helpful and would always point you in the right direction.” Moving to Boulder in 1993, Karen and her husband shopped at Alfalfa’s and Wild Oats. These were much bigger stores compared to their old hometown store, Strawberry Fields. That was the “aha” moment where she realized she should build touchscreen kiosk systems that allow the consumer to navigate the retail environment.   Karen tells the story of how her journey culminated in blazing the path of the Makeena app. “I felt like I had all these different roads, and they all led to Makeena. It was an intersection of what I should be doing. I am really passionate about the idea that if we could make better-for-you products more affordable and accessible for everyone anywhere they need to shop, then we’re going to have a cleaner planet and a healthier population. This is the bigger vision that I have as the founder. That’s what keeps me going because it is tough to be a founder.”   How Karen Decided on a Name for Makeena   “Keena” means ‘happiness’ in Swahili, ‘‘abundance’ in Hawaiin and ‘machine’ in Arabic. The name was also available as a website and was available for national trademark. She likes that her platform gives brands a “stamp of approval for curation.” Because Makeena stands for ‘happiness’, she wants to make sure that both the shopper and the brand are happy. Karen also wants to make the world “a cleaner place” and that there is abundance for everybody - for consumers and brands. Technology comes in on the app side of her business, making this information available through her app on the world wide web.   Guest Bio   Karen is passionate about being an entrepreneur and making the world a better place. She firmly believes that building a technology company in the natural products space will encourage people to shop healthier because Makeena will make it easy for them to make smarter choices. Karen became an entrepreneur in the early 1990s when she moved to Boulder, Colorado, and built and operated two interactive touchscreen kiosk companies, one for the real estate industry and one for the natural products industry.    Since then, Karen has been general counsel for several emerging growth and publicly-held software and data analytics companies. Karen earned her degree in accounting and business from Indiana University and a CPA and a law degree from the University of Illinois. She also attended Oxford University, focusing on international business transactions, and taught Principles of Business for Entrepreneurs in the Cross Campus Entrepreneurship Certificate Program at the University of Colorado.   Special Offer from Makeena! Earn a $4 bonus after getting your first brand-ed product purchase approved using Makeena's cash back and rewards app.  Use Code paxpdn   Links and Resources Mentioned Grab the Guide to Traveling Gluten Free Get the BEST all-natural gluten-free travel cosmetics at Lemongrass Spa! Visit my Travel Deals page on my website Support Travel Gluten Free on Patreon   Connect with KaPop!   Download Makeena on Apple Download Makeena on Google Play Makeena on Instagram Visit Makeena On the Web Find Makeena on Twitter Watch Makeena on YouTube Connect with Makeena on Facebook   Journey with Travel Gluten Free on Social Media Twitter      Facebook    Youtube      Pinterest    Instagram    On the Web   Spread the love of Travel Gluten Free podcast and share this episode with a friend   ***Disclaimer: All content found on the Travel Gluten Free Website, including text, images, audio, or other formats were created for informational purposes only. Content contained on Travel Gluten Free website, podcast and social media postings are not intended to be a substitute for professional medical advice, diagnosis, or treatment. Always seek the advice of your qualified healthcare provider with any questions you may have regarding a medical condition. Never disregard or delay seeking professional medical advice, Travel Gluten Free website, podcast, and guests present content solely for educational and entertainment purposes and use of this information is at your own risk.***

How To Sow Your Wild Oats In Your Business! Pop in daily for a dose of different business building perspective: https://facebook.com/supersizebusiness #supersizeyourbusiness #lessonslearned #sowyourwildoats

Dr. Glen Nagel discusses the most common complaint in practice, Low Energy!, and the importance of adrenal health and which herbs support the adrenals and improve patient's energy. Herbs Covered: Licorice, Eleuthero, Schisandra, Rhodiola and Wild Oats. Sponsored by Wise Woman Herbals®. The information provided is for educational purposes only and is not meant to take the place of guidance by your health care provider. The information presented in this video is on behalf of the presenter and is not necessarily the position of Wise Woman Herbals. www.wisewomanherbals.com  

Louisa May Alcott, most famous for her coming of age novel Little Women, wrote in a variety of genres to support her family, including humor. As a child of the famous education reformer Bronson Alcott, she was dragged along to take part in a communal living experiment spearheaded by her father and including such luminaries as Mr. and Mrs. Nathaniel Hawthorne. “Transcendental Wild Oats” is a satirical account of that tiny community's first year, taking a tongue-in-cheek look at living an “ideal life.”

In 2008 I started a series of radio shows with fellow Freak and host, Jonny Rock. The original format was based around vinyl. Digital started to creep in, then CD's, then YouTube rips, and so on. But the idea remained the same, that we were sharing our discoveries with an audience. Fast forwarding a couple of years and expanding on the original concept, I will once again be playing dance music that you may or may not have heard, but this time said music will be readily available, if pointed in the right direction of course. The idea is for you to use me as your selector slash shop assistant in a virtual record store. Not only will I be shouting about both old and new music, but I will also be following it up with a series of compilations to be released on my label, Classic throughout the year. I will be your slightly odd, slightly off-centre, guide. But ultimately and most importantly, your friendly on-line record shop assistant. Business As Usual: August Track Listing: 01. Grooveman Spot 'Hot' (Jazzy Sport) 02. Lazare Hoche 'Pressure' (Skylax) 03. Metabon 'G and B' (Six) 04. Hercules and Love Affair 'My Offence' (Brather remix) (Moshi Moshi) 05. The Legendary 1979 Orchestra 'Presuine' (Disco Bucuresti) 06. Kenny Larkin 'Smile' (KMS) 07. Kyle Hall 'Down' (Wild Oats) 08. Krankbrother 'One Eyed Jack' (Classic) 09. Buckley feat Phoenix Pearle 'Red Road' (Futureboogie) 10. Shaun and Alinka 'Wangs on Broadway' (Classic) 11. Ron Hardy 15 'Acid Beats' 12. Roc and kato 'U Make It Alright' (Soho) Business As Usual: July: Classic-music-company - Business-as-usual-live-from-the-wash-house-july2014 Join The Family: Classic Twitter: twitter.com/classicmusicco Classic Facebook: www.facebook.com/ClassicMusicCompany Classic RA: www.residentadvisor.net/record-label.aspx?id=141 Luke Solomon Twitter: twitter.com/lukesolomon Luke Solomon Facebook: www.facebook.com/lukesolomon?fref=ts Luke Solomon RA: www.residentadvisor.net/dj/lukesolomon

On Tonight's Show:- The Problem with Wild Oats- Secret Open Marriages- Tips for Smooth SwingingAnd MUCH MUCH More !!!!!!!

Business As Usual: August Track Listing:01. Grooveman Spot 'Hot' (Jazzy Sport)
02. Lazare Hoche 'Pressure' (Skylax)
03. Metabon 'G and B' (Six)
04. Hercules and Love Affair 'My Offence' (Brather remix) (Moshi Moshi)
05. The Legendary 1979 Orchestra 'Presuine' (Disco Bucuresti)
06. Kenny Larkin 'Smile' (KMS)
07. Kyle Hall 'Down' (Wild Oats)
08. Krankbrother 'One Eyed Jack' (Classic)
09. Buckley feat Phoenix Pearle 'Red Road' (Futureboogie)
10. Shaun and Alinka 'Wangs on Broadway' (Classic)
11. Ron Hardy 15 'Acid Beats'
12. Roc and kato 'U Make It Alright' (Soho)Business As Usual: July: Classic-music-company – Business-as-usual-live-from-the-wash-house-july2014Join The Family:Classic Twitter: twitter.com/classicmusicco 
Classic Facebook: www.facebook.com/ClassicMusicCompany 
Classic RA: www.residentadvisor.net/record-label.aspx?id=141Luke Solomon Twitter: twitter.com/lukesolomon 
Luke Solomon Facebook: www.facebook.com/lukesolomon?fref=ts 
Luke Solomon RA: www.residentadvisor.net/dj/lukesolomon