Podcasts about Wilshire Boulevard

Building Gene's Dispensary: Community, Curation, and Creating New Art Spaces in Los Angeles with Keith J Varadi In this wide-ranging conversation on What's My Thesis?, host Javier Proenza welcomes artist, curator, and writer Keith J. Varadi, founder of Gene's Dispensary, for an illuminating discussion on forging alternative pathways in the contemporary art world. Through candid reflection, Varadi shares their journey from painting to sound art, music, and ultimately to the establishment of their independent gallery space in Los Angeles—a project that has rapidly become a vibrant hub for creative cross-pollination. Drawing on years of experience as both a practicing artist and an accomplished curator—with writing credits in Carla, Flash Art, Kaleidoscope, and Los Angeles Review of Books—Varadi discusses how health challenges, a deep commitment to community-building, and a rigorous interdisciplinary ethos led to the creation of Gene's Dispensary. Operating in the heart of Los Angeles at 2007 Wilshire Boulevard, Unit 820, Gene's Dispensary takes inspiration from DIY spaces, Black Mountain College, and the inclusive spirit of early L.A. dispensary culture. Over the course of the episode, Varadi reflects on studying at Rutgers and Virginia Commonwealth University, their experience living in New York and Pittsburgh, and the evolving sense of belonging they found upon relocating to Los Angeles. Topics explored include the challenges and possibilities of starting an art space without institutional funding, building a collector base from scratch, integrating musicians, comedians, and writers into gallery programming, and the nuances of L.A.'s cultural landscape compared to New York. Highlights include a behind-the-scenes look at Gene's Dispensary's chess tournaments, multidisciplinary performances, and the gallery's mission to dissolve boundaries between visual art and other forms of creative practice. Varadi also offers insight into the gallery's namesake, paying homage to socialist leader Eugene V. Debs and affirming a commitment to equitable practices within the art market. Whether you are an artist seeking alternative models of sustainability, a curator interested in community engagement, or simply an art lover curious about the dynamic intersections of creativity in Los Angeles, this episode offers a compelling portrait of persistence, generosity, and invention. Visit Gene's Dispensary:

A man has been arrested in connection with dozens of city-owned trees in Los Angeles that were cut down with a chainsaw over the Easter Holiday weekend. While law enforcement officials had no leads on April 20, some Angelenos were busy posting photos to Reddit and Instagram of all the felled trees downtown. In photos, trees were seen in pieces at locations including 1st Street and Wilshire Boulevard, Olympic Boulevard and Hope Street, Olympic Boulevard and Figueroa Street, Broadway and Cesar Chavez Avenue, Grand Avenue in front of the Wells Fargo Center and Grand Avenue and 5th Street.

A stretch of Wilshire Boulevard is now closed for three weeks for work on the D Line. An immigrant rights group has been protesting, and successfully diverting, ICE agents. And the Dodgers start their season in Japan playing against the Chicago Cubs tomorrow. Plus, more.Support The L.A. Report by donating at LAist.com/join and by visiting https://laist.comSupport the show: https://laist.com

Today we're returning to L.A.'s famous tar pits for the pilot episode of La Brea (2021), the timey-wimey story of a family of Los Angelinos who fall into a sinkhole in Wilshire Boulevard and somehow end up in the Pleistocene. If you love ice age megafauna, this episode is for you! The show, maybe not so much. Get in touch with us: Bluesky: @sotsapodcast.bsky.social Facebook: @SotSAPodcast Letterboxd: https://letterboxd.com/sotsa/ Email: screensofthestoneage@gmail.com In this episode: Dire wolves (Aenocyon dirus): https://tarpits.org/stories/our-evolving-understanding-dire-wolves Smilodon: https://tarpits.org/stories/smilodon-saber-tooths-and-tigersoh-my Teratornis merriami: https://www.nps.gov/articles/000/the-giant-bird.htm Megatherium: https://www.nhm.ac.uk/discover/what-was-megatherium.html Marcus (1960) A Census of abundant large Pleistocene mammals from Rancho La Brea: https://web.archive.org/web/20220226104339id_/https://www.biodiversitylibrary.org/partpdf/226856 Spencer et al. (2003) Taphonomic Analysis of Large Mammals Recovered from the Pleistocene Rancho La Brea Tar Seeps: https://www.jstor.org/stable/pdf/4096974.pdf La Brea Woman: http://www.laalmanac.com/history/hi02v.php

Today we're returning to L.A.'s famous tar pits for the pilot episode of La Brea (2021), the timey-wimey story of a family of Los Angelinos who fall into a sinkhole in Wilshire Boulevard and somehow end up in the Pleistocene. If you love ice age megafauna, this episode is for you! The show, maybe not so much.Get in touch with us:Twitter: @SotSA_PodcastBluesky: @sotsapodcast.bsky.socialFacebook: @SotSAPodcastLetterboxd: https://letterboxd.com/sotsa/Email: screensofthestoneage@gmail.comIn this episode:Dire wolves (Aenocyon dirus): https://tarpits.org/stories/our-evolving-understanding-dire-wolvesSmilodon: https://tarpits.org/stories/smilodon-saber-tooths-and-tigersoh-myTeratornis merriami: https://www.nps.gov/articles/000/the-giant-bird.htmMegatherium: https://www.nhm.ac.uk/discover/what-was-megatherium.htmlMarcus (1960) A Census of abundant large Pleistocene mammals from Rancho La Brea: https://web.archive.org/web/20220226104339id_/https://www.biodiversitylibrary.org/partpdf/226856Spencer et al. (2003) Taphonomic Analysis of Large Mammals Recovered from the Pleistocene Rancho La Brea Tar Seeps: https://www.jstor.org/stable/pdf/4096974.pdfLa Brea Woman: http://www.laalmanac.com/history/hi02v.php

In 1964 he was a working class hippie student crossing Haight Street, a road in San Francscso, when hit by a vision  - and life as he knew it was over In 1994, he was a multi-millionaire new-age entrepeneur crossing Wilshire Boulevard, a road in Los Angeles, when hit by a car - and life as he knew it was over. In the years in between, along with the co-founder of The Yippies Abbie Hoffman, counter-culture icon, anti-war activist, new age/self-help proponent, social-networking pioneer and all round troublemaker JERRY RUBIN helped articulate the voice of young America in the '60s and early '70s.   He was arrested countless times, carried out many extrardinary protests that used performance art, pranks and provocation including an attempt to levitate The Pentagon and regularly hung out with John Lennon and Yoko Ono in New York. Unlike Hoffman, who lived off grid for several years following a drug bust, died by suicide in 1989 and was canonized as a countercultural saint, Rubin was accused by many of “selling out" - the worst thing a 1960s radical could do - and as a consequence got written out of the hippie history books.   Well that is until our guest for this episode wrote the biography, 'Did It! From Yippie To Yuppie: Jerry Rubin, An American Revolutionary'   PAT THOMAS, archivist, uber re-issue producer, countercultral author and music journalist returned for the third timr to the Bureau.   Previously he was here to talk about The Black Panthers and Allen Ginsberg,and this time, he traced  Jerry Rubin's journey from high school journalist to stoned political freak and multi-millionaire entrepeneur.   Along the way, we hear about The Yippies(the Youth International Party), The Chicago 8, John Lennon and Yoko Ono in the early 70s, EST training - and selling out   And we debate the question: 'Once a revolutionary always a revolutionary?'   Pat's book:  'Did It! From Yippie To Yuppie: Jerry Rubin, An American Revolutionary'     Check out this Rubin related playlist   #jerryrubin #abbiehoffman #theblackpanthers #blackpower #yippies #theyippies #thebeats #allenginsberg #timothyleary #activism #socialism #revolution #levitatethepentagon #eldridgecleaver #bobdylan #nixon #johnandyoko #vietnam #anti-war #protest #johnlennon #haightashbury #thechicago8   

Gary and Shannon star the second hour of the show on whether California power grid will hold up during the latest heat wave. Wilshire Boulevard near MacArthur Park may be closed to try to reunite the area with grassy areas. A Sacramento Target location has reportedly been warned and it could be fined under public nuisance laws by the city because it's making so many calls to police about alleged shoplifting.

In today's world of fast-paced culinary innovations, there's a classic treat that remains timeless and universally loved: the cookie. Recent trends have shown a surge in gourmet cookie shops, with a particular emphasis on unique flavors and high-quality ingredients. Studies by the National Bakers Association help show how popular gourmet cookie shops continue to be among all generation of consumers. So what drives this renewed passion for a traditional dessert, and how do entrepreneurs navigate the competitive cookie landscape?On this episode of The Main Course, host by Barbara Castiglia digs into the world of cookies and gourmet cookie shops with Courtney Cowan, the Founder & Owner of Milk Jar Cookies. Together they explore the journey of turning a childhood passion into a thriving business, the science behind the perfect cookie, and the future of cookie franchising. Topics covered in this discussion include...- The origin story of Milk Jar Cookies and Courtney's self-taught baking journey.- The importance of understanding the science behind baking and how a simple ingredient like baking soda can make or break a cookie.- The evolution of Milk Jar Cookies from a one-bedroom apartment venture to a renowned storefront on Wilshire Boulevard.Courtney Cowan is the Founder & Owner of Milk Jar Cookies. A self-taught baker, Courtney's love for cookies began in her childhood, with her mother introducing her to the basics of baking. Over the years, she developed her unique cookie recipes, which became a hit among friends and colleagues. With a background in English education and a stint in the television industry, Courtney combined her passion for baking and her entrepreneurial spirit to establish Milk Jar Cookies in 2013. Today, her brand stands as a testament to the potential of gourmet cookie shops.

Did you know that all it takes to improve a French Press is a simple wing nut? This new design totally eliminates the need for tools and the most commonly lost or broken parts. That makes it more durable, and easier to clean. Visit https://www.amazon.com/dp/B0B6KLVWF1?maas=maas_adg_83E9030C56F04A20446376C48BC42563_afap_abs&ref_=aa_maas&tag=maas SYL Prosper Inc. 5670 Wilshire Boulevard, Los Angeles, CA 90036, United States Website https://www.coffeepressshop.com/ Email prc.pressagency@gmail.com

Make your morning cup of coffee, without busting out your toolkit! This French Press design is easier to use, easier to clean, and just easier in general, with no tools required, ever. Just twist, and go. Visit https://www.amazon.com/coffee-press-Stainless-Disassemble-Resistant/dp/B0B6KLVWF1?maas=maas_adg_334405100C816A658E536EBA58E13062_afap_abs&ref_= to learn more. SYL Prosper Inc. 5670 Wilshire Boulevard, Los Angeles, CA 90036, United States Website https://www.coffeepressshop.com/ Email prc.pressagency@gmail.com

Say goodbye to breakable coffee makers and weakly brewed coffee and hello to SYL Prosper Inc.'s durable and easy to use new French press, and the phenomenal tasting coffee it produces! Go to https://www.amazon.com/coffee-press-Stainless-Disassemble-Resistant/dp/B0B6KLVWF1?maas=maas_adg_334405100C816A658E536EBA58E13062_afap_abs&ref_= to find out more. SYL Prosper Inc. 5670 Wilshire Boulevard, Los Angeles, CA 90036, United States Website https://www.coffeepressshop.com/ Email prc.pressagency@gmail.com

Are you a cold brew fanatic but tired of shelling out money at your local coffee shop? Well, you've come to the right place! We're sharing our top tips for perfect cold brew!Get your EzDtach French Press Coffee Maker and get brewing at https://www.amazon.com/coffee-press-Stainless-Disassemble-Resistant/dp/B0B6KLVWF1?maas=maas_adg_334405100C816A658E536EBA58E13062_afap_abs&ref_= SYL Prosper Inc. 5670 Wilshire Boulevard, Los Angeles, CA 90036, United States Website https://www.coffeepressshop.com/ Email prc.pressagency@gmail.com

If you enjoy making coffee at home, you need the EzDtach French press by SYL Prosper Inc. It is a durable, portable machine that brews smooth, rich coffee. Order now at https://www.amazon.com/coffee-press-Stainless-Disassemble-Resistant/dp/B0B6KLVWF1?maas=maas_adg_334405100C816A658E536EBA58E13062_afap_abs&ref_=&th=1 SYL Prosper Inc. 5670 Wilshire Boulevard, Los Angeles, CA 90036, United States Website https://www.coffeepressshop.com/ Email prc.pressagency@gmail.com

I dreamt of being a pilot as a child and grew up watching The A-Team and my favourite character was 'Howling Mad Murdock' played by Dwight Schultz. I was obsessed with aircraft so he was the one I wanted to be as his character could fly any plane or helicopter that he had to. Years later I saw him with Jamie Glazov and Anni Cyrus on 'The Glazov Gang' and was intrigued at his strong Conservative Christian stance while delivering common sense commentary. This is the first interview he has done for many years so it truly is an honour to have Dwight join Hearts of Oak on this audio only discussion. (he is the voice king) We talk about those early days treading the boards in the theatre and as a star in Hollywood, working on the biggest TV programme in the world and Dwight shares some stories of how his strong conservative stance got him into much hot water. He truly is a breath of fresh air in an increasingly demonic industry that opposes truth at every turn and mocks all who have a Christian Faith or Conservative Values. (*Peter takes to the skies regularly and has held a pilots licence for many years) A respected performer on Broadway, Dwight Schultz found everlasting fame by playing the certifiable "Howling Mad" Murdock on the action series "The A-Team" (1983-86). A living, breathing cartoon with a seemingly endless selection of voices and accents at his command, Murdock provided the air power for the A-Team's clandestine adventures, provided that his compatriots could break him out of the mental hospital where he resided. One of the show's most popular and memorable figures, Murdock ensured Schultz steady work on television and on the big screen playing Reginald Barclay in "Star Trek: The Next Generation" An accomplished voice actor, Dwight can be heard in numerous hit computer games and in countless animated shows. Interview recorded 21.3.23 *Special thanks to Bosch Fawstin for recording our intro/outro on this podcast. Check out his art https://theboschfawstinstore.blogspot.com/ and follow him on GETTR https://gettr.com/user/BoschFawstin and Twitter https://twitter.com/TheBoschFawstin?s=20  To sign up for our weekly email, find our social media, podcasts, video, livestreaming platforms and more... https://heartsofoak.org/connect/ Please subscribe, like and share! TRANSCRIPT [0:22] Hello Hearts of Oak, and welcome to another interview coming up with Dwight Schultz, Howling Mad Murdock from the A-Team. He came in on a audio. Dwight hasn't done interviews for years. I was absolutely delighted to have him on when you talk to one of your childhood heroes who you grew up watching him in A-Team. And he was my favourite simply because he was a pilot. And I always wanted to grow up and that's what I wanted to grow up to be. But I'm talking to him about being a conservative, being a Christian in the industry, in Hollywood, in the movie industry. And actually we delve more deeply into his Christian faith, Roman Catholic background, and what it means for him to be a Christian in that industry where you're pulled every way and where your faith is ridiculed, mocked, and everything stands against that. So great conversation about some of his experiences and what it is to be a Christian and to be a conservative in the industry. We talk about his voiceovers, I mean his voice is legendary. Talk about that and why he stepped away from doing kind of in front of a camera in 2001, why that was, and all the voiceover and then I think 100 video games, his voice is in a whole other world, a whole other industry. So, I know you will enjoy listening to Dwight as much as I enjoyed speaking with him. [1:48] It is wonderful to have Dwight Schultz with us today. Dwight, thank you so much for joining us. [1:54] Oh, it's my pleasure, Peter, for my reintroduction to the world of podcasting, radio, television.   Well, this is something I've only been doing three years, So I know you have much more experience back in the day, but we'll get into some of that. And obviously I... Remember you fondly growing up. I think I was six when The A Team first came out, which is now 40 years ago. I'm sure I didn't want it when I was six. But your role obviously is as Howling Mad Murdock. So we can take just a little bit memory lane before we go into and talk about actually being a conservative in the industry and what that is like. But I mean, it ran for five seasons, 83 to think 87. Do you just want to let us know how you actually ended up in that role? Well, actually, it actually only went four seasons, real seasons, so it's not technically considered a success. That's true. I ended up in that role because I made a comedy tape at the Williamstown Theatre Festival around 1979, 1980. [3:18] Somewhere in there. And the comedy tape, and for two years, I didn't hear anything. And then suddenly I started getting calls from my agent to audition and to go to Los Angeles to audition. and it was because of this comedy tape. And I found out it had been making the rounds for two years and eventually Steve Cannell and Frank Lupo, his co-writer saw it and requested me to come. Joel Thurm, who was the vice president of NBC at the time, however, he had different ideas about this character. And anyway, I went in and they flew me out to Los Angeles. [4:03] And my wife was out here. She wasn't my wife at the time, but I had been dating her since 79. And she was out here living in Los Angeles, which was difficult. I mean, I was glad to come out here for any reason. And I had never. It was a joy, but I came in and I auditioned and it was a total flop. It was a bomb. I mean, you walk into a small room with 25 people, 30 people, and there was not a single laugh. There was nothing. There was no... And then they sent me out and they sent the director, Rod Holcomb, out with me to talk to me. I came back in, I did the same audition, And everybody was laughing and I had no idea why they were laughing now. And they weren't laughing before, unless someone said laugh when he comes back. You know, that's the way it was. It was just an astonishing thing. And they said, you got the part. [5:02] And then, uh, and this is the, really, this is the nub, right? So, uh, I, they shoot in Mexico and I went down to Mexico. And when we were down there, I was fired. I was fired. I was fired. Rod Holcomb came into my little room and he said, I'm afraid it's not going to work out. And I said, oh, what? He said, it's not Steven. It's not Frank. It's the would-be's at NBC. They just don't think you're quite right for it. And so they took me out of my little room and they put me in with a stuntman who I loved. I just loved him. I mean, it was incredible to work with these guys. And so there I was with the stuntmen for the rest of the shoot down in Mexico. And when we came back to the States, they were editing it and putting it together as we were shooting it, right? [5:58] I got a call from my agent said your dials were great. I said, what are you talking about? I had no idea what they were talking about. This is 82, right? This is 1980. I don't know what you're talking about. He said the dials, the dials, the testing. The audience loved you. You're the best dials that anybody had. So I was written back in. I was rehired before I was fired. And so you can't make this stuff up in life. You can't. So it just turns out that they had a different view of what this character should be like. And I had another view. And Stephen Cannell and Frank Lupo were in my camp. And so they had to write me back into the first five episodes, which they had kind of written me out of. And that's the way it started. And I was, [7:04] as anybody would be, you know, I got to work with some of the finest old actors [7:12] that I had grown up with in the 50s and 60s. And it was a thrill. The four years were a thrill. I mean, it was an absolute thrill. And I got along beautifully with everybody. And Stephen J. Cannell [7:24] was a conservative. I mean, I'm lucky. I'm fortunate there. I was fortunate because some of my other experiences were not so fortunate, working with people who knew I was a conservative and weren't going to have a conservative on their show. That was the way it started back then. But anyway, so it was four years of, we didn't really have a studio. We were working on locations and I got along famously with everybody. And it was a joy. It was four, believe me, it changed my life completely and totally. I never thought I would end up in Los Angeles and never leave. Well, what was I mean, it's intense, I guess, that you're living and breathing it. And most people, I have no idea what that's like. Most people go to a job and they go home, but you're there nonstop. What's that kind of intensity, especially for years with it's the same people? It's the same people. But listen, as an actor, I mean, I've been working I've been working professionally since nineteen sixty nine. This gig, it's over 50 years. Right. So I had, I have before the 18, I never knew what my next job was ever. I never knew what I was doing next. And after the 18, I never have known [8:50] what I'm going to do next. I've never had a consistent job other than those four years. And I thank God for them every night. I hoped it would go longer, but this was not the intention, nor the background of Stephen J Cannell. His shows were two years, three years. And then they name of every single writer that we had in the first year moved on to their own series. They all became producers. And this is not the way you have a successful series for an, actor, which is selfish, right? You want to go at least five years, seven years. But they all, you have to have somebody there who is consistently behind it, pushing it, making sure everything is the way it's supposed to be. But that was not the way it was. But I did everything that you can possibly imagine, I think, on that show. And as the 14-hour days, 15-hour day, I loved it because I knew that there was going to be an ending. I knew the day I started that there was going to be a last day. And so and I think that's the way life is, actually. [10:02] And so take advantage of what you have and enjoy it and hope for the best. But I savour it every minute and I look back very fondly. When you say it wasn't a success, I remember thinking this is the biggest thing ever. This is phenomenal. I watched it as a kid growing up. So it did seem to be the kind of TV show that you would watch. I mean, the only other one I remember at the same time was I think Knight Rider at the same time, but they were the shows to watch.   Yes, they were. But you see, we were on NBC, Grant Tinker and Brandon Tartikoff, and their moniker was quality programming. And Grant Tinker, and well, Tartikoff gave an interview for the New York Times, right? This is not an example of our quality program, right? Really, this is it. That's what he said. You know, their ideas was Hill Street Blues, which they had on. This was their idea of quality programming, not this schlock that's number one. [11:12] This is not it. And I sent Grant Tinker a telegram and George Peppard said, don't do it, pal. Don't do it. Don't do it, Peppard said to me. I sent it to him and I said, this is third rate executive ship. I said, we do the best work we can and we're number one, why are you doing this to us? And then he sent me a telegram back, which I have kept, saying, well, you're assuming that that was true, what you read. And I said, well, I checked with the writer, the journalist, quote unquote, who he said, he talked to you and this is what you said. And indeed he did. And this is a tag to all of this. He, after the show was over, it was cancelled, several years afterwards, I have received a phone call from his assistant saying [12:13] Brandon wants to talk to you. And I said, sure, I'll talk to him. And I met with him in this basement office, 20th Century Fox. And I walked in and there was nobody there but Brandon Tartikoff sitting at a table and he apologized to me. [12:31] His daughter had been in a very serious accident and it changed his life. It was one of these things. And he apologized to me. I'll never forget it. And this does not happen in show business. It does not happen. And I said, thank you. Thank you so much for that. I said, and then I went into my spiel about being an actor. And that I, you know, you do the best job you can, whether you're doing Shakespeare, whether you're doing a show, or whether you're doing The A-Team. You do the best job you can. It is the same job if you're good and you love your work. It doesn't matter. You do the best thing, the best you put. You're not walking through it. I said, that's what we were doing. And we happened to be number one. And why did you rain on the parade? You know, I asked him and he gave me some explanations as to the the exigencies at the top of a TV network. And I, so at any rate, that that that's the experience. That's the beginning and end of that experience, really.[13:43] And I carry with me.   How did you cope with that fame? And you were what, 30, 32, so you weren't young, young. But still, when you're thrust into that level of publicity, how did that affect you personally and how did you cope with that? Well, you know, I was fortunate that I was working since I had been working since 69. I spent 13 years in regional theatre. I spent years in New York, three Broadway plays. I had a lot of experience. [14:17] Really, they walk in the boards, doing all the grunt work, getting there. And I, fame was not a, I was known and all my interests in theatre were to be, this is a joke actually, but never the same actor twice. I mean, that's it. You didn't want to do the same thing. And here I was, and I forced the idea that this actor, this character would be different in each episode, which the vice president of NBC said, that's the way you comb your hair differently. You should be the same. We want you to be polite on this. And I said, no, no, no, no, no, I don't wanna do that. I wanna be different in every show. And so I maintained, I think, because of the work that I had had. When you do the classics, when you're in, and I don't mean this, when you have the great opportunity to play a Shakespearean role. [15:22] You understand something about talent, about what goes into writing, brilliant writing, and then schlock writing. I mean, you see it all. And when you've been given that opportunity, There's a humility that hits you. So fame was never something that I wanted. I wanted to be able to – and I've had this ability. I've been able to go to a department store or take my daughter to a mall and not be recognized, which is – I'm telling you, I have worked with – I mean, I worked with Paul Newman and Paul Newman was, it was not a, he, he told me he couldn't go anywhere. He was a prisoner of his fame. [16:12] George Peppard was a prisoner of his fame. I mean, the closest I think I've ever gotten was somebody said, your voice sounds familiar, do you know my brother? I'll say, no, I don't know your brother. Then every once in a while, somebody recognizes you, but it's a curse. [16:33] It is a curse, really. If you have a family, if you want a family life, if you want privacy, which I think is necessary for survival in this business. I mean, I've seen a lot of actors drop to their knees and open cardboard tubes and pull drugs out. You know, and that's fame. And you ask them, that's it, it's driven. You know, you gotta have that fame, you gotta have that fame, you gotta. And it's not what I wanted. I really am a repertory actor, that's it. I'm a repertory actor. I spent one year in Houston, at the Alley Theatre in Houston, and it was one of the greatest years I've ever had. And I never wanted to leave. And someone told me, that's why you have to leave. I would have stayed there. I could have stayed there. But my agents all told me, you have to leave. You can't stay here, or your career will be over. And I said, but I love this. And they said, you won't love it when it dries up there. You know, you have to go to a bigger, a bigger yard in essence. But I'm really a repertory actor. That's it. [17:47] Your last I think your last TV role was 2001. I will get into the voice side later, but your last 2001. Why did, why did it end there? Was a personal experience? Was it just choice? Oh, yeah. No, it was a really a personal experience. It was CIA. 2001 was... [18:17] I went in for wardrobe fitting, and we were at the Memorial Cemetery, Veterans Cemetery down in Wilshire Boulevard, and that's where it was being shot. And I walked in, and this is nothing, I won't mention the name, I shouldn't have even said what the show was. Just someone in the wardrobe room. We were talking about 9-11. We were talking about what had happened in New York. I had a lot of friends in New York, of course, obviously. And she said, I don't have any connection to that. I don't know why everybody – I just don't have any connection to it, you know? She still connects? And she rubbed it off, you know? And I said, I mean, life was – rules were at that point not easy to come by, actually. And I said I can't do this, you know, I can't work. This to me was a sign, a sign from God. I'm not joking. You look for these things. This was a sign that this was the wave of the future. There was going to be a lot of denial and there was going to be, and it's complicated. I mean, I'm not judging anybody. [19:43] But for me, I had an opportunity to move into another direction, and I decided to do the other direction because I could be anybody, anything in voiceover work. Video games were just becoming big at the time, and the whole business was very big. And voice work was something that, as an actor in the theatre, I always did. If I couldn't find the voice of the character, I couldn't find the character. And so that was it. I mean, the fates came together at that time. And I was doing radio at the time on a fairly regular basis with a friend named Don Ecker. And I just moved in that direction. [20:36] I mean, there were opportunities there, but I knew things had changed at that point. Yeah, well, we'll get into that. I want to pick on being a conservative in the, the movie and TV industry, and that seems to be opposites. We've seen more and more, and I think it probably gets worse. And you're Roman Catholic, you're conservative. And what has been your experiences having a faith and also having a conservative belief? How does that fit into the showbiz industry? What has it been like for you? Well, going back, if you look at, [21:23] if you look at the world that we're in today, the Judeo-Christian world, which is, and I have to say if I have one criticism of modern Christianity prior to today, and I mean going back, because there's a lot of things I could say about today, which we will, I'm sure. But one of the things which always struck me me was about Christians, was their antipathy for the Old Testament, the Torah. It is Judeo-Christianity, and if a Christian doesn't understand that the Old Testament is their testament, there's, a problem. And they don't, indeed. In Bible study, the number of times that I heard Christians say oh, that's not my God. I want to get out of this. I want to get to my God. Well, that's two gods. [22:24] I mean, there is the Trinity, which is three gods in one, right? I mean, we do have that mystery, but we are monotheistic. And Christ's Old Testament was his Old Testament. He was here to fulfil the Old Testament. This is what he said, that it is the Father. You're speaking of your father. This is Christ's father and the Torah, the law as it was laid down is your law. It went on to the New Testament. [22:58] You know, and Catholics, I mean, I was raised a Catholic, and when I found out that it wasn't, thou shalt not kill, but thou shalt not murder, you know, the wheels begin to turn, and you try to think as best you can about these things. But there was a disconnect between the Old Testament in the New Testament. But that has to do with my criticism of my own faith. In motion pictures in the film industry, it was under attack, as it is today. Christianity is—and Judeo-Christian ethic, the West, everything that has been built through the Judeo-Christian ethic is under attack and they want to destroy it. [23:55] And basically at the very front of that is the communist wagon, and it always has been. And you can go back to 1918 or whatever and read about it, and they tried every which way from Sunday to do it, and they always failed, and now they've found another way of doing it. And they have succeeded by going after our children when we didn't know they were going after our children. But as Christians, we're pretending that it wasn't important to be mothers and fathers and the nuclear family really wasn't that important. Well, then why were they trying to destroy it? And why has it been number one? [24:35] Because and I'm going to say something else here in a second, which I'm pointing to, there's a quote. This is the technique that they have used, and you didn't know it, but you felt it all along. You felt this, but you didn't know it. [24:57] A quote by, it's attributed to Oscar Wilde. And I think it is his, I don't think, I don't think, I think it is his quote. And it is pithy and accurate and brilliant and beyond belief descriptive of everything. Everything in the world is about sex, except sex. Sex is about power. And boy, when I read that, I said, is this, did he really say this? Is it? And it hit me from every direction. The entertainment business in every which way is about sex. Novels, books, television, commercials, life itself, clothes, it's all about sex. And it goes back to God's edict to humanity. [25:56] Go forth and multiply. This is the power of procreation, is sharing in the power of creation. That power was given to all of us. We don't know, I mean, people have talked about it, but you don't, we don't know where that came from, except from God. And it is something to, what do we do with these gifts? Do we throw them away? Or do we say these are precious? [26:30] And you see by the people that you meet, those who recognize the gift and those who don't recognize the gift. And you are asked not to recognize it on a daily basis. And as a child, if you think back to your childhood when sexual urges, whether you're—and of course, I can't tell you what a woman goes through, but I can only tell you what a kid goes through—boy, when you're going through puberty, the whistles and gongs are going off, and you're you're having dreams at night and you can't stop it. [27:03] Everything is at the wrong moment and you're not purposefully thinking about it, but it's a force to be reckoned with. And you understand it as you grow older that this force is to bring you to someone else, to love, to have a family and to create the next generation and then everything changes after that. If you can contemplate that greatness, that extraordinary thing, and realize that the world seems to want to distort it, well, you realize the powers that are set up against Judeo-Christianity. And who say, we don't want the Ten Commandments, we don't want that Old Testament rag, we want freedom, free, and of course I went through that in the 60s and 70s in school, and I saw it. I mean, I was part of it in that it bounced off of me at every moment. And being a Christian, you stay in it. [28:10] I stayed in my Christianity. This is another tale. When I got to school, to college, I mean, I had 12 years of Christian education, right? I wanted to be an actor and I went to Towson University, which had a great theatre program. And it was the first time that I was in a purely secular environment. The thing that killed me was that everybody hated their parents. Everybody hated their parents. I mean, nobody wanted to, nobody had a good thing, I loved my parents. And I used to say, I used to have a long bus ride home and I used to sit in the bus looking out the window saying, why do I love my parents and I can't find somebody who loves their parents? What is that? Well, I can't say that I answered the question, but the answer was in the destruction of the family. [29:10] It was in the destruction, and it had started then. Not my mother and father. And then here's the next aspect, and I think that this plays a very big part in all the trouble we're having today. I never wanted to do something that shamed my parents, that they would be ashamed of. I felt shame. I still do. I feel shame. It was given to me by my mother and my father. Now, none of us are perfect. I know my mother wasn't perfect, my father wasn't perfect. I'm not perfect, but I feel shame and shame is rare. Now, look, I was listening to your podcast [29:58] with Father Calvin Robinson. Right.   Goodness, you make me blush. No, no. And no, but he said something. He said he said something about drag queens in the sanctuary. [30:19] I mean, we're talking about there's no shame if you do that. Before, shortly after, I guess we communicated, I went to here in Los Angeles, I went to the Church of the Nazarene in Pasadena, and I saw two, I don't know if you know these individuals, Dennis Prager, do you know Dennis Prager? Dennis is a Jewish scholar. I've been following him since since 1982, when I came to Los Angeles. He had a program called Religion on the Line, one of the great minds and thinkers of all time. In fact, many times after listening to him, I would say to myself, I'm a Jew. That's what I am, I'm a Jew. [31:05] And then there's Eric Metaxas, who is a Christian writer, thinker, and these two were in a program, an evening called ask a Gentile, Ask a Jew. And it was a great evening, two hours of just two brilliant people talking about the state of religion. What was the final outcome, sad outcome of the evening? Metaxas and Prager both came to the conclusion that we, organized religion, has failed us. It has failed us. The churches and the synagogues have failed us. They have not stepped up to defend their own dogma, their own beliefs. And we are left flailing, individuals almost. And we are struggling to connect, which is what you and I are doing right now. [32:08] I was dumbfounded by that, but at the same time, that's what I'm thinking. That's what I've been thinking for quite some time. And all of these things, you know, we are under attack from every direction. And in your own mind, what do you do? Do you throw it away? Do you say, well maybe I'm thinking the wrong thing. No, no, no, that is not the case. Because when you think about why our children, [32:47] and if you've seen this now, why our children are being told that they don't know what their sex is, Metaxas brought this up in the evening that this is one of those key cardinal points. You can see. This is a perversion of reality, because you know what the truth is. If you have a Supreme Court justice, as we do in the United States, who says, I can't define a woman, and that children, 10 year old children, 11 and 12 year old children, secretly, don't tell your parents the hallmark of a lie. Keep it secret. Don't tell anybody. Don't even tell yourself. [33:26] You know the hallmark of concealment, consciousness of guilt, everything that you know is, they are trying to tell you you know nothing and everything you know is not to be believed, but they are to be believed. That children, there are not boys and girls, that men can give birth, that there are, you know, these things that we, it's incomprehensible what's going on and it's all to destroy right from wrong. Well, that's because it's kind of, I look at it a different way. One is the difficulty of living in a society where evil is slightly different, where it's a slippery slope and it may be difficult to distinguish what you believe with something that's slightly different. But we see such a chasm now between what is true, what is right, and the collapse and degradation of society. So in theory, that means it is easier to be a Christian because it's easy to be distinct, because what you face is the opposite of what you believe. And and that's why it's curious and interesting to see churches going down this line whenever there's, [34:38] there's no question of what we see is the opposite of what is written in scripture. Oh, there's no question. You know what you're saying? You can be crushed. You know, you can be crushed at the same time. You have to deny so many things to accept what's going on. And yet you say to yourself, how do I stop it? The war that's going on in Europe at this moment. And this is why I love Bannon. I mean, I just, I adore him. I never got to, I would not, and I'll say this, Andrew Breitbart brought me out of the closet politically, really politically. I was doing a lot of things, but saying a lot of things that were in the basket, but he truly brought me out.   When was this? When was this? . This is a through also through Gary Sinise and friends of Abe. [35:48] Boy, this is this is in the, I have to say nine. I'd say 2000 to 2005, 2006. By 2008, yeah, I have to say around 2005, 2006. [36:09] I was like a Jew wandering in the desert alone and wondering where God was. And a friend of mine who I worked with on Fat Man and Little Boy, a film about making the atomic bomb, called me up, his wife was a casting director, and he said, you know there are conservatives just like yourself who get together on a regular basis. I said, no, I did not know that. He said, would you like to go to a meeting? I said, I would love to go to a meeting of other people. I went and it was Gary Sinise and Andrew Breitbart, and a lot of other extraordinary people who were all, and this is it, seeking, trying to make connections. And so Andrew said, you have to become public. He had big Hollywood and big, you know, all of, he had all of these big websites. And he asked me to write an article. [37:09] He heard me in private describe a situation that I was in, in which I was at the Williamstown Theatre Festival. I had just come back from working with Charlton Heston and I had a long discussion, which was just a wonderful discussion in the hallway at the Amundsen Theatre about Ronald Reagan becoming president, right? And this individual who was a big producer in Hollywood overheard me talking about Ronald Reagan, and he said, Oh, so you're a Reagan a-hole, you know? [37:58] And yeah, that's right. That's right. And I was, I got to tell you, I mean, this was a big guy at the theatre too, that I was working, and I went cold. I went cold. I said, yes. I said, you know, not as a, you know, and I pulled back. I was, you know, he was attacking me, obviously, with his language. And I was shocked. I was totally numbed. And I didn't want to continue with this discussion, because otherwise there would have been a blowout. But that was how in 78, 80, I understood that there was this chasm there. And [38:51] it only got worse as time went on. As I said, fortunate, it is not a zero-sum game. Fortunate there was for me, and I did have an audition for this producer. There was a writer there and a brilliant writer. We had a fallout, but he's just an extraordinary writer. His name is Tom Fontana. He wrote some very, it was St. Elsewhere, producer, writer for St. Elsewhere, The Wire, many wonderful programs. And he did not know about this problem that I had and invited me to read for a part called Fiscus in St. Elsewhere. And I walked in and there was this producer [39:37] who has passed away since now. And Breitbart wanted me to write about him. And I did, and I regretted it, but I don't regret it. But anyway, so I walked in and he was there and he said, oh, what are you doing here? And to this audition, and I said, I'm here to read for the part of Fiskars. He said, it's not gonna be a Reagan blank hole on my show. So you know what that audition was like, right? You know, I mean, and I walked out and I just, I said, God, is this going to be it? You know, is this the way it's gonna be? And at any rate, so, but I finally did write this article about him and I lost a lot of friends for writing it. And then at the same time, and I was one of the first actors for Breitbart to use my name. This was what he wanted because a lot of pseudonyms, writing for Big Hollywood, And which I understand, please, I did not do this, I did this [40:40] for personal reasons, but not because I'm brave or anything of that nature. I just was at the point where I was going to tell the truth. This is the way it's done. And you are excluded on a cocktail napkin. And that cocktail napkin is sent around to other producers and you're excluded. It is not a zero sum game because there was Stephen J Cannell and he hired me. [41:03] But the majority of people will not, unless, of course, you bring in 30 or 40 million dollars over a weekend. And then they'll hire you. But the attack on Judeo-Christianity, the attack on conservatism, which is a hallmark of Judeo-Christianity, is now at its height. It's never been greater than it is today. Well can I, you're obviously being a Christian, being a conservative within an industry within the workplace, but then you had your podcast, then you're doing, you mentioned Breitbart on the Glazov Gang, that's something different. You're stepping outside and actually you're much more public. I mean was that a conscious decision to actually begin to use radio, use the internet, use TV and speak of these issues as a Christian and conservative. Yes, absolutely. And the reason for that was I, you know, if you're, [42:13] make a point, like I would not, as Murdock from The A-Team, go out and evangelize. I wouldn't go out as Murdock from The A-Team, vote for. Right? [42:34] You're taking something that is not related and you're trying to use it to get somewhere. Where it's not as, to me, as honest as separating yourself out, creating a podcast, creating another world. This is where I talk politics. This is where I talk my personal life, my personal beliefs. This is where I do it. And so you come to me and then we go out from there. And I associate with people who talk about religion, and I associate with people who talk about politics, and I talk it there in that realm. [43:19] There's obviously a mixture. You can't divorce yourself from who you are and what you've done, and I don't. But I've never hidden my religion. I've never hidden my Christianity, as some people do. That's not the way to do it either. Yes, I am a Christian. I'm a Judeo-Christian. I believe in the Old Testament and the New Testament. And it's, for me, not a contradiction in terms. And so I express it that way. I express it here on my own podcast when I had it. And if ever anybody wanted to talk about it, I was willing to do it. And I attended every event, and with Jamie and [44:10] the lovely Anni Cyrus, that was just wonderful. That was absolutely wonderful. I went to a David Horowitz retreat, where I met Jamie. I had the great fortune, an opportunity to speak at a Freedom Concert event. Many of my public heroes were there from various political websites. And I got to meet them. And that's where I met Jamie. And he invited me on to engage with him on his program, the Glazov Gang. It's so funny. But, you know, and I met just so many fabulous people. And there are so many things right now, which I see things now and can talk about things that I couldn't prior to coming out with Andrew. And that, of course, is Bannon's big thing, Andrew. Andrew, I mean, he's – and Andrew changed – just brought the world together. I mean, his vision, his understanding of what was really going on was unique. And he was right into – he was dead on about everything. And I still don't agree with most of his friends. [45:38] I have very dark feelings about what happened to Andrew, even though I know he had a heart problem. But when the, I mean, you know what I'm talking about. I don't want to get into that aside, but I know the darkness that's out there and a voice like his had to be stopped. And they don't stop at anything. They don't. And we have now been witness to it in the United States for five or six years. Nothing stops them. Nothing. And they will lie to your face. They do not care because they are the voice of something that is dark. [46:20] That's not a knife you feel in your back. That's me scratching it. Oh, but I feel blood. No, that's not blood. You know, that's it. That's it. Can I finish off with your voice? Now, it is always wonderful to have a guest coming on and the sound is absolutely beautiful, crystal clear. You're coming through. Obviously, your voice is your how you make your your living now. And you've you've moved away from being kind of front of the camera to doing voice. Tell us what that is like, because it means you talked about fame and that means you're not recognized. It is your voice. And I remember watching, you were the one who, again, using your voice in all different ways, even back as in The A Team. But tell us about, how that works in the industry.   Well, in the industry, it doesn't. You have to be very fortunate. One of the first casting directors I ever met was Sylvia Gold, was her name. And she met with me, my first agent introduced me to her, and she said. [47:36] Oh, darling, she said, you don't understand. No one wants to hear that stuff. That's in the theatre. They want to hear you. They want to hear your voice. It's your voice that's important. And I said, no, it's not. I said, that's not what it's not. You know, I'm a vampire. I'm a thief. I listen to other people. I'm a mathematical idiot. And God gave me this ability to hear people's voices. And I said, I remember being seven years old. I was about seven years old, and I remember the first impression I ever did, which was, James Mason in 20,000 Leagues Under the Sea, he had a line, it was, I am dying now, and the Nautilus is dying with me, present as him. And I said this out loud to myself, I am dying now, and the Nautilus is dying with me. And the more I did it, the closer I got. And I would spend time, and I became an Anglophile, and I started listening to Richard Burton and Peter O'Toole, and I found that if I put headphones on, their voice came from the middle of my head, and I could steal from them. I could do impressions of their voice, and even if it wasn't perfect. [48:52] It became another voice, another character. And I began to identify with my relatives that way. I started doing impressions of my relatives and they did not like it. And I started doing impressions of my teachers at school and the kids liked it, but the teachers didn't like it if they heard it. And that's how it started. And I just had an ear for people's voices and dialects in the United States. And that's it. And in terms of, well, if I'm coming across crystal clear, That's because somebody recommended this microphone, the Heil PR-40, which is a dynamic microphone. Most people are wedded to very expensive condenser mics. But this is a rejection, it's a cardioid. People can open the door and come into the room and you won't hear it, you'll just hear me. Art Bell used this mic and he was always extolling the virtues of this mic, and I listened to him. And so, you know, and it's inexpensive, comparatively speaking, so it's available. [50:04] And so I, but I have spent years studying and recording people's voices and listening to them and trying to reproduce them. And one of the great thrills in my life was, I was, I knew somebody who was intimately involved with Laurence Olivier. [50:29] Peter Shaffer, and he wrote Amadeus, right? And he was just an absolutely spectacular man. And he gave me the play Amadeus to read before it was on Broadway and in Great Britain. And he was just a sweetheart of all sweethearts anyway. So I went into a bathroom and I did my impression of Olivier doing the Othello chamber scene. And I gave it to someone who was with Peter and asked them to listen to it to see if I caught any of it. And he said, this friend said, Shaffer listened to it and said, well, he said if Larry was very, very sick. But it was, you know, it was one of those, I, God, to have, you know, I, I, I think I listened, I don't know, I can't, I can't repeat anything that I've ever done myself, but I, I think I listened to the chamber scene from Othello, Olivier's Othello a thousand times. And that's how you learn when you're a young kid. That's how you learn. And you say, oh, my God, every comma. I followed it along, and he followed the text. [51:49] Amazingly, he followed the text and was dead on. And those are the kinds of things that I became very attuned to people's voices, and recorded them. And I have a lot of recordings and sometimes I still listen to Burton's Hamlet. And Gielgud, of course, directed it. [52:21] And it was considered a disaster on Broadway, but there's some great, there's just to capture, it is a miracle that I can sit here and listen to people who have passed away as if they're in my room. It is, it is a miracle, a technical miracle, but a miracle, or listening to the great choruses, motion picture choruses from 1958 and 60, and I listen to these grand voices, and I say, most of these people are not here now, But I'm listening to them and I get emotional about it. So anyway...   You've also embraced just finally about. I think I looked through and you've done the voice for like 100 video games. Well, yeah, I guess that's just if you're you're good at something, then that can be used across different, different industries. Oh, exactly. and video games are bigger than motion pictures now. And the hardest thing I was ever asked to do, and we were asked to do this periodically, you know, these great actors, right? [53:31] Sir Ian McKellen, Patrick Stewart, right? Those two individuals. Do impressions of both of them, to do them in the same thing. They were in X-Men, right? So I can't do them because they're so close. And you just do. You're asked to do it. They can't make it to do a pickup, right? So they ask an actor to come in and do a line, half a line. That's it. I can't do Ian McKellen and Patrick Stewart at the same time. But I can't. I can't do it because they're too close. And yet they're different. But I have not been able to. I mean, you know, you in Ian McKellen with Bilbo Baggins, you know, he's called the essence. [54:19] Patrick is done it. Patrick is down there, too. But I can't do them together. I cannot do them together. I have to do them separately. And Patrick is he was a delight, by the way. Very liberal, very liberal. But one of the great things about Star Trek is my greatest experience that I've had in Hollywood, because there was little to no politics on that set, and everybody was a delight to work with. Everyone, absolutely everyone. And walking around on the great Paramount lot was a thrill. Anyway, sorry, I'm getting side-lined. I loved all those people. I did. I really did. Dwight, I so appreciate you coming on. It's absolutely wonderful to speak with you and hear about your experiences in the industry. So we really do appreciate your time today.   Well, it's my pleasure and I am very grateful. It's been a long time since I've done anything like this.   Oh, maybe it'll become more regular. Well, thank you, Peter.   Thank you so much, Dwight. Thank you.   Bye-bye.

The OTRNow Radio Program Easter Celebration (01)Fibber McGee and Molly. March 23, 1948. NBC net, WMAQ, Chicago aircheck. Johnson's Wax. Molly has won the Wistful Vista "I Like To Patronize Local Merchants Because..." contest. The prize is an Easter frock. This is a network, sponsored version of cat. #12034. Jim Jordan, Marian Jordan, Harlow Wilcox (announcer), Billy Mills and His Orchestra, The King's Men, Sandra Gould, Bill Thompson, Arthur Q. Bryan, Gale Gordon, Don Quinn (writer), Phil Leslie (writer). The Great Gildersleeve. April 25, 1943. NBC net. Kraft Pabst-Ett. Leroy's going to make big money raising rabbits. Kay Francis makes an appeal for the Second War Loan. The president of the Kraft Cheese Company, J. L. Kraft, delivers his annual Easter message. Ben Alexander, Earle Ross, Harold Peary, James L. Kraft, John Whedon (writer), Kay Francis, Ken Carpenter (announcer), Lillian Randolph, Lurene Tuttle, Richard LeGrand, Sam Moore (writer), Shirley Mitchell (?), Walter Tetley. The Jell-O Program Starring Jack Benny. April 09, 1939. Red net. Jell-O. Kenny sings, "I'm Building A Sailboat Of Dreams." The cast does a nursing drama called, "Four Girls In White." The patient turns out to be Shlepperman!. Jack Benny, Don Wilson, Mary Livingstone, Phil Harris and His Orchestra, Kenny Baker, Sam Hearn, Harry Baldwin, Ed Beloin (writer, performer: doubles), Bill Morrow (writer), Blanche Stewart (doubles).The Lucky Strike Program Starring Jack Benny. April 13, 1952. CBS net. Lucky Strike. A stroll down Wilshire Boulevard for the Easter Parade. Jack and Mary sing! One of the commercials features a message from "The National Tobacco Tax Research Council," praising the industry for supporting many farm families and financing the federal, state and local governments. The script is similar to the one used on April 17, 1949. The show was recorded on April 6, 1952. Artie Auerbach, Bea Benaderet, Del Sharbutt (commercial spokesman), Dennis Day, Don Wilson, Jack Benny, Mary Livingstone, Mel Blanc, Phil Harris, Eddie Anderson, Sara Berner, Sheldon Leonard, The Sportsmen, Arthur Q. Bryan, L. A. Speed Riggs (tobacco auctioneer), Stuffy Singer, Mahlon Merrick (music director), Hilliard Marks (producer), Milt Josefsberg (writer), Sam Perrin (writer), George Balzer (writer), John Tackaberry (writer). The Gulf Screen Guild Theatre. April 09, 1939. CBS net. Revue. Gulf. A revue and a skit titled "We're Taking Off." Mickey shows Rudy and Joan how to play a love scene. Rosemary Lane, Rudy Vallee, Mickey Rooney, Joan Bennett, The King's Men, Everett Freeman (writer), A. Edward Selton (? director), George Murphy (m. c.), Oscar Bradley and His Orchestra, John Conte (announcer), Frank Loesser (special lyrics). Maxwell House Coffee Time. April 03, 1947. NBC net. Maxwell House. There's only two more shopping days until Easter. Gracie not-too-subtley hints for a new hat. "The Beverly Hills Uplift Society" tries to help. George Burns, Gracie Allen, Meredith Willson and His Orchestra, Bill Goodwin, Paul Henning (writer), Keith Fowler (writer), Mel Blanc, Elvia Allman, Verna Felton, Lurene Tuttle. The Shadow. March 24, 1940. Mutual net. "The Plot That Failed". Blue Coal. The Shadow is tricked into aiding two "scientists" place six strange machines around the city. A melted steam shovel gives Lamont the clue to the purpose of the mysterious machines. As "The Shadow" prevents the entire city from being melted, Margo plans to boil four hundred Easter eggs! The system cue has been deleted. Ken Roberts (announcer), William Johnstone, Jerry Devine (writer), Marjorie Anderson, Everett Sloane, Edwin Jerome, Kenny Delmar, Alan Reed, Wilson Tuttle (producer, director), Elsie Thompson (organist), Paul Huber (commercial spokesman).

Wear your Sunday best. At Drag March LA, scheduled for Easter Sunday, drag queens take the stage to protest the rise in anti-LGBTQ legislation. LA's Rashida Holmes and Greg Dulan are James Beard Award finalists. The pandemic may have played a part in their nominations. One of LA's most iconic art institutions just got a big makeover. The Hammer Museum in Westwood now occupies an entire city block on Wilshire Boulevard. 

In this episode, the twins run the gamut from MGM musicals to The Great Smoky Mountains, Jerry Lee Lewis to W. Kamau Bell, Sigmund Freud to Bob Dylan - and much more, including a musical gem from the archive. SHOW NOTES: 0:00 - "Tighter" by Doug McKelley - Performed by Chris Yale, 2009 2:40 - Greetings and about the song 3:41 - Hanging with Chris' cats, Stevie and Kevin 5:23 - Undercover Introvert 6:03 - Roger tries a new joke on Chris / The problem with "get it?" / Standup 7:53 - Chris' throat issues/ Sigmund Freud oral cancer / Freud and cocaine 9:44 - Trips to the Vagabond Theatre with Dad, Wilshire Boulevard, Los Angeles / MGM musicals / The Bijou Theatre on Hollywood Boulevard / C.C. Brown's / Swensen's / David Lee Bynum 11:30 - More MGM musicals / "That's Entertainment!" / Meeting Eleanor Powell / Powell's tap shoes at Capezio Hollywood 13:24 - The original Yale Brothers didn't "get" rock 'n' roll / dying onstage versus killing onstage 14:12 - Audio issues with remote recording / ZOOM Livetrak L-8 / DAW / Logic Pro / Presets on L-8 15:54 - Roger's trip to the mountains / Maggie Valley, NC / Elk in Cherokee, NC / Bryson City, NC / Great Smoky Mountains Railroad / Wrecked trains from "The Fugitive" / Dillsboro, NC 17:49 - Gatlinburg, TN aka Myrtle Beach in the Mountains / Pigeon Forge, TN (same thing) / Ripley's Aquarium / Hollywood Wax Museum 19:33 - More David Lee Bynum 20:03 - Show tunes 20:56 - Grandfather and grandfather-to-be ' Kids and colds 22:08 - "The Awkward Thoughts of W. Kamau Bell" / United Shades of America 23:07 - Jerry Lee Lewis documentary, "I Am What I Am" / Chris met him in Myrtle Beach 24:22 - Figuring out cousins 25:19 - More Jerry lee Lewis - "The Devil's Music" / Sun Records 27:17 - More about vacations / Spending money 28:08 - Chris' music gear and accessories 28:34 - Bob Dylan documentary, "No Direction Home" / Pete Seeger's long-neck banjo / Dave Van Ronk / Fred Neil / Oscar Brand (see Fred Berney podcast episode) / Degrees of Dylan separation 29:50 - Parting shots / Retail killed the Christmas spirit / Our souls / Love not sleep 31:39 - Roger checks on Chris' state of mind, and that annoys Chris / "That don't confront me."

Our guest on this episode of Crossings Conversations is the Rt. Rev.  Kirk Smith, Church Divinity School of the Pacific's interim Dean and President, and former Bishop of the Diocese of Arizona. Bishop Smith spoke with us about about deepening the churches understanding of its history while adapting to the need of a changing world to spread the Gospel in the 21st century. He also shared about his own call and his hopes for serving the CDSP community. Download full episode transcript hereGuest Bio:  Bishop Kirk Smith is the interim Dean and President of Church Divinity School of the Pacific.  He formerly served as bishop of the Diocese of Arizona from 2004 to 2019. Before and after his retirement in 2019, he taught church history courses at the Episcopal Theological School at Claremont, General Theological Seminary, Berkeley Divinity School at Yale, and Virginia Theological Seminary. He served as Bishop in Residence at Berkeley Divinity School at Yale for the Spring term 2021.Prior to serving as bishop for the Diocese of Arizona from 2004-2019, Bishop Smith led parishes in Connecticut and California, including St James', Wilshire Boulevard, a large urban multi-cultural and multi-racial congregation which also operates a day school, nursery school, senior housing project and food program. He received his bachelor's degree from Lewis and Clark College, MDiv from the Berkeley Divinity School at Yale, and PhD from Cornell University.About the Show: Crossings Conversations is a co-production of Church Divinity School of the Pacific and Trinity Church Wall Street. If you enjoyed the show, please rate and review it on Apple Podcasts or share it with a colleague. You can learn more about the only Episcopal seminary on the West Coast and subscribe to Crossings magazine at cdsp.edu.

This episode of the Crime Cafe podcast features another entry in the Adventures of Philip Marlowe entitled “The Old Acquaintance.” You might even see a few “old acquaintances” in the video version. And OMG, this is so obviously like Firesign Theatre's “The Further Adventures of Nick Danger — Third Eye!” Check us out on Patreon: https://www.patreon.com/crimecafe Debbi (00:54): But first, let me put in a good word for Blubrry podcasting. I'm a Blubrry affiliate, but that's not the only reason I'm telling you this. I've been using Blubrry Podcasting as my hosting service for my podcast for years and it's one of the best decisions I ever made. They give great customer service, you're in complete control of your own podcast, you can run it from your own website, and it just takes a lot of the work out of podcasting for me. I find for that reason that it's a company that I can get behind 100% and say, “You should try this.” Try Blubrry. It doesn't require a long-term contract, and it's just a great company, period. It also has free technical support by email, video, and phone, so you can get a human being there. Isn't that nice? If you want to podcast, try out Blubrry. No long-term contract, excellent distribution, and great technical support, too, by email, video, and on the phone. I've included an affiliate link on this blog. Download a copy of the PDF transcript of this episode here. Debbi: Unfortunately, our guest will not be able to appear as planned. However, instead, I have another episode from the Philip Marlowe files. This one is called "The Old Acquaintance,” and I'd like to thank the people at Old Time Radio for preserving these episodes. THE OLD ACQUAINTANCE Marlowe: When it started a girl's wedding and New Year's Eve were only six hours away. And I didn't think the bride to be would make either one of them, but that was before I ran up against the slot machine operator, the escape convict and above all the old acquaintance …! Announcer: From the pen of Raymond Chandler, outstanding author of crime fiction, comes his most famous character as CBS presents the Adventures of Philip Marlowe. And now with Gerald Mohr starring as Philip Marlowe,  we bring you tonight's exciting story, "The Old Acquaintance." Marlowe: At six o'clock in the last evening of the year, I was sitting with my feet up on my office desk, thinking of impossible New Year's resolutions and what the girl on my butcher's 1949 calendar would or would not be wearing. But at that present point, there was a soft, almost apologetic knock on my office door. I said, come in and saw a quiet man in quiet clothes, who extended a quiet hand. He introduced himself as Paul Riker, a Beverly Hills insurance broker, but the tremor in his voice said very worried client, which on New Year's Eve was something I could do without. Paul Riker: Mr. Marlowe. You've got to find Nancy Marshall for me, Marlowe: Just for a springboard, Mr. Riker, who is Nancy Marshall? Paul Riker: She's my fiance. We were to be married at my place in Beverly Hills tonight. Marlowe: On New Year's Eve? Paul Riker: Yes. You see it was at a New Year's Eve party a year ago that we met for the first time. Marlowe: Oh, when's you last hear from her? Paul Riker: About two hours ago, she called and said that she was in terrible trouble. That nobody, especially the police could help her, that well that the wedding was off. Marlowe: I see. You're sure it's not just a matter of you're being left at the altar, huh? Paul Riker: Another man. Oh, oh no, no, I I'm certain that's not it. Now, please, Mr. Marlowe, will you help me? Marlowe: Mr. Riker? To you New Year's Eve means wedding bells, but to me, it's something else, specifically a cozy little apartment on Wilshire Boulevard, where there's a very nice girl and a couple of chilled bottles of sham ... Paul Riker: What is it, Mr. Marlow? What, what's wrong? Marlowe: Shh. There's somebody outside.

Four visits with America's most famous rabbi and "one of the 50 most influential Jews in the world" to see what's up, ask what's it like, and examine the facts of The Case. David Wolpe is the author of Why Faith Matters, Making Loss Matter, and most recently, David: The Divided Heart.    Location: Sinai Temple, Wilshire Boulevard.    Experience the complete adventure by subscribing at patreon.com/filthyarmenian for all episodes.   On twitter and instagram, follow us @filthyarmenian and David Wolpe @rabbiwolpe   If you like what you hear, please rate, review, and spread the word! 

Welcome to the Instant Trivia podcast episode 473, where we ask the best trivia on the Internet. Round 1. Category: That's The Spot 1: This stickier version of "Jurassic Park" is at 5801 Wilshire Boulevard in Los Angeles. La Brea Tar Pits. 2: This patriot of few regrets was hanged in 1776 on what is now 66th and 3rd in New York City. Nathan Hale. 3: In 1993 Joe Carter hit a World Series-winning home run at 1 Blue Jays Way in this city. Toronto. 4: At 110 stories, see the taller side of Sears at 233 S. Wacker Dr, in this city. Chicago. 5: A sign that says "Get In Here" greets you at the Fog City Diner, located at 1300 Battery St. in this U.S. city. San Francisco. Round 2. Category: Robin 1: He's starred in 2 "Good" movies: "Good Morning, Vietnam" and "Good Will Hunting". Robin Williams. 2: That old gang of his included Will, John and Tuck. Robin Hood. 3: He's the only Bee Gee who fits the category. Robin Gibb. 4: This former soap star is married to Sean Penn. Robin Wright. 5: Medical thriller writer who has given us "Coma" and "Vector". Robin Cook. Round 3. Category: Special "Ed" 1: This city's name derives from the Celtic word meaning "Eiden's Fort". Edinburgh. 2: In our opinion, it's a newspaper article that represents the publisher's point of view. editorial. 3: At least the Antarctic range named for this Henry Ford descendant isn't considered a failure. Edsel Ford. 4: Hell-oooo, possums, "She's" the international star who took a "Royal Tour" in 2001. Dame Edna Everage. 5: This place, whose name means "place of pleasure", is often thought to have been in Mesopotamia. Garden of Eden. Round 4. Category: Broadway Roles 1: In 1951 he was "The King"; Gertrude Lawrence was "I". Yul Brynner. 2: In 2002 this "Notes on a Scandal" dame went "Into the Woods" as Giant (well, her recorded voice did, anyway). Judi Dench. 3: In 1968, before the force was with him, he landed the lead in "The Great White Hope". James Earl Jones. 4: (Hi. I'm Bebe Neuwirth.)In 1997 I won my 2nd Tony Award for playing Velma Kelly in "Chicago"; in 2007 I appeared in a revival of the production playing this dancer, Velma's rival. Roxie. 5: In 1948 he was drafted to play "Mister Roberts". Henry Fonda. Round 5. Category: Also An Apple Variety 1: Irish satirist Swift. Jonathan. 2: Acting brothers Alec, Billy and Stephen. Baldwin. 3: Broadway musical about Charlemagne's son. Pippin. 4: British royal house symbolized by a white rose. York. 5: Austere, like the people of an ancient Greek city. Spartan. Thanks for listening! Come back tomorrow for more exciting trivia!

Someone Stole My Rolls Royce Investing in California real estate in the 1980's was fun. Whatever you bought you could sell for more. The doctrine: “there is always a greater fool than I,” worked. Li Chen Hua immigrated to California from Hong Kong in 1981. He did it legally, winning a lottery for a Green Card. He came to the U.S. with his savings (converted from Hong Kong dollars to diamonds for ease of transportation). Li set himself up in a condominium on Wilshire Boulevard just west of the community known as Westwood and east of Beverly Hills. It only cost him $500,000. He bought three other condos in the same building that first year and paid his mortgages and living expenses from the rent he collected. In 2008 the bottom fell out of the California real estate market. Mr. Li, found himself owning real estate mortgaged to over $14,000,000 but worth only $9,000,000. The rents he collected were not sufficient to pay the various mortgages and allow him to continue in the life style with to which he had become accustomed. He needed to make a great deal of money fast and then, leaving his mortgagees to fend for themselves, return to Hong Kong for a pleasant retirement. Mr. Li's cousin was the number one luxury car dealer in all of the People's Republic of China. She had no competition, an almost unlimited supply of vehicles, and overhead limited to shipping costs. Li's account at CitiBank, Hong Kong was growing. He put his savings in broad-based stock mutual funds specializing in high risk emerging markets. His investments doubled in two years. Li decided it was time to stop while he was ahead. He would ship his pRoger Parsons, the claims supervisor at Massive and Stoney Insurance Company, looking out his window at the slow moving, brown Illinois River, was about to order a check for the settlement when he received a report from the NICB that the car had been shipped by Li to Hong Kong a month before the reported theft. Customs officials in Hong Kong reported the car arrived and was picked up by its consignee. The NICB had copies available of the shipping documents with Mr. Li's signature. Massive and Stoney retained counsel to examine Mr. Li under oath about the theft. Li and his attorney appeared at Massive's lawyer's office belligerent, demanding immediate payment of a legitimate insurance claim. “Mr. Li is a wealthy and highly respected member of the community. This examination under oath is a waste of time and an attempt to create useless and unwarranted delays. If payment is not received immediately, Mr. Li will sue Massive and Stoney for bad faith” Len Shyster, Li's attorney, orated. --- Support this podcast: https://anchor.fm/barry-zalma/support

Los Angeles, 8 mars 1997, il est aux alentour d'une heure du matin, nous sommes au croisement de Wilshire Boulevard et South Fairfax. Un 4X4 patiente sagement à un feu rouge. Les passagers du véhicule ne se soucient pas de la Chevrolet Impala qui se porte à ses côtés, de toute façon, il est déjà trop tard. Le conducteur de la Chevrolet baisse sa vitre et tire à 5 reprises… sur Notorious Big, qui ne se relèvera pas. L'onde de choc de l'assassinat du mythique rappeur new-yorkais fut considérable, d'autant qu'il faisait directement écho à celui du mythique rappeur californien, Tupac Shakur… Notre politique de confidentialité GDPR a été mise à jour le 8 août 2022. Visitez acast.com/privacy pour plus d'informations.

Snipit130: punt a ball across Wilshire Boulevard --- Support this podcast: https://anchor.fm/meditationintraffic/support

Los Angeles: home of Hollywood, struggling actors and more attractions than an army could count on all their fingers and toes. Start at 6067 Wilshire Boulevard, where the Academy Museum of Motion Pictures recently opened. Enter the distinctive ball-shaped building and lose yourself in movie magic. Look behind the scenes to learn how Hollywood makes its films, and about its global impact. Just around the corner, there are some remarkable public art pieces. Levitated Mass is a 340-ton boulder sitting above a sunken walkway. Walk right under it without fear. Urban Light is a collection of restored street lamps from the 1920s and '30s. Next, head to the La Brea Tar Pits. In the Ice Age, animals wandered into these pits, got stuck in the asphalt and died. Thousands of years later, scientists pulled out their bones to study them. Now families come to the museum here to gaze at these amazing fossils. Everyone wants to get up close to the Hollywood sign, but that's out of the question. However, you can hike close enough to get a good photo. From the Griffith Observatory car park, take the 5-km loop trail for a great view of the sign. Griffith Park, which contains the sign, has a bunch more trails with commanding views of the sprawling city below. Visit at night for the best views. Back at the car park, take a look through Griffith Observatory and be blown away by the amazing universe we live in. You could spend hours wandering around the many exhibits, and the statue of Albert Einstein is a magnet for holiday snaps. (T) This article was provided by The Japan Times Alpha.

In today's episode, I discuss the topic of sustainability with my guest Lauren Eckhart Smith, the Head of Design at Alagem Capital Group in Beverly Hills, California. I also speak with her about One Beverly Hills, a mixed-use project that includes residential, retail, hotel and both new construction and renovation components. This project, located at the intersection of Wilshire Boulevard and Santa Monica Boulevard, is a one-of-a-kind building with the most advanced technologies for health and sustainability. Additionally, I discuss with Lauren how this particular 17.5-acre site is one of the largest projects incorporating sustainable design and architecture in California, far beyond the hand-waving that we see in our industry. She also shares with us her experience working with the City of Beverly Hills as well as her experience working on past jobs, such as designing the IAC Headquarters in New York by Frank Gehry, the Bloomberg LP Headquarters in London by Norman Foster. A new wave of sustainable building designs has emerged - and it's nothing compared to what we have seen in the past. Join us on today's episode if you are interested to learn more as we dive into this topic, including Lauren's personal experience working in the industry. About the Guest:Lauren Eckhart Smith is the Head of Design at Alagem Capital Group in Beverly Hills, California. After beginning her career at Gensler Associates, she spent a large portion of her career working on iconic buildings such as the IAC Headquarters in New York by Frank Gehry, the Bloomberg LP Headquarters in London by Norman Foster. Lauren is currently in charge of the design of One Beverly Hills, a master-planned and unsurpassed development at the gateway to Beverly Hills including 300 luxury residences, retail, a lifestyle members club and eight acres of botanical gardens.Listen to the episode on Apple Podcasts, Spotify, Google Podcasts, Stitcher, TuneIn, or on your favorite podcast platform. Topics Covered:Lauren's experience working with Alagem Capital GroupWhat does sustainable design mean?Lauren's experience working with IAC Headquarters in New York by Frank Gehry, the Bloomberg LP Headquarters in London by Norman FosterOne Beverly Hills projectHow large projects can address sustainability, far beyond the hand-waving that we see in our industry. About Your HostAtif Qadir is the Founder & CEO of REDIST, a technology company making it easy for commercial real estate professionals to find and use the $100B of real estate incentives given out every year in the US.Resources and LinksLauren's LinkedInAlagem Capital Group LinkedInOne Beverly Hills WebsiteGrab our exclusive guide Seven Tips on How to Stand Out in Your FieldLearn more on the American Building websiteFollow us on InstagramConnect with Atif Qadir on LinkedInLearn more about Michael GravesLearn more about REDIST

The one where we interview Bella Cosper a small business owner, writer, director and actress who has a vision impairment. She is a writer for the CBS Pipeline and mentee'd at Six Point Harness (Hair Love) for Animation Development. She has produced, directed, & written award-winning short films, scripted audio, TV, & stage productions. An alumni of UCLA's TV Comedy Writing & Development program, she also studied comedy at Upright Citizens Brigade, iO, & The Pack. You may recognize Bella's name from our outro credits as she runs her own production company, Egrollmedia.com and we hired her to master our first few episodes until we got our in-house editing staffed and trained! Bella is a terrific actress and talented business owner. I highly recommend her for your podcast production needs and she's a funny script writer too! Check out her latest project What the Braille? And follow her on IG @eggrollmedia and @realbellacosper and on Twitter at Bellacosper In this episode we mention a email group that no longer exists today. But fear not there are many resources online that offer a way to connect to other filmmakers, including the Alliance of Women Directors, Women In Media's Crew List, Ava DuVernay's Crew List called ARRAY Crew, Filmmakers groups on FB and Google Groups. Isn't the internet amazing! Bella also talked about a place where artists can tell their stories "Typewriter Dynasty" at the Hayworth Theatre is a theater and performing arts center at 2511 Wilshire Boulevard in the Westlake neighborhood of Los Angeles, California. Bella and I also talked a little about the Easter Seals Disability Film Challenge, a film festival that looks to make disability more visible! I encourage you to form a team and enter in 2022 - it usually happens in March/April. --- Support this podcast: https://podcasters.spotify.com/pod/show/breakingbig/support

In 1938, a radio broadcast based on H. G. Wells' book "War of the Worlds" aired. People all over the country tuned in, but not everyone heard the disclaimer that it was just a dramatized reading and not a real alien invasion. Panic ensued...or did it? Listen to this story and three other great Additional History stories. SOURCES “Advertisement: Chesterfield Cigarettes (Page 2).” Daily Clarion-Ledger (Jackson, Mississippi), October 31, 1938. www.newspapers.com. Associated Press. “Dog's Pal May Starve To Death.” Hinton Daily News (Hinton, West Virginia), November 3, 1938. www.newspapers.com. Associated Press. “Trapped Dog Is Found, But Dead.” Hinton Daily News (Hinton, West Virginia), November 7, 1938. www.newspapers.com. “Bars Placed Across Theater Doors Bring Grief To Halloween Pranksters.” The Indianapolis Star (Indianapolis, Indiana), October 31, 1938. www.newspapers.com. Chicago Tribune Press Service. “U.S. Runs Rich Indian's Widow From Mansion.” Chicago Tribune (Chicago, Illinois), October 31, 1938. www.newspapers.com. “H. G. Wells.” Wikipedia. Wikimedia Foundation, September 13, 2021. https://en.wikipedia.org/wiki/H._G._Wells. “Jackson Barnett.” Wikipedia. Wikimedia Foundation, July 31, 2020. https://en.wikipedia.org/wiki/Jackson_Barnett. “Maliciousness Will Be Checked.” Arizona Republic (Phoenix, Arizona), October 31, 1938. www.newspapers.com. “Orson Welles.” Wikipedia. Wikimedia Foundation, September 8, 2021. https://en.wikipedia.org/wiki/Orson_Welles. “Police Kept Hopping By Halloween Pranks.” Battle Creek Enquirer (Battle Creek, Michigan), October 31, 1938. www.newspapers.com. “Prank Lands Six Youth In Trouble.” The Paterson Evening News (Paterson, New Jersey), October 31, 1938. www.newspapers.com. This Land. “The Prisoner of Wilshire Boulevard.” This Land Press, January 23, 2012. https://thislandpress.com/2012/06/23/the-prisoner-of-wilshire-boulevard-2/. Thorne, Tanis C. “The World's Richest Indian.” Oxford Scholarship Online. Oxford University Press, 2005. https://oxford.universitypressscholarship.com/view/10.1093/acprof:oso/9780195182989.001.0001/acprof-9780195182989-chapter-12. “A Tragic Prank.” Mansfield News-Journal (Mansfield, Ohio), October 22, 1938. www.newspapers.com. United Press. “Jobless Men Labor to Rescue Dog.” Daily News (Los Angeles, California), October 31, 1938. www.newspapers.com. United Press. “U. S. Probes Radio 'Invasion' Scare.” The St. Louis Star-Times (St. Louis, Missouri), October 31, 1938. www.newspapers.com. SOUND SOURCES Al Jolson. “I'll Say She Does.” www.pixabay.com/music. Lucille Hegamin and The Dixie Daisies. “Cold Winter Blues.” www.pixabay.com/music. Sophie Tucker. “Reuben Rag.” www.pixabay.com/music. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Vida Mannings is an accomplished transportation professional whose progressive leadership capability have brought forth system changes that have positively impacted millions of people. Energetic relationship-building and problem-solving skills, combined with the ability to influence decision-makers, have made her a central player in the myriad of transitions and reforms in public transit for more than 30 years.  Currently, she serves as the Director of Special Projects in the CEO's Office at the Southern California Regional Rail Authority.  In this role, Vida leads initiatives for the commuter rail agency that is focused on strengthening relationships with private sector partners headquartered in the Authority's six-county service area. Vida is a graduate of Leadership APTA and serves on the Leadership APTA Committee.  She is a former Vice Chair of APTA's Diversity Council, an APTA Nominating Committee participant, and an active member of the Southern California chapters of WTS and COMTO.  She has a Masters Degree in Urban and Regional Planning from Virginia Commonwealth University and a Bachelor of Science degree in Transportation from North Carolina A&T State University. Vida Mannings, MURP | Director of Special Projects (CEO's Office) | Southern California Regional Rail Authority | 900 Wilshire Boulevard, Suite 1500, Los Angeles, California 90017  manningsv@scrra.net  ______________________ NABWIC's Vision: The Vision of the National Association of Black Women in Construction (NABWIC) is to build lasting strategic partnerships with first-rate organizations and individuals that will provide ground-breaking and innovative solutions for black women in construction and their respective communities. NABWIC.ORG

Hey Guys! We continue the nightmare this week with the 1985 sequel, A Nightmare On Elm Street 2: Freddy's Revenge. Spoiler alert, this is NOT directed by Wes Craven, but is it as good as the first one? Tune in to listen to us watch while also chatting about Mike's bicyclist incident, the joys of the DMV, a painted man on Wilshire Boulevard, Mike's trip preparation, the 25th anniversary of Scream, neck shrinkage, cro-magnon brow, slumber party at Hollywood Forever, putting the OH in Ohio, a boat story, decluttering, we need more mullets, Mike & Bonny's Crypto Corner, 80's long butts, Bonny's reunion is a go, how there needs to be more male nudity in horror movies, should Bonny cut her hair and more. Enjoy!

Originally published on: March 1, 2021.As visitors from around the world return to Rodeo Drive, we invite you to listen back to the story of the visionary who created the renowned Two Rodeo Drive: Douglas Stitzel. In the late 1980s, the San Francisco real estate developer burst onto the scene with an idea for a new, European-style shopping complex that would work as a companion to Rodeo Drive. Located on the corner of Rodeo Drive and Wilshire Boulevard, today it is lined with a restaurant and boutiques operated by some of the greatest names in luxury and fashion retail including Jimmy Choo, Etro, Lanvin, Porsche Design, Stefano Ricci, Tiffany & Co., and Versace. Explore the story of the creation of Two Rodeo Drive with Stitzel’s right hands on the project, as well as architecture critic Paul Goldberger, fashion journalist Merle Ginsberg, legendary hair stylist José Eber, and Bill Wiley, Director at CBRE, worldwide leader in real estate services, who manages Two Rodeo Drive today.Podcast webpage: rodeodrive-bh.com/podcast@rodeodriveCONTACTLyn Winter, Executive Producer, Lyn Winter, Inc., 213 446 0788, rodeodrive@lynwinter.com See acast.com/privacy for privacy and opt-out information.

On this holiday, Greater LA replays two episodes of our “What's In a Street Name?” series. Gaylord Wilshire — a land speculator, billboard tycoon, failed politician and inventor — built Wilshire Boulevard, which became LA's primary escape route from the horse-drawn era. But as the city got bigger, Gaylord Wilshire got smaller. A stroll through Hollywood history reveals over 100 years of boulevard branding. But can the “Main Street of the movies” maintain its historic integrity — and keep its small businesses alive — while absorbing billions of private investment dollars?

Gaylord Wilshire was a land speculator, billboard tycoon, failed politician and inventor. He built Wilshire Boulevard, a street that became LA’s primary escape route from the horse-drawn era. But as the city got bigger, Gaylord Wilshire got smaller.

When one Rodeo Drive was not enough, they built Two Rodeo Drive. In the late 1980s, the visionary San Francisco real estate developer Douglas Stitzel burst onto the scene with an idea for a new, European-style shopping complex. Located on the corner of Rodeo Drive and Wilshire Boulevard, it would work like a companion to the world’s leading luxury thoroughfare. Today it is lined with a restaurant and boutiques operated by some of the greatest names in fashion retail including Etro, Lanvin, Versace, Jimmy Choo as well as Tiffany & Co.Host Bronwyn Cosgrave explores the creation of Two Rodeo Drive with Stitzel’s right hands on the project, along with architecture critic Paul Goldberger, fashion journalist Merle Ginsberg, legendary hair stylist José Eber, Bill Wiley, Director at CBRE, worldwide leader in real estate services, who manages Two Rodeo Drive today and Kathy Gohari, Vice President of the Rodeo Drive Committee. They tell the story of Two Rodeo Drive for the first time, what happened after Stitzel realized his dream of building it, and also share their views on what’s next for the street. Podcast CreditsHost, Bronwyn Cosgrave.Editors, Frances Anderton and Avishay Artsy.Theme music by Brian Banks.Production Coordinators, Livia Mandoul and Callie McConnell.Executive Producer, Lyn Winter.Rodeo Drive - The Podcast is presented by the Rodeo Drive Committee with the support of the City of Beverly Hills.Rodeo Drive CommitteeFounded in 1972, Rodeo Drive, Inc., also known as The Rodeo Drive Committee is a 501 C (6) non-profit organization, that provides a forum where its members—consisting of retailers, hoteliers, and landowners—can engage, share a dialogue, and help shape the present and future of the iconic, world-famous shopping destination. For further information about Rodeo Drive - The Podcast, please contact:Lyn Winter, Inc., 213 446 0788, rodeodrive@lynwinter.com See acast.com/privacy for privacy and opt-out information.

On this episode we sit down with Doctor Guy Citron and Christopher Ingram with Prosperitas Financial.  Doctor Guy is a naturopathic doctor in Los Angeles California, a phenomenal individual, and frankly Doctor Guy dropped the mic on what it means to be healthy if you have nagging injuries illnesses what those things are trying to tell you and the best avenues to consider healing your body for good.  A phenomenal episode and we also tie in you know the correlation between your health and your finances phenomenal topics phenomenal answers coming out of these questions and probably my favorite episode to date. I hope you enjoy!More About Doctor Guyhttps://www.doctorguy.com/ 8920 Wilshire Boulevard, Suite 610Los Angeles, CA 90211Phone: 323-250-6926My mission is to provide balanced solutions to help you thrive with as little medication as possible.” – Dr. Guy Citrin Guy Citrin, NDDriven and warmhearted naturopathic doctor Guy Citrin, ND, dedicates his time and expertise to helping men and women improve their general health and quality of life at his private practice, Doctor Guy, in Mid-Wilshire, Los Angeles.Dr. Guy combines innovative integrative modalities with functional, naturopathic, and conventional medicine for the best possible results. He has diverse experience, education, and training, and specializes in treating chronic disease, hormone imbalance, joint pain, gut health, anti-aging, and regenerative medicine.Dr. Guy received his naturopathic medical degree from the National University of Health Sciences in Lombard, Illinois. He was a resident at a renowned affiliate site through Bastyr University before relocating to Los Angeles.Dr. Guy is a member of the Endocrinology Association of Naturopathic Physicians, the California Naturopathic Doctors Association, and a nationally recognized speaker on gut health for Microbiome Labs. He specializes in gut health, hormones, and regenerative medicine. However, he has a broad background and expertise in primary care and treats many conditions. He attempts to help the body heal naturally and therefore, take people off medication when it is safe to do so.  Many patients visit Doctor Guy feeling overprescribed and underappreciated. For Dr. Guy, he doesn't just want to make you feel better in the moment, but he wants you to feel better into the future. He believes that health truly is wealth, and he enjoys helping patients feel better and restoring richness and vitality on a deeper level.Dr. Guy's objective is to provide exceptional and personalized care that doesn't just mask the symptoms but improvesWith initial 90-minute consultations, Dr. Guy spends ample time with patients and leaves no stone unturned. New patients are welcome.

This week, your hosts Steve Lowry and Yvonne Godfrey interview Armen Akaragian and Garo Mardirossian of Mardirossian & Associates, Inc. (https://www.garolaw.com/)   Remember to rate and review GTP in iTunes: Click Here To Rate and Review   Episode Details: Los Angeles trial lawyers Armen Akaragian and Garo Mardirossian of Mardirossian & Associates, Inc. explain how they represented the family of Nonki Uno, a 66-year-old restaurant owner who was killed after the accelerator pedal in her 2006 Toyota Camry got stuck following a crash caused by another driver who ran a stop sign. In August 2009, 86-year-old Olga Bello broadsided Nonki Uno's car, sending it spinning and uncontrollably accelerating, crossing the center median curb and striking multiple telephone poles and trees. Nonki was found dead at the scene with her foot broken and mangled under the brake pedal and her emergency brake activated. Originally tried in 2013, this was a bellwether case for nearly 300 unintended acceleration cases involving Toyota vehicles. Toyota failed to include a Brake Override Safety System (B.O.S.S.) in the American model of the Toyota Camry until 2007 and failed to warn consumers about the fact that solid accelerator pedals can get stuck and cause sudden acceleration. Despite Armen and Garo's argument that Toyota and Olga Bello were to blame for Nonki's death, the Los Angeles jury ultimately found Olga 100% responsible and awarded $10,000,000 in noneconomic damages to Nonki's husband and son.    Click Here to Read/Download the Complete Trial Documents   Guest Bios: Armen Akaragian Armen Akaragian is an attorney with the firm of Mardirossian & Associates, in Los Angeles, California. He has been with the firm since 1999. Admitted to practice in 2006, Armen has arbitrated, tried, and settled several cases that have resulted in multi-million dollar verdicts and settlements. Some of the largest entities Armen has represented the firm's clients against include Ford Motor Company, General Motors, Toyota Motor Corporation, Marriott International, Inc., Kiewit Construction, Continental Tire, Land Rover, State of California, Chrysler Motors, Emerson Electric, and Honeywell International. In 2009, he was nominated for the coveted Consumer Trial Attorney of the Year Award by the Consumer Attorneys of California, a statewide organization, following his involvement in the case of Pannu vs. Land Rover. This complex product liability case, which was litigated for more than seven years, tried over eight weeks and underwent a two-year appellate process, ultimately resulted in a fully affirmed judgment in excess of $25,000,000.00. Most notably, the published Court of Appeal opinion set precedent in the State of California excluding from evidence crucial testing that automobile manufacturers have relied upon in defending complex product liability cases for decades. In 2011, Armen again was recognized for his accomplishments by the Armenian Bar Association as one of the top 20 lawyers under 40. This was the first time this award had been given out by the Bar Association. In 2013, Armen was one of the trial attorneys in the first bellwether case tried to verdict, Uno v. Toyota, in the about 300 coordinated cases against Toyota arising from unintended acceleration incidents. The trial lasted for more than three months and resulted in a jury verdict in the amount of $10,000,000.00 for the untimely death of a 66-year-old wife and mother. The case ultimately settled in 2015 at the Appellate Court steps. At that time, the judgment which also included costs and interest exceeded $13,000,000.00. During the trial in Uno v. Toyota, the California Court of Appeal published its opinion in Purton v. Marriott International, Inc., 218 Cal. App. 4th 499 (2013), reversing a grant of summary judgment. The Court of Appeal agreed with Armen's position taken at the trial court level and eventually held that an employer could still be responsible for the acts of its employee who became intoxicated at a company party even if the employee arrived home safely from the party, then left his house and was subsequently involved in a crash. The case eventually started trial in May of 2015 in San Diego. After three weeks and just before plaintiffs rested, the case was resolved for a confidential sum. Armen attended California State University, Northridge, where he earned, in 2002, a Bachelor of Science Degree in Business Administration. He then attended Southwestern University School of Law in Los Angeles, where he was consistently on the Dean's List, and completed his Juris Doctor degree in 2005. During his studies, he was also a Judicial Extern for Honorable Dikran Tevrizian, Judge with the United States District Court for the Central District of California. Read Full Bio   Garo Mardirossian Garo Mardirossian is the principal of Mardirossian &Associates, Inc., a five-lawyer firm in the Mardirossian Law Building located at 6311 Wilshire Boulevard in Los Angeles. Since starting his practice in 1981, Mr. Mardirossian has focused almost exclusively on representing individuals who have been catastrophically injured. Mr. Mardirossian has obtained over 100 seven- and eight-figure verdicts and settlements, including eight-figure verdicts in product liability, general negligence, and civil rights cases. In April of 2019, Mr. Mardirossian obtained the largest settlement ever against the Los Angeles County Sheriff's Department in the amount of $42,200,000.00 in the case of Fong v. LA County Sheriff's Department, where a rogue Sheriff's Deputy lost control of his patrol car while responding to a call, Code 3, and hit the plaintiff who suffered a broken leg and a moderate TBI. Despite the crash, within six months, the plaintiff returned back to work without any limitations. In an earlier case against the Los Angeles County Sheriff's Department, Dole v. LA County Sheriff's Department, members of the Dole family were beaten and arrested at the Dole home while celebrating a bridal shower. Mr. Mardirossian obtained a defense verdict in the felony criminal case prosecuted against members of the Dole family and then obtained a jury award in the amount of $24,850,000.00 in the civil rights action -- the largest judgment in history against the Sheriff's Department at the time. In Mendoza v. LA County Sheriff's Department, Mr. Mardirossian obtained a $14,350,000.00 settlement for the family of Frank Mendoza, a grandfather who was mistakenly shot and killed by Sheriff's Deputies as he was exiting his home. More recently, in Valenzuela v. City of Anaheim, an excessive force case that resulted in the choking death of Vincent Valenzuela, Garo Mardirossian and Dale Galipo teamed up to obtain a federal court jury verdict of $13,200,000.00 for the family of an unarmed homeless father of two. In the nationally followed Kelly Thomas v. Fullerton Police Department case, Mr. Mardirossian fought for justice for Kelly Thomas, a homeless man suffering from schizophrenia, who was tased and beaten to death by Fullerton Police officers following an encounter that was escalated by the officers. During jury selection, Mr. Mardirossian obtained a settlement of $4,900,000.00 on behalf of Kelly's father. In Kunta Kinte v. Bart Simpson (real names), Mr. Mardirossian represented a South Central family that was beaten and arrested by officers of the LAPD. After obtaining an acquittal in the criminal case, Mr. Mardirossian settled the civil rights action case for $350,000.00. In Zerby v. Long Beach Police Department, Mr. Mardirossian and Dale Galipo obtained a jury verdict of $6,500,000.00 after Long Beach Police officers shot and killed Douglas Zerby, who was sitting on the steps in front of a friend's house. The officers mistook the water nozzle he was holding for a weapon and opened fire. In Amaya v. LA County Sheriff's Department, Mr. Mardirossian obtained a $3,050,000.00 jury verdict on behalf of the family of a man who was shot and killed in his home by Sheriff's Deputies who were executing an arrest warrant. In Ponce v. City of Anaheim, Mr. Mardirossian obtained a $1,650,000.00 settlement for the children of Adalid Flores, who was shot and killed by Anaheim Police Department officers who believed his cell phone was a gun. In 2000, Mr. Mardirossian won the prestigious CAALA Trial Lawyer of the Year award. In 2010, he was elected CAALA's president. He has been named by the Daily Journal as one of the top 100 Lawyers in California, and he has had numerous published decisions that have set an important precedent in California, including Purton v. Marriott International, Inc., 218 Cal. App. 4th 499 (2013); Pannu v. Land Rover, 191 Cal. App. 4th 1298 (2011); Mardirossian & Associates, Inc. v. Ersoff, 153 Cal. App. 4th 257 (2007); and Srithong v. Total Investment Co., 23 Cal. App. 4th 721 (1994). Read Full Bio   Show Sponsors: Legal Technology Services - LTSatlanta.com Digital Law Marketing - DigitalLawMarketing.com Harris, Lowry, and Manton - hlmlawfirm.com   Free Resources: Stages Of A Jury Trial - Part 1 Stages Of A Jury Trial - Part 2

This year for Knock Knock It’s Christmas, Gary, Lisa and the K-EARTH 101 morning crew will be bringing Christmas to a family of 8 (Mom, Dad, and 6 kids) who had to move out of the house they were living in because the owner was selling the property. In order to prevent their family from being homeless, they were forced to move into a home with a much higher rent. Dad has now lost most of his side jobs due to Covid-19. Here’s How You Can Help: Call our request line at 1-800-232-KRTH between 6-10am, Monday-Friday and tell us what you’d like to donate. Send donations by mail by Tuesday, Dec. 15th at 5:00 pm to: Knock Knock It’s Christmas c/o K-Earth 101, 5670 Wilshire Boulevard, Suite 200, Los Angeles, CA 90036. Send e-gift cards to promotions@kearth101.com. Donations needed include toys, gift cards, clothes, supplies, etc. for the kids (11-year-old girl, 10-year-old twin girls, 5-year-old boy, 3-year-old girl, and 18-month-old boy), plus any cash or gift card donations for Mom and Dad. TEXT "KNOCK" to 20357 for more info on where to send donations! Learn more about your ad choices. Visit podcastchoices.com/adchoices

1100 Wilshire Boulevard downtown Los Angeles luxury Live Work laughed high-rise Tower condominium units for sale audio podcast by Corey Chambers

This episode explores the origin of the name Wilshire Boulevard. 

When Loren Avedon answered a call to the Jun Chong Martial Arts Academy on Wilshire Boulevard in Los Angeles late one night in 1987, little did he know that the call would prove to be life-changing. With only a matter of days until filming was scheduled to start in Thailand on the sequel to the 1986 martial arts hit, 'No Retreat, No Surrender', both of the film's contracted stars - Kurt McKinney and Jean-Claude Van Damme - had pulled out, leaving producer Roy Horan with the desperate task of having to contact the city's top dojos to quickly find a replacement. Enter young taekwondo ace, Loren Avedon; black belt student of brothers Phillip and Simon Rhee, part-time instructor at Jun Chong's and a used car salesman. After impressing Roy Horan, Loren found himself jetting off to Thailand to start his new career as a leading actor in martial arts action movies. 'No Retreat, No Surrender 2: Raging Thunder' would prove to be the first of a three-picture deal with the Hong Kong production company, Seasonal Films - created by Roy Horan and Ng See-yuen - followed by 'No Retreat, No Surrender 3: Blood Brothers' (1990) and 'The King of the Kickboxers' (1991). This blistering trio of fight classics quickly saw Loren Avedon become hot property in an already booming video market for martial arts movies. Listen as Loren speaks candidly about his formative years in LA and London, his martial arts training, his inspirations, his movie career, and the lessons he has learned after over three decades of working in the entertainment industry. LINKS Loren Avedon's website: http://lorenavedon.com/index.php/home/ Loren Avedon on Instagram: https://www.instagram.com/lorenavedonofficial/ Loren Avedon on Twitter: https://twitter.com/lorenavedon Loren Avedon on Facebook: https://www.facebook.com/lorenavedon2 Warriorwear Clothing: https://warriorwear.clothing/ Loren Avedon profile on Kung Fu Movie Guide: https://bit.ly/LorenAvedonProfile 'No Retreat, No Surrender 2: Raging Thunder' review: https://bit.ly/NRNS2 'No Retreat, No Surrender 3: Blood Brothers' review: https://bit.ly/NRNS3BloodBrothers 'The King of the Kickboxers' review: http://bit.ly/KingOfTheKickboxers JULY COMPETITION DETAILS We have two copies of the complete first season of 'Gangs of London' on Blu-ray and three copies of 'Mr. Vampire' on Blu-ray to give away in our July competition - courtesy of Dazzler Media and Eureka Entertainment respectively. Competition closes 31 July 2020. To be in with a chance of winning, sign up now to our newsletter at: http://bit.ly/KFMGhome. Good luck!

About 15 years ago, while sitting in my cubicle office, I realized something horrifying. I realized I had fallen into a trap. I was bored and unhappy with most of the day. This was not supposed to be my life. I'd drive 45 minutes to a job that was only 13 miles away from my house. I'd sit in my cubicle office on Wilshire Boulevard in Los Angeles, California, bored. The day was going to be long and just like the last. After about 10 or more hours I'd drive home, it'd take about an hour to get through those 13 miles to get home. L.A. traffic, ya know... I might make it home in time to kiss my young daughters good-night, if traffic wasn't too bad, or they'd be asleep and I didn't even get to see them that day. Then on to the next day... This day would be like all the rest, except my wife and kids would be at Disneyland with my visiting family. My kids were experiencing something they still remember to this day, the first time they went to Disneyland as kids. I remember it too, sitting in my office, since I realized I was living someone else's life. It certainly wasn't my life. When I graduated high school, with the entire world as a possibility, I wasn't hoping that I could spend most of my day, everyday, in a boring job. Missing my kids growing up. Wondering what fun they were up to while I inched towards death being about as fulfilled with life as a rock. I couldn't take it anymore. I decided to refuse to live that fake life. Things are very different today, but I have a question for you. Is your current life the one you'd choose or did you fall into the FAKE trap? Get out now: http://www.JoinFreedomClub.com Jeremy Frandsen World Leader in Freedom Business Education

White, Catholic high school senior Annie Shea, who sneaks out of her enormous Catholic family to volunteer for Robert Kennedy's campaign for President in 1968. In this podcast, Change Gonna Come, it's the day Martin Luther King Jr. is murdered. At the Wilshire Boulevard offices of KENNEDY FOR PRESIDENT campaign, Annie begins her awakening to the powerful racist forces that drive white society in 1968.

About 15 years ago, while sitting in my cubicle office, I realized something horrifying. I realized I had fallen into a trap. I was bored and unhappy with most of the day. This was not supposed to be my life. I'd drive 45 minutes to a job that was only 13 miles away from my house. I'd sit in my cubicle office on Wilshire Boulevard in Los Angeles, California, bored. The day was going to be long and just like the last. After about 10 or more hours I'd drive home, it'd take about an hour to get through those 13 miles to get home. L.A. traffic, ya know... I might make it home in time to kiss my young daughters good-night, if traffic wasn't too bad, or they'd be asleep and I didn't even get to see them that day. Then on to the next day... This day would be like all the rest, except my wife and kids would be at Disneyland with my visiting family. My kids were experiencing something they still remember to this day, the first time they went to Disneyland as kids. I remember it too, sitting in my office, since I realized I was living someone else's life. It certainly wasn't my life. When I graduated high school, with the entire world as a possibility, I wasn't hoping that I could spend most of my day, everyday, in a boring job. Missing my kids growing up. Wondering what fun they were up to while I inched towards death being about as fulfilled with life as a rock. I couldn't take it anymore. I decided to refuse to live that fake life. Things are very different today, but I have a question for you. Is your current life the one you'd choose or did you fall into the FAKE trap? Get out now: http://www.JoinFreedomClub.com Jeremy Frandsen World Leader in Freedom Business Education

Construction has begun on a 16-story high-rise luxury building on Wilshire Boulevard, and Justin wants all the neighbors to know about it. But is Justin posting because he's concerned about the building's impact on traffic, or does he have ulterior motives? And how will this high-rise affect others in the neighborhood? Jesse and Sheryl take a walk up to Wilshire to find out. Features special guest, comedian Brian Kiley.

Meet Constance Curtis of Southern California's newest Elite Dating and Matchmaking app, The List. Find out what you might be doing wrong as you're trying to connect on a love level in this digital age and listen to the horror stories of Sapphire and Yas's experience with online dating! Looking for love and companionship get on "The List" and meet Constance as well as other singles on August 15th 6:30 - 10:00pm The Beverly Hilton, The Iconic Los Angeles Hotel 9876 Wilshire Boulevard, Beverly Hills, Ca RSVP: https://thelist.la/event/ --- Send in a voice message: https://anchor.fm/sapphiresearplay/message

In this episode of Beneath the Subsurface we turn back time with Daniel Orange, our ONE Partner for multibeam technology and seafloor mapping - and incredible storyteller - and Duncan Bate, our Director of Project Development in the Gulf of Mexico and Geosciences. Dan takes Duncan and Erica on an expansive journey through time to meet a special variety of archea that dwell in the impossible oases surrounding sea bottom vents. We also explore the relatively recent discoveries in geoscience leading to seafloor mapping and how seep hunting offshore can enrich the exploration process today. TABLE OF CONTENTS00:00 - Intro03:35 - What is a seep?09:06 - The impossible oasis11:45 - Chemotrophic life24:15 - Finding seeps26:51 - The invention of multibeam technology30:11 - Seep hunting with multibeam32:48 - Seismic vs. multibeam34:43 - Acquiring multibeam surveys44:32 - The importance of navigation46:20 - Water column anomalies49:12 - Seeps sampling and exploration56:23 - Multibeam targets59:12 - Multibeam strategy1:03:11 - Reservoir content1:06:44 - A piece of the puzzle1:10:21 - ConclusionEXPLORE MORE FROM THE EPISODELearn more about TGS in the Gulf of MexicoOtos MultibeamEPISODE TRANSCRIPTErica Conedera:00:00:12Hello and welcome to Beneath the Subsurface a podcast that explores the intersection of Geoscience and technology. From the Software Development Department here at TGS. I'm your host, Erica Conedera. For our fourth episode, we'll welcome a very special guest speaker who offers a uniquely broad perspective on the topic of sea floor mapping. We'll learn about the technology of multibeam surveys, why underwater oil seeps are the basis of life as we know it and how the answer to the age old question of which came first, the chicken or the egg is the Sun. I'm here today with Duncan Bate, our director of projects for the US and Gulf of Mexico. Do you want to go ahead and introduce yourself Duncan?Duncan Bate:00:00:56Sure, yeah, thanks. I basically look after the development of all new projects for TGS in the, in the Gulf of Mexico. I'm here today because a few years ago we worked on a multi beam seep hunting project in the Gulf of Mexico. So I can share some of my experiences and - having worked on that project.Erica:00:01:15Awesome. And then we have our special guest star, Dan Orange. He is a geologist and geophysicist with Oro Negro exploration. Hi Dan.Dan Orange:00:01:24Good morning.Erica:00:01:25Would you like to introduce yourself briefly for us?Dan:00:01:28Sure. Let's see, I grew up in New England, Texas, so I went to junior high school, just a few miles from where we're recording this. But I did go to MIT where I got my bachelor's and master's degree in geology, then went out to UC Santa Cruz to do my PhD and my PhD had field work both onshore and offshore and involved seeps. So we'll come back to that. And also theoretical work as well. I had a short gig at Stanford and taught at Cal State Monterey Bay and spent five years at the Monterey Bay Aquarium Research Institute. Again, pursuing seeps. I left MBARI and started working with the oil patch in 1997 and it was early days in the oil industry pushing off the shelf and heading toward deep water and seeps were both a bug and a feature. So we started applying seep science to the oil industry and have been doing that for oh, now 21-22 years.Dan:00:02:32The entire time that I was at Embargin, and working with the oil patch. And in fact, ongoing, I do research for the US Navy through the Office of Naval Research. It started out involving seeps and canyon formation and it's evolved into multibeam seafloor mapping and acoustics. And that continues. So in the oil patch I was with AOA geophysics, we formed a company AGO to commercialize controlled source EM sold that to Schlumberger. And then we formed an oil company, Black Gold Energy, that would use seeps as a way to, go into oil exploration. And we sold that to NYKO, since leaving Black Gold with Oro Negro. We've been teaming with TGS since 2014 so now going on five years mapping the sea floor, I think we just passed one and a quarter million square kilometers, mapping with TGS as we mapped the sea floor and sample seeps, pretty much around the world for exploration.Erica:00:03:35Awesome. So let's begin our discussion today with what is a seep, if you can elucidate that for us.Dan:00:03:41So a seep is just what it sounds like. It's, it's a place on the earth's surface where something leaks out from beneath. And in our case it's oil and gas. Now seeps have been around since the dawn of humanity. The seeps are referenced in the Bible and in multiple locations seeps were used by the ancient Phoenicians to do repairs on ships they use as medicines and such. And in oil exploration seeps have been used to figure out where to look for oil since the beginning of the oil age. In fact that, you know, there seeps in, in Pennsylvania near Titusville where colonel Drake drilled his first well, where Exxon, had a group of, of people that they call the rover boys that went around the world after World War II looking for places on the Earth's surface that had big structures and oil seeps.Dan:00:04:39Because when you have a seep at the sea floor with or on the Earth's surface with oil and gas, you know that you had organic matter that's been cooked the right amount and it's formed hydrocarbons and it's migrating and all those things are important to findings, you know, economic quantities of oil and gas. So seeps have been used on land since the beginning of oil and gas exploration. But it wasn't until the 1990s that seeps began to affect how we explore offshore. So that's seeps go back to since the dawn of humanity, they were used in oil exploration from the earliest days, the 1870's and 80's onward. But they've been used offshore now since the mid 1990s. So that's, that's kind of, that seeps in context.Duncan:00:05:31But it's actually the, I, the way I like to think about it, it's the bit missing from the, "What is Geology 101" that every, everyone in the oil and gas industry has to know. They always show a source rock and a migration to a trap and a seal. But that actually misses part of the story. Almost every basin in the world has leakage from that trap, either, either directly from the source rock or from the trap. It either fills to the spill point or it just misses the trap. Those hydrocarbons typically make their way to the surface at some point-Dan:00:06:04at some point and somewhere. The trick is finding them.Duncan:00:06:08Yeah, that's the seep. And thus what we're interested in finding.Erica:00:06:12As Jed Clampett from the Beverly hillbillies discovered.Erica:00:06:15Exactly.Dan:00:06:15I was going to include that!Erica:00:06:19Yes.Dan:00:06:19Jed was out hunting for some food and up from the ground came a bubbling crude. That's it.Erica:00:06:27Oil that is.Dan:00:06:29Black gold.Erica:00:06:29Texas tea.Dan:00:06:30That's right. So that's that seep science. So today what we're going to do is we're going to talk about seep communities offshore because what I hope to be able to, you know, kind of convince you of is if oil and gas leak out of the sea floor, a seep community can form. Okay. Then we're going to talk about this thing called multibeam, which is a technique for mapping the sea floor because where you get a seep community, it affects the acoustic properties of the sea floor. And if we change the acoustic properties of sea floor or the shape of the sea floor with this mapping tool, we can identify a potential seep community and then we can go sample that.Dan:00:07:14And if we can sample it, we can analyze the geochemistry and the geochemistry will tell us whether or not we had oil or gas or both. And we can use it in all sorts of other ways. But that's where we're going to go to today. So that's kind of, that's kind of a map of our discussion today. Okay. So as Duncan said, most of the world, he Duncan talked about how in- if we have, an oil basin or gas basin with charge, there's going to be some leakage somewhere. And so the trick is to find that, okay. And so, we could, we could look at any basin in the world and we can look at where wells have been drilled and we can, we can look at where seeps leak out of the surface naturally. And there's a correlation, like for example, LA is a prolific hydrocarbon basin. Okay. And it has Labrea tar pits, one of the most charismatic seeps on earth cause you got saber tooth tigers bubbling outDuncan:00:08:18It's literally a tourist attraction.Dan:00:08:20Right there on Wilshire Boulevard. Okay. And it's a hundred meters long by 50 meters wide. So a hundred yards long, 50 yards wide. And it, that is an oil seep on, on the earth surface in LA okay.Duncan:00:08:32Now, it's important to mention that they're not all as big as that.Dan:00:08:34No, no. Sometimes they're smaller. It could just literally be a patch of oil staining in the sand.Erica:00:08:41Really, that's little.Duncan:00:08:41Oh yeah. I mean, or just an area where there's a cliff face with something draining out of it or it, you know, it could be really, really small, which is easy to find onshore. You know, you send the rover boys out there like you mentioned, and you know, geologists working on the ground, they're going to find these things eventually. But the challenge, which we've been working on with, with the guys from One for the last few years, and now is finding these things offshore.Dan:00:09:06So let's, let's turn the clock back to 1977. Alvin, a submarine, a submersible with three people in it went down on a Mid-ocean Ridge near the Galapagos Islands. And what they found, they were geologists going down to map where the oceanic crust is created. But what they found was this crazy community, this incredible, oasis of life with tube worms and these giant columns with what looked like black smoke spewing into the, into the ocean. And so what they found are what we now call black smokers or hot vents, and what was so shocking is the bottom of the ocean is it's a desert. There's no light, there's very little oxygen, there's not a lot of primary food energy. So what was this incredible, oasis of life doing thousands of meters down on, near the Galapagos Island? Well, it turns out that the base of the food chain for those hot vents are sulfide rich fluids, which come spewing out of the earth and they fuel a chemically based, community that thrives there and is an oasis as there because there's so much energy concentrated in those hot sulfide rich fluids that it can support these chemically based life forms.Dan:00:10:34So that's 1977 in 1985 in the same summer, chemically based life forms, but based on ambient temperature, water, not hot water were found in the Gulf of Mexico and off the coast of Oregon that same summer, 1985 in the Gulf of Mexico, the base of the food chain, what was fueling this chemical energy was hydrocarbons, oil and gas, and off the coast of Oregon, what was fueling it was hydrogen sulfide. So this is 1985, the year I graduated college. And so I started graduate school in 1986 and part of my research was working with the group that was trying to figure out the plumbing that was bringing these chemically rich fluids up to the earth's surface that were feeding this brand new community of life. You know, what we now call cold seeps. So, we, you know, depending on what you had for breakfast today, you know, eggs or pancakes or had your coffee, all the energy that we've got coursing through our veins right now is based upon photosynthesis.Dan:00:11:45We're either eating plants that got their energy from sunlight or we're eating eggs that came from chickens that eat the plants that can, where the came from, sunlight. Everything in our world up here is based upon photosynthesis. So, but the seep communities, the hot vents and the black smokers and the cold seeps, the base of the food pyramid is chemical energy. So they're called chemosynthetic communities or chemoautotrophic because the bacteria get their trophic energy, the energy that they need to live from chemicals. And so the bacteria utilize the chemicals and organisms have evolved to host these bacteria inside their bodies. And the bacteria metabolize the chemical energy to produce the enzymes that these larger organisms need to live. So these larger organisms can include clams, tube worms, the actual bacteria themselves. But, so the kind of how does this work is- let's get, because if we understand how seeps work and we know that seeps can be based upon oil and gas seepage, then you'll understand why we're using these seeps to go out and impact, oil and gas exploration.Dan:00:13:09So the- at the bottom of the ocean, we have a little bit of oxygen, but as we go down into the sediments, below the surface, we, we consume all that oxygen and we get to what's called the redox boundary to where we go from sulfate above it to hydrogen sulfide below it. And so below this redox boundary, we can have methane, we can have oil, but above that redox boundary, the methane will oxidize and the oil will be biodegraded and eaten by critters and whatnot. Now, living at that boundary, are bacteria who metabolize these compounds, and that's where they get the energy they need to live. These bac- Okay, now kind of turned the clock even farther back before the earth had an oxygen atmosphere, the only way that organisms got energy to live was from chemicals. Okay? So before we had algae and we created this oxygen atmosphere that we breathe billions of years ago, the organisms that lived on earth were chemosynthetic.Dan:00:14:13So these bacteria survive today and they live everywhere where we cross this redox boundary. Okay? So there they're actually archaea, which are some of the most primitive forms of bacteria, and I'm not a biologist, so I can't tell you how many billions of years ago they formed, but they're ancient and they're living down there.Erica:00:14:33So they haven't changed since then. They're basically the same?Dan:00:14:36Nope.Erica:00:14:36Wow.Dan:00:14:36They figured out a way to get energy to survive. It works.Erica:00:14:40Why change it?Dan:00:14:41If you're an Archea, right? So they're living down there at that redox boundary. Now, if we have seepage-seepage, is the flow of liquids. You actually lift that redox boundary. And if you have enough seepage, you can lift that boundary right to the sediment water interface. If you step in a pond and you smell that, sulfide, that rotten egg smell, your foot has gone through the redox boundary.Dan:00:15:08Okay? And you've disturbed some archaea down there and they'll get nudged aside. They'll go find someplace else. Okay? So with seepage, we lift the redox boundary to the sediment water interface and, and the bacteria are there and they're ready to utilize the reduced fluids as their source of energy. And so you can see them, we have pictures. You can do an internet search and say, you know, bacteria chemosynthetic bacteria and images and look at and look at photos of them. They it, they look like, okay, when you put the Guacamole in the back of the fridge and you forget it for three weeks and you open it up, that's what they look like. It's that fuzzy. It's this fuzzy mat of bacteria. And those are the bacteria. They're out there. They're metabolizing these fluids. Okay. Now in the process of metabolizing these fluids, they produce the bacteria, produce enzymes like ATP.Dan:00:16:01And I wish my partner John Decker, was here because he would correct me. I think it's adinase triphosphate and it's an enzyme that your body produces and sends out to basically transmit chemical energy. Okay. Now at some point in geologic time, and I'll, I'll actually put a number on this in a second. The larger fauna like clams and tube worms, evolve to take advantage of the fact that the bacteria are producing energy. And so they then evolve to use the bacteria within themselves to create the energy that they need to live. Okay? So, what happens is these seep fauna produce larva, the larva go into, you know, kind of a dormant stage and they're flowing around the ocean. And if they sense a seep, okay. They settle down and they start to grow and as, and then they, they, they, the bacteria become part of them.Dan:00:16:56They're the, the clams. You open a clam in the bacteria live in the gills. Okay. And so they'd grow and, and so these clams and tube worms start to grow and they form a community. Okay. So that a clam, what a clam does these clams, they stick their foot into the, into the sediment and they absorb the reduced fluids into their circulation system. They bring that, that circulating fluid to their gills where the bacteria then metabolize these reduced fluids and send the enzymes out to the tissues of the clam so it can grow. So this clam does not filter feed like every other clam on the planet. The tube worms that host these bacteria in them don't filter feed. So the base of the food chain is chemosynthetic. But the megafauna themselves, don't get their energy directly from methane or hydrogen sulfide. They get their energy from the bacteria, which in the bacteria, you know, the bacteria happy, they'll live anywhere.Dan:00:17:59But sitting here in a clam, they get the reduced fluids they need to live and they grow. Now it's what's cool for us as, as seep hunters is different species have evolved to kind of reflect different types of fluids. So if you know a little bit about seep biology, when you pick up like a batheum Modiolus mussel, you go, Huh? There could be oil here. Okay. Because that particular mussel is found in association with, with oil seeps. Okay. So that we won't go too far down that path, but there are different organisms. The important thing is that these communities, form again an oasis of life, a high concentration of life where we have a seep. Now, the oldest seep community that I'm aware of is Devonian. So that's between 420 and 360 million years. It's found in the high atlas mountains of Morocco.Dan:00:18:58And that seep community, a fossil seep community includes the same types of clams in tube worms that we find today. Okay. But they're also found with authigenic carbonate. Okay. Which is like limestone. And so, and that limestone in cases, this fossil seep community and has preserved it for hundreds of millions of years. So where does limestone come from? So remember we've got methane, CH4 in our, in some of our seep fluids. Well, if that's oxidized by bacteria, cause they're going to get energy from the methane they produced bicarbonate, which is HCO3 as a negative charge on it. And that bicarbonate, if it sees calcium, they like each other. And so they'll form calcium carbonate, limestone. And since sea water is everywhere saturated with calcium, if we have a natural gas seep, the bacteria will oxidize in natural gas and the bicarbonate will grab the calcium to form this cement.Dan:00:20:04Now deep enough in the ocean, it actually is acidic enough that that cement will start to dissolve. So we just have this, we have a factory of of bacteria. It might be dissolving some places, but most of the places we look, the carbonate doesn't dissolve. So we've got clams, tube worms, we've got the limestone authigenic carbonate, and if the pressure and temperature are in the right field, that methane can also form this really cool substance called gas hydrate and gas hydrate is a clathrate the, it's a combination of water and methane where the water forms an ice-like cage and the methane sits in that cage. And so you can light this on fire in your hand and the gas will burn. Nice yellow flame will go up from your hand and the cage will melt. The ice melts. So you get cold water on your hand with flames going up. It, it's cool stuff.Erica:00:21:03Did you bring one of these to show us today?Dan:00:21:06The pressure and temperature in this room are not, methane's not an equilibrium. You need hot, you need high pressure, moderately high pressure and you need very low temperatures. So, if we had-Duncan:00:21:20Neither are common in Houston, (Laughter)Dan:00:21:22No, and we wouldn't be terribly comfortable if that was what it was like here in this room. But the, the important thing for us now as we think about seep science and, and seep hunting is that this, this limestone cement, the authigenic carbonate, the gas hydrate, the shells of a clam, okay. Are All harder. Okay? Harder, I will knock on the table. They're harder than mud. So the sea floor, most of the most of the world's ocean is gray-green mud and ooze from all sorts of sediment and diatoms and plankton raining down onto the ocean floor. So most of the world's oceans is kind of just muddy sandy some places, but sediment, it's where you get these seep communities that now we've, we've formed a spot that some that's harder and rougher than the area around it. And that's our target when we, deploy technologies to go out and, and look at seeps.Dan:00:22:26So, so hot smokers, hot vents were discovered in 1977. Cold seeps were discovered in 1985 and were found to be associated, in the Gulf of Mexico with oil and gas seepage. That's 1985. Those were discovered with human beings in a sub in submersibles. Later, we deployed robotic submersibles to go look at seeps, ROV's and even later we developed tools to go sample seeps without needing to have eyes on the bottom and we'll come and talk and we'll come back and talk about that later.Dan:00:22:57But for kind of recap, a seep is a place where something is leaking out of the earth surface. When we talk about seeps, we're talking about offshore seepage of oil and gas that supports this profusion of chemically-based life forms as well as these precipitants, the authigenic carbonate limestone and gas hydrate. And the important thing is they change the acoustic properties of the sea floor.Duncan:00:23:28Yeah. Then the key thing is that you've gone from having, seeps onshore, which are relatively easy to walk up to and see, but hard to find, to seeps offshore, which are impossible to walk up to or very difficult. You need a submersible to do it. But because of this, chemosynthetic communities that build up around it and our knowledge of that and now gives us something to look for geophysically. So we can apply some geophysics, which we'll get on to talk about next in terms of the multibeam, to actually hunt for these things in a very cost effective way and a very fast manner. So we can cover, as Dan said, right at the start, hundreds of thousands of square kilometers, even over a million now, in a cost effective, timely manner and identify these seeps from the sea surface.Dan:00:24:15Now fishermen, know where seeps are because all of this limestone provides places for fish to leave their larva where they might live, they call them refugia. It's a, it's a place where, you know, lots of little fish and where you have lots of little fish, you have lots of big fish. And since we're also increasing this primary productivity, you get, you get profusions of fish around seep communities. So we've found authigenic carbonate in the front yards of fishermen in areas where that we've gone to study seeps. And if you chip a little bit off it, you can go and analyze it in the lab or if you can get somebody who fishes for a living to tell you their spots. And that involves convincing them that you're not going to steal their spots and you're not gonna tell everybody where their spots are. But if you go into a frontier area, if you can get somebody who fishes for a living to talk to you, you might have some ideas of where to go look for them.Dan:00:25:14So it kind of, one other point that I wanted to make here about seeps is, remember I talked about how seep organism creates kind of a larva, which is dormant and it's kind of flowing through the world's ocean, looking for a seep community, doing some back of the envelope calculations. If, if a larva can survive for about a month. Okay. And you have a one knot current that larva can move about 1300 kilometers in a month, which is about the length of the island of Java. And it might be about the length of the state of California. So if you think now, so if you think about that, then all you need is a seep community somewhere to be sending out larva. Most of which of course never gonna survive. And then if we get a seep somewhere else, the odds are that there's going to be a larva bouncing along the sea floor that is going to see that and start growing.Dan:00:26:08So for us as explorationists as the, the important thing is if there's a seep, there's a pretty good chance that, that a seep community will start to form, if the seepage lasts long enough, it will form a community depending, you know, might be large, might be medium size, but it changes the acoustic properties of the sea floor. Okay, so that, remember we're going to talk about seeps what they, what, what's a seep and that is how it's related to hydrocarbon seepage out of the or natural gas oil, you know, reduced fluids. What we were going to talk about, and now we're going to talk about how offshore we use this technology called multibeam to go and find them. Okay.Dan:00:26:51So back in, back in the Cold War, the air force came up with a tool to map the former Soviet Union called synthetic aperture radar. And when the navy saw the air forces maps, they said, we want a map of the sea floor. And at the time, you know, if you remember your World War II movies, the submarine sends out a Ping, somebody listening on, their, on their headphones and and the ping comes back and the amount of time that it took for the ping to go out and the ping come back is how deep the water is. If you know the speed of sound in water. But that's, that's just one point directly beneath you, that's not good enough to get a detailed map of the sea floor. So, driven by these cold war needs, the navy contracted a company called general instruments to develop a tool to map the sea floor and they develop what's called SASS, the sonar array sounding system, which we now call multibeam.Dan:00:27:49In the 1960s, it was unveiled to the world during a set of, submersible dives to the mid Ocean Ridge, I believe in 1975 as part of the famous project. And the geoscientist looked at that map and it was a contour map of the mid ocean region. They said, holy smokes, what's that? Where'd that come from? And the navy said, well, we kind of developed a new technology and it was first commercialized in 1977 the same year hot smokers were discovered on the world's oceans. And it has been continuously developed since then. And in about the 1990s, it got resolute enough for, for us to take this, this kind of seeps, seep hunting science and take it offshore. So until then, 1980s, we were deploying submersibles. We were going down and looking at them. We had very crude maps. We had some side scan shows, a little bit about, the acoustic properties of the sea floor.Dan:00:28:46But it wasn't until the mid 1990s that we realized that with these tools, these sea floor mapping tools that had acoustic, analyzing techniques that we could identify areas that were harder and rougher and had a different shape, that allowed us to start, instead of just driving around and, and, we're finding one by, by luck or chance actually saying, Huh, there's a, there's an interesting acoustic signature over there. Let's go take a look at it. And deploying submersibles and ROVs and realizing that yes, we had tools that could, be used to, to map the sea floor and identify seeps and driven by their own interests. The Navy, the US navy was very interested in these and, was, was a early, early funder of seep science and they've continued with it as well as academic institutions around the world that got very interested in seep communities.Dan:00:29:45And in fact, NASA, NASA is really interested in seep communities because they're chemically based life forms in what are basically extreme environments. And so if NASA wants to figure out what life is going to look like on a different planet, or a different moon on it, or surrounding a different planet that doesn't have an oxygen atmosphere, here's a, a laboratory on earth that, that they can use. So NASA has been funding seep science as well.Dan:00:30:11So multibeam what is it and how does it apply to, to, to hunting seeps. So multibeam, which is this technology that was developed by and funded by the navy in the 1960s and commercialized in the 70s uses two acoustic arrays of transducers. one array is mounted parallel to the length of a ship. And when you fire off all those transducers, it sends out a ping. And the longer the array is, the narrower that beam is. That's how antennas work. So that that long array sends out a ping, which is narrow along track and a shape, kind of like a saucer. So if you can imagine two dinner plates put together, that's what this, ping of energy looks like. And that's what we call the transmit beam. So then if you listen to the sea floor with an array that's perpendicular to the transmitter ray, we are now listening to an area that's, that's narrow across track. Okay. And it's long elongate a long track. So we've got this narrow transmit beam in one direction that's, that's now perpendicular to the ship. And we've got a narrow receive beam that's parallel to the ship and where those two intersect is what we call a beam. And so with, with lots of different, transducers mounted, perpendicular to the ship, we can listen from all the way out to the port about 65 degrees down below the ship and all the way over to starboard, again, about 65 degrees. And we have lots of beams.Dan:00:31:51So right now the system that we're using, on our project has 455 beams across track. So every time we send out a ping, we ensonify the sea floor on, on these 455 beams. And as we go along, we send out another ping and another ping. And we're basically, we're painting the sea floor. It's, it's like mowing the lawn with a big lawn mower or using a Zamboni to drive around an ice rink. You can just think of it as as a ship goes along. We are ensonifying and listening to a wide patch of sea floor and we typically map, about a five kilometer, about a three mile, a wide swath, and we send out a ping every six or 10 seconds. Depends how, you know, depends on the water depth. And so we're able to map 1000 or 2000 square kilometers a day with this technique. This multibeam technique.Duncan:00:32:48Since a lot of our podcast listeners might be familiar with seismic is that's probably the biggest percentage of the, the geophysical industry. This is not too different. It's an acoustic based technique. I guess the main difference is are we live working in a different, frequency bandwidth. And also that we have both the receiver and the transmitter both mounted on the same boat. So we're not dealing with a streamer out the back of a boat. we have transmitter and receiver are both whole mounted. But after that it's all pretty similar to seismic. We go backwards and forwards, either in 2D lines or in a, in a 3D grid and we build up a picture. Now because of the frequencies we're working with, we don't penetrate very deep into the sea floor. but as, as we mentioned, we're interested in seeing those seep communities on the sea floor. So that's why we this, this is the perfect technology for, for that application.Erica:00:33:40Oh, can you talk a little bit about the post-processing that's involved with multibeam?Dan:00:33:44Well, let me- Erica, Great question. Let me, come back to that later cause I want to pay, I want to pick up on what Duncan talked about in and add one very important wrinkle. So first of all, absolutely correct, the frequencies are different. In seismic, we're down in the hertz to tens of Hertz and in Multibeam we're in the tens of kilohertz and in very shallow water, maybe even over higher than a hundred kilohertz. In seismic, we have air guns that send that radiate out energy. And we, we designed the arrays so that we get most of the energy in the direction that we're looking with multi beam. We have a narrow, remember it's one degree wide in here. If you got kids, see if anybody still has a protractor anymore, grab a protractor and look at how wide one degree is. It's very narrow.Duncan:00:34:39There's probably an iPhone app for that. (Laughter) see what one used to look like.Dan:00:34:43But with, with seismic, the air guns sends out energy and we listened to the reflected energy out on the streamer back behind the ship or on a node somewhere else. It's reflected energy. With multibeam, the energy goes out and it interacts with the sea floor and the shallow subsurface. Most of it gets reflected away and we don't, we don't, hear that it, but some of it actually comes back in the same direction that the sound went out and we call that backscatter. So backscatter energy comes back to you and it's that backscatter that, can increase when we have hard and rough material either on the sea floor or buried below the sea floor. So the way that we process it is since we know the time of length, the time of path on how long it took to get out, hit the sea floor and come back, or you can correct for path lengths, energy radiates outward and spherical patterns. So we correct for spherical spreading. we know the angle that it hit the sea floor, so we correct for angle of ensonification. And then the next and most important things are where was the ship, when the pulse went out? And where is the ship when the pulse comes back, including what's the orientation of the ship? So we need to know the location, the position of the ship in X, Y, and Z to centimeters. And we need to know the orientation of the ship to tenths of a degree or better on both the transmit and the receive. But the key thing is, if we know that path length in the spherical spreading and we correct for all of that and we get a response that's much greater than we expected, we get higher backscatter energy and it's, it's those clams and tube worms authigenic carbonate gas hydrate that can increase the hardness and the roughness of the sea floor that kicked back the backscatter energy.Dan:00:36:46Okay. Now what happens if the oil and gas, or the reduced fluids if they shut off? Well, I'm sorry to say for the clams and the tube worms that they will eventually die. The bacteria will still live at that redox boundary as it settles back below the sediment. And then when we pile some sediment on top of that dead seep community, it's still there. The shells are there, the carbonate's still there. So with the, with multibeam that the frequencies, we use 12 and 30 kilohertz penetrate between two, three 10 meters or so into the sediment. So if you shut off the seepage and bury that seep community, they're still there. And if we can sample that below that redox boundary at that location, chances are we're going to get a oil or gas in, in our sample. And in fact, we encounter live seep communities very, very, very, very rarely, you know, kind of one in a thousand.Dan:00:37:50But, we, we encounter seep fauna down in our sample cores, which we'll talk about later, much more frequently. And, and we, we find hydrocarbons, we are very successful at finding hydrocarbons. And the key thing is we're using seep science to go look in, in basins or extend outward from basins in areas where there may be no known oil or gas production. And that's why the seeps are useful. So multibeam unlike a seismic, we got to collect the data, then we got it and you to do all sorts of processing and it takes a while to, to crank the computers and whatnot. Multibeam we can, we can look at it as it comes in and we can see the backscatter strength. We can see what the swath that it's mapping every ping, every six seconds. And it takes about, it takes less than a day to process a days worth of multibeam.Dan:00:38:47So when our ships are out there working every morning, when we get the daily report from the ship, we see another thousand or 2000 square kilometers of data that were mapped just the previous day. So it's for, those who can't wait, it's really satisfying. But for those of us who are trying to accelerate projects, it's great because when the data come off the ship, they're already processed. We can start picking targets and we can be out there, you know, in weeks sampling. So that's so multibeam it's, it's bathymetry, it's backscatter, but we're also imaging the water column. So if there's, a gas plume, coming out of the sea floor, naturally we can see that gas plume and, so that we can see the water column. We can see the sea floor or the bathymetry, and the backscatter. Erica, you asked, you know, about the processing and I talked about how we have to know the position and the orientation, of the ship, that means that we have to survey in using a laser theodolight.Dan:00:39:54We have to survey in every component of the system on the ship to, you know, fractions of a millimeter. And we drive the surveyors nuts because we are, we are more demanding than the, the BMW plant in South Carolina. And they point that out to us every time. Yes, we're more demanding. But if they have a problem with, with a robot in the BMW plant, they can go out and survey it again, once we put this ship in the water, I can't go survey the array that's now welded to the bottom of the ship. It's there. And so that's why we make them do three replicate surveys and do loop ties and convince us that we've got incredibly accurate and precise system. So that's when we survey the ship. We use, well we go back and we go and we check their math and we make sure all the numbers are entered into the system correctly.Dan:00:40:46We, measure the water column every day so that we have the best velocity data that we use to correct the, that position. We measure the salinity in the water column because it affects how energy is absorbed. It's called the absorption coefficient. We measure the acoustic properties of the ship. So we understand maybe we need to turn off the starboard side pump in order to get better multibeam data. And we evaluate every component of the ship. Something. Sometimes they'll have, you know, the, the waste unit was, was mounted onto the, onto the deck of the ship and nobody thought about putting a rubber bushing between that unit and the hall to isolate the sound. And it just so happens it's at 12 kilohertz. So it swamps your acoustic energy or degrades our data quality because it's all about data quality so that we can find these small, interesting high backscatter targets. We polish the hull. We send divers down every eight weeks or 12 weeks or 16 weeks because you get biofouling you get, you get these barnacles growing in a barnacle in between your acoustic array in the sea floor is going to affect the data. So we send divers down to go scrape the hull and scraped the prop.Duncan:00:42:05So it's probably worth mentioning that this is the same type of multibeam or multibeam data is the same data that is used in other parts of the oil and gas industry as well. So I mean, any pipeline that's ever been laid in the last few decades has had a multibeam survey before it. Any bit of marine infrastructure that an oil and gas company wants to put in the Gulf of Mexico. Certainly you have to have a multibeam survey ahead of time. what's different here is that we're, we're trying to cover big areas and we're trying to get a very specific resolution. So maybe it's worth talking a bit about that. Dan what we're actually trying to achieve in terms of the resolution to actually find seeps.Dan:00:42:42You got it. So we, we can, we can control the resolution because we can control how wide a swath we go and how fast we go. So, if you're really interested in, if you want to do a site survey and you want to get incredibly detailed data of a three kilometer by three kilometer square, you could deploy an autonomous underwater vehicle or an ROV and get very, very, very resolute, like smaller than half a meter of bin size. for what we do, where our goal is exploration, the trade off is between, do I want more resolute data or do I want more data and it that that is a tradeoff and it's something that we struggle with. And we think that the sweet spot is mapping that five kilometers swath and three miles wide, swath at about oh eight to 10 knots. So let's say about 16 kilometers an hour.Dan:00:43:40That gets us a thousand to 2000 square kilometers a day. And by acquiring data in that manner, we get a 15 meter bathymetric bin independent of water depth and our backscatter since we subsample that bathymetric bin for the backscatter, we can get a five meter backscatter pixel. So now if I have four, if I have four adjacent pixels, you know, shaped like a square, that's a 10 meter by 10 meter spot on the sea floor, it's slightly larger than this room. We could, you could see that now you might need a couple of more to be larger than that. So to have a target actually stand out, and that's about how accurate our sampling is with the core barrel. So, the long answer to your question is about a 15 meter bathymetric bin and a five meter backscatter pixel is what we're currently doing for our exploration work.Dan:00:44:32Now we pay attention to what's going on in the navigation and the positioning world because it affects our data quality. So the higher the quality of, of our navigation, the higher the quality of our data on the sea floor. So about a decade ago, the world's airlines asked if they could fly their airplanes closer together and the FAA responded and said, not unless you improve GPS and so sponsored by the world's airlines. They set up ground stations all in, in the, in the most heavily traveled parts of the world that improve the GPS signal by having an independent orbital corrections. What that means is for us working off shore, we take advantage of it. It's called wide area augmentation. And, using this system, which is now it's a, it's add on for a GPS receiver, we're able to get six centimeter accuracy of a ship that's out there in the ocean that surveying.Dan:00:45:27So that's six centimeters. What's that? About two and a half inches. And for those of us who grew up with low ran and very, you know, where you were lucky if you knew where you were to within, you know, a quarter of a mile. it's, it's just astonishing to me that this box can produce data of that quality, but that flows through to the quality of the data that we get on our surveys, which flows through to our ability to find targets. So I think, I told you about sub sampling, the bathymetry for backscatter and I've told, I told you about the water column and we've talked about the resolution. I think we've, we've pretty much hit what multibeam is. It's, it's a real time near real time acquisition, high frequency narrow beam. We image the sea floor and the shallow subsurface. Okay and we use that to find anomalous backscatter targets.Duncan:00:46:20Well, let's talk about the water column a little bit more done because I know we've published some pictures and images from our surveys. Showing the water column anomalies. The backscatter data, in the water column itself can actually help us find seeps. The right mixture of oil and gas coming out of this, an active seep and migrating up through the water column can actually be picked up on these multibeam data also. So that's, a real direct hit that you've got to see and that it's actually still producing oil today,Dan:00:46:53Right, so when, when gas and oil leak out of the sea floor, the gas bubble begins to expand as it comes up, just like a would in a, in a carbonated beverage because there's less pressure. So that gap, that bubble is expanding. If there's oil present, the oil coats the outside of the bubble and actually protects it from dissolving into the water column. And so the presence of gas with a little bit of oil leaking out of the sea floor creates these bubbles that, are big enough to see with these 12 and 30 kilohertz systems. And so when we see a plume coming out of the sea floor, that's natural, a seepage of gas, possibly with a little bit of oil and it provides a great target for us to go and hit. Now those seeps are flowing into the water column and the water column has currents and the currents aren't the same from one day to the next and one week to the next.Dan:00:47:47So if we image a seep a couple of different times, one day it will be flowing in one direction and the next time we see it flowing in a different direction. The area in common between the two is pointing us toward the origin point on the sea floor. And that's what we're going to target. And if you, if you hunt around, look for NOAA studies of, of the US Gulf of Mexico, over Mississippi Canyon near where the deep water horizon, went down because there are, the, NOAA has published, images of the gas seeps in that area where there are natural oil and gas seeps leaking, leaking other, the sea floor. And these natural seeps occur all over the world. Okay? And they're bringing oil and gas into the water column. But remember, nature has basically provided, the cleanup tool, which is the bacteria. So where oil and gas settle onto the sea floor, there are bacteria that will consume it. You don't want a lot of it in one place, cause then then you've got, you know, a real environmental disaster. But natural oil and gas seepage goes hand in hand with natural seep consuming organisms that metabolize these fluids. So a multi beam seeps backscatter okay. That I think we've, we've talked about what the target looks like. Let's talk about how we go in and sample it.Duncan:00:49:12Yeah, no, I think that's the real key thing. Particularly here in the Gulf of Mexico. I mean we talked at the start about how I'm using seeps can tell you whether a basin has hydrocarbons in it or not. Clearly we're decades past the point of knowing whether there's oil and gas in the Gulf of Mexico. So even in the deep water gulf of Mexico, especially here in the US side, we know that there's oil and gas, so that information is long gone. We don't, we don't need an update on that anymore. What we need to know is information about the type of oil, the age of the oil, the deep positional environment that the oil is deposited in. And if we can actually get a sample from these seeps, then that's the sort of information that modern geochemistry can start to pull out for us.Dan:00:49:57we've sat in the same meetings where the, the potential client companies have said, why are you, why are you gonna map the deepest part of the Gulf of Mexico? There's no oil out there. And lo and behold, we found anomalous backscatter targets on a diapirs, which are areas, mounds out in the deepest parts of the Gulf of Mexico. And lo and behold, if you, if you look at the data, know that that statement was incorrect. There is oil and gas out there in other parts of the world. We've had companies say, oh, this part's all oil and this part's gas. Well, how do you know that? Well, because we've drilled for oil out here and we don't think there's any oil. Once you get out there and you don't know, you don't know what you don't know until you go map it and sample it and then you come back, you put the data on their desk and they go, huh, hey, we were wrong man. I guess there's oil out there. And, and in other parts of the world where you know, we've done all our exploration close to land or in shallow water, we go out into the deepest part and nobody's ever drilled a well out there. So, you use the seep science to go to basically fill that in.Dan:00:51:09So in order to make money exploring for oil, you had to have organic matter. Originally it had to be, it had to be buried and cooked. Okay. So you needed temperature and pressure. You need time takes time to do that, then it needs to migrate. Okay. With the exception of unconventionals, we're not gonna talk about unconventional today with the exception of unconventionals, the hydrocarbons have to migrate, so they're concentrated so that you can go drill them and recover them. And they need to be in a reservoir.Dan:00:51:41And it has to be sealed. And so when we find a seep and all of that goes into what we talk about in oil exploration as the risk equation, like what's the probability of success? If you don't know whether you have a migration, you have maximum uncertainty and that flows through into your, into your risk. Well, if we find a seep, remember we've proven that there was organic matter. We've proven that it was buried and cooked for the right amount of time to create oil and gas and that it's migrated. We can't tell you anything about reservoir or seal or timing, but we can, we can materially impact the risk equation by finding a seep. Okay. So right before you drill a well, wouldn't you like to know whether or not there's oil or gas in the neighborhood? Cause a well can be a can be $100 million risk.Dan:00:52:34Okay. Usually you wouldn't, wouldn't you like to know? So remember when we started looking at seeps, 1977 for the hot vents 85 for the cold vents, we used human beings in a submersible. Later we shifted to using robotic submersibles where a human being sit on a ship in a control room, operate the ROV with joysticks, and you watch the videos come through. Well, those are great, but they're really expensive and you can't look at much sea floor on any given day because you're limited to how fast you can move across the sea floor and how much you can look at. So if we surveyed 2000 square kilometers in a day, we want to be able to evaluate that in less than 20 years. We want to be able to evaluate that in, you know, in a similar length of time, a day or two. So what we've done is we've shifted toward using what we, what's called a piston core, which, which is a six meter long, 20 foot long tube with about a thousand kilos on a 2,000 pounds.Dan:00:53:37And we lower it through the sea floor, operating it with a winch from a ship. And by putting a navigation beacon on that core, we can track it through the water column in real time. And if we have this high backscatter target on the sea floor, we can lower it to the water column. Once we're about fit and we're within 50 meters, 150 feet of the sea floor, we can see whether we're on target and then we let it go. When the pist- when the, it has a trigger weight on it, you can look this up, how to, how do piston cores work, that the core, lets go and it free falls that last little bit and it penetrates the sea floor. You haul it back to the surface. Now if it had gas hydrate in it, if it has oil in it, if it has gas in it, you can see it right away. when you pull the clear liner out of the core, and there it is, you know, whether or not you've got success, for most cores, there's no visual evidence of hydrocarbons that we sample that core tube, three different samples. One of them, we take a sample into what we call a gas can and seal that. And then we put a couple of hockey puck size chunks of sediment into Ziploc bags and everything goes into the freezer. And you ship that back, from the next port call. And about a month later you get a spreadsheet in your email, that says, oh, guess what you found methane, ethane, propane, butane, and Pentane. And look at this, you've got enough fluorescents that this is a guaranteed oil hit. So, again, you think about the time we map a couple thousand square kilometers a day.Dan:00:55:18We mapped for a month, we'll look the data for a month. We go out and core for a couple of weeks and a month later the Geochemistry starts flowing in. So real quick, multibeam as we've, as we've discussed as a way to get a detailed map of the sea floor, both the shape of it and the hardest roughness, acoustic properties. So any company laying a fiber optic cable across the world's oceans is acquiring multibeam data. Any, municipality that's worried about how deep their ports are and whether there's enough space for the ships to come in, is acquiring multibeam data. The corps of engineers who pays companies to dredge sand in the Mississippi River has to have a before and after multibeam a map, when MH370 went down and needed to be hunted for before they deployed the real high resolution tools. They needed a map of the sea floor and that was a part of the ocean that has never been mapped in detail before.Dan:00:56:23So most of the world's oceans have net have never been mapped in the detail that we're mapping them. We're using the tool to go hunt seeps. But there are all sorts of other uses of, of that multi beam technology. So, what are we looking for when we, when we, when we're looking for seeps, you know, what have, where have people found oil and gas leaking out of the sea floor? What does it look like? Or what are the targets? Well, if the gas burps out of the sea floor, it creates a pockmark. And those are targets, in many parts of the world, the Apennines of Italy, Azerbaijan, there are what we call mud volcanoes, where over pressured mud from deep down in the earth is kind of spewing out gently, slowly and continuously at the earth's surface. And lo and behold, it's bringing up oil and gas along with it. So mud volcanoes are known, oil and gas seeps onshore. Of course we're going to use them, offshore. Any place where we have a fault, you can create fracture permeability that might let oil and gas up. Faults can also seal, but a fault would be a good target, an anticline, a big fold that has a, can have seeps coming out of the crest of, it's similar to the seeps that were discovered early in late 18 hundreds. And in, in the USA, we can have areas where we have oil and gas leaking out of the sea floor, but it's not enough to change the shape of the sea floor. So we get high backscatter but no relief. Those, those are targets. So when we go out and we sample potential seep targets, we don't focus on only one type of target because that might only tell you one thing.Dan:00:58:04So we spread our, our targets around on different target types and we'll spread our targets around an area. Even if we, if we have more targets in one area than another area, we will spread our targets all the way around. Because the one thing that we've learned in decades of seep hunting is we're not as smart as we think we are. Nature always throws a curve ball. And you should, you should not think that you knew, know everything before you go into an area to analyze it because you might, you probably will find something that's, that startles you. And you know, as someone who's been looking at seeps since 1986, I continue to find things that we've never seen before. like our recent projects in the Gulf of Mexico, we found two target types that we've never seen before. The nearest analog on earth, on the surface is called a Pingo, which is when ice forms these really weird mountains up in the Arctic. And the one thing I can guarantee you that's not on the bottom of the world's ocean is an ice mound similar to what's forming the Arctic. But, but it had that shape. So we went and analyzed it and lo and behold, it told us something about the hydrocarbon system.Dan:00:59:12So those are all different types of target types so that the core comes back, we send it to the lab, we get first the very, what call the screening geochemistry, which is a light gases, methane through Pentane. We look at how fluorescent it is, cause that'll tell you whether or not you, you have a chance of of having a big oil hit. And we also look at what's called the chromatogram, which is a gas chromatography. And that tells us between about C15 and C36 C being the carbon length. So the, all your alkanes. And by looking at a Chromatogram, a trained professional will look that and say, oh, that's biodegraded oil. Or, oh, that's really fresh oil cause really fresh oil. All the, alkane peaks get smaller as they get bigger. So it has a very, very distinctive shape. Or they can look at it and they can tell you, you can, you can figure out the depositional environment. You can figure out whether the organic matter came from a lake, lacustrine, or maybe it's marine algal. We can say something about the age of it because flowering plants didn't evolve on earth till about the end of the age of dinosaurs. So at the end of the cretaceous, we got flowering plants. And so flowering plants create a molecule called oleanane. And so if there's no oleanane in the oil, that oil is older than cretaceous. So now we're telling something about a depositional environment.Dan:01:00:39We're saying something about the age, we can say the, the geochemist can say something about the maturity of the oil by looking at the geochemistry data. So all of this information, is now expanding what we know about what's in the subsurface and everything we know about seepage is that it is episodic in time. And it is distributed on earth's surface, not in kind of a random scattered, fashion. You get seepage above above a mud mud volcano, but for the surrounding hundred square kilometers around this mud volcano, we don't find any seep targets. Okay. So, our philosophy is that in order to find, in order to analyze the seats, we have to go find where we've got the highest probability of seepage and leakage. And that's where we target. So if you went out and just dropped a random grid over an area, you have a very, very low chance of hitting a concentrated site of seepage. And so, our hit rate, our success rate is, is high because we're using these biological and chemical indicators of seepage to help us guide where we sample. We have very precisely located sampling instruments this core with this acoustic beacon on it. And so we have, we have a very, very high success rates. And when we get hydrocarbons, we get enough hydrocarbons that we can do all of this advanced geochemistry on it.Duncan:01:02:13That's a good point Dan, even with- even without just doing a random grid of coring, piston coring has been done in the the US Gulf of Mexico for a long time now. And using seismic information, to target it. So like you say, looking for the faults and the anticlines and those type of features and very shallow anomalies on the seismic data. Even even guiding it with that information, typically a, a 5% hit rate might be expected. So you take two or 300 cores you know, you're going to get maybe 5%-10% hit rate, where you can actually look at the oils, and the geochemistry from the samples that you get. Using the multibeam, we were more like a 50 to 60% hit rate. And that's even with like Dan said, we're targeting some features where we know we're not going to find oil. so we could probably do even better than that if we, if we really focused in on finding oil. But obviously we're trying to assemble all the different types of seeps.Dan:01:03:11One of the things that we're asked and that we've heard from managers since we started working in the oil industry is what is this sea floor seep tell me about what's in my reservoir. And there's only, there have been very few, what we, what we call the holy grail studies published where a company has published the geochemistry at the reservoir level and the geochemistry on a seep that they can tie to that reservoir in the Gulf of Mexico. We collected dozens of seeps that can be tied to the same basin where there is known production. So in that Gulf of Mexico Dataset, a company that purchased that data and who had access to the reservoir oils could finally have a sufficient number of correlations that they could answer that question. What is the sea floor seep? Tell me about the reservoir. Because once you're comfortable in the Gulf of Mexico, that that seep is really telling you what's down in your reservoir.Dan:01:04:08Now you go into other parts of the world where you don't know what's in the reservoir before you drill and you find a good, a fresh seep with fresh oil right at the sea floor. Now you're confident that when you go down into the reservoir that you're going to find something, something similar. So let me talk a little bit about other things that you can do with these cores. And I'll start by kind of looking at these mud volcanoes. So this mud volcano, it had over pressured mud at depth. It came up to the surface of the earth and as it came up, it grabbed wall rock on its way up. So by analyzing a mud volcano, if we then go look at, say the microfossils, in all the class in a mud volcano, we can tell you about the age of the rocks that mud volcano came through without ever drilling a well.Dan:01:04:54So you can look at, at the, at the vitrinite reflectance, you can look at the maturity of the, of these wall rocks that are brought to you on the surface. You can look at heavy minerals. And when we go out and we do field geology, you know, you remember you're a geologist has a rock pick they and they go, the geologist goes up to the cliff and, and she or he chips a rock out and they take it back to lab and take a look at it. And that's how they tell something about what's in the outcrop. Well, it's hard to do field geology on the bottom of the ocean using a multibeam map and - acoustically guided core. We can now go and do field work on the, on the ocean floor and expand our knowledge of what's going on in a field area.Duncan:01:05:42So maybe it's worth talking a bit Dan about how we're jointly using these technologies or this group of technologies, at TGS, to put together projects. So the, I think generally the approach has been to look at, basin wide study areas. So we're not just carving off little blocks and doing, one of these, one of these projects over, over a particular block. We'll take on the whole Gulf of Mexico. So we, we broke it up into two. We looked at the Mexico side and the US side. But in total, I think it was nearly a million square kilometers that we covered and, about 1500 cores that I think we took, so we were putting these packages together in different basins all over the world, whether they're in mature basins like the Gulf of Mexico or frontier areas like places we're working in West Africa at the moment. But I think we're, we're looking to put more and more of these projects together. I think the technology applies to lots of different parts of the world. Both this side of the Atlantic and the eastern side of the Atlantic as well.Dan:01:06:44So since 2014, five years, we've mapped, we as in One and TGS have mapped, I believe over 1,250,000 square kilometers. We've acquired over 2000 cores. Oh. We also measure heat flow. We can use - is how the earth is shedding heat. And it's concentrated in some areas in, and you want to know heat flow if you're looking for oil, cause you got to know how much your organic matter has been cooked. So we've, we've collected thousands of cores, at dramatic success rates and we've used them. We've used these projects in areas of known hydrocarbon production, like the shallow water Gulf of Mexico, but we've, we've extended out into areas of completely unknown hydrocarbon production, the deep water Gulf of Mexico, the east coast of Mexico over in the Caribbean. We're looking at northwest Africa, Senegal, The Gambia, Guinea-Bissau, and the area, that's a jointly operated AGC. And we're looking at other frontier areas where we can apply this to this technology in concert with traditional tools, multichannel, seismic, gravity and magnetics to help, our clients get a better feel for the hydrocarbon prospectivity. You've got to have the seismic cause you've got to see what the subsurface looks like. But the, the multibeam which leads to seep targets, which leads ultimately to the geochemistry is what then affects the risk going forward into a basin.Duncan:01:08:20That's a good point, Dan. We don't see this as a technology that replaces seismic or gravity or magnetics or anything else, but it's another piece in the puzzle. And it's a very complimentary piece as well.Dan:01:08:31It is. And any areas you could argue that probably the best places to go look are where, your colleagues and other companies have said, oh, there's no oil there. Well, how do you know? Well, we don't think there's oil because we don't think there was a organic matter or we don't think that it was cooked enough. Well, you don't know until you go there and you find, so if you found one seep in that field area that had live oil and gas in it, you would know that that premise was incorrect. And now you have a competitive edge, you have knowledge that others don't and that can, that can affect your exploration, strategy in your portfolio. we haven't talked about cost. Multi beam is arguably one of the least expensive tools per square kilometer in the geophysical toolkit. Just because we don't need chase boats. We're not towing the streamer, we're going 10 knots. We're covering a couple of thousand square kilometers a day. So it's, it's, it's a tool that's useful in frontier exploration. It is complimentary to seismic, and it's a tool that, that you can use to guide where you want to spend money and how much money if you, if we survey a huge area and let's say half of it has no evidence of oil and gas and half of it has excellent hydrocarbon seeps, both oil and gas. I would argue that as a company you might want to spend less money on the first and more money on the second. You migh

I used to live on Lanewood Ave in the center of Hollywood, two blocks south of the The Hollywood Roosevelt.. I was there from 2003 to about 2013 I was on the ground floor and my apartment faced the street. I saw some many strange and funny things outside that window. Everything from car alarms that woke you up nightly, homeless collecting so many cans I thought they should be CEO's of corporations, drunk girls, drunk texting at 2:30am and a guys with no pants on begging for a cigarette. The Lanes shared their wealth with causes that were closest to their hearts. Because of her interest in community parks, Katherine was known as the “Tree Lady.” Hollywood’s Lanewood Avenue (named after Lane’s twice-married mother, Olive Pickett Lane-Wood), is still lined with large pine trees which Katherine most likely planted since the Lane’s once owned the land.   Lanewood Avenue, named after Olive Pickett Lane-Wood, in Hollywood. The pine trees that line the street were most likely planted by Katherine Lane.   She was chairman of the tree-planting committee that procured 360 cherry trees from Japan for planting around Griffith Park. Working with the Los Angeles Chamber of Commerce, Katherine is responsible for the planting of the landmark palm trees that line Wilshire Boulevard.   Katherine was elected president of the Hollywood Women’s Club and was the founder of the Round-the-World Club, Lane Tree Club, Perry Art Club and The Juniors. She also joined such organizations as the Hollywood Club, Oshkosh Club, Ebell Club, Women’s Press Club, Daughters of the American Revolution and Casa Del Mar. In 1932, she hosted the Wisconsin delegates of the 1932 Olympics, which were held in Los Angeles.

Welcome to the Elevator World News Podcast. This week’s news podcast is sponsored by elevatorbooks.com: www.elevatorbooks.com GLASSY, CURVY APARTMENT TOWER BREAKS GROUND IN L.A. Hankey Investment Co. and Jamison Properties have broken ground on a US$300-million, yet-to-be-named apartment tower designed by LARGE architecture at 2900 Wilshire Boulevard in Los Angeles' Koreatown, Morningstar reports. Adding to a growing L.A. skyline that includes the mixed-use Circa by the same development team, the glassy, curvy 2900 Wilshire will boast 644 rental residences and a 1,000-space parking podium. Amenities will include a 1-acre rooftop amenity deck, a gym, a pool, a business center, private open-air dining areas and a Zen garden. There will also be 15,000 sq. ft. of ground-level retail. Developers have set up a multimedia website for the project that includes a live camera showing progress at the long-vacant site.  Image credit: LARGE Architecture To read the full transcript of today's podcast, visit: elevatorworld.com/news Subscribe to the Podcast: iTunes│Google Play|SoundCloud│Stitcher│TuneIn

Ivan Estrada welcomes you to Miracle Mile! In 1921, the stretch of Wilshire Boulevard now known as the Miracle Mile was a 20-foot-wide dirt road, flanked by oil wells and barley fields. Today, the strip is a busy thoroughfare, home to museums, the La Brea Tar Pits, and a collection of historic Art Deco structures. The story of the Miracle Mile’s stunning transformation from cow path to commercial artery — told through selected images from the region’s photographic archives — is part of the larger narrative of L.A.’s decentralization, as electric railways and automobiles encouraged sprawl and drained the downtown retail district of its vitality.  

Yolanda Hewett Bentley, 56, was found stabbed to death in the 3400 block of Wilshire Boulevard at 2:40 a.m.

It’s Up To Us This episode is all about how to be an effective social activist in the age of Trump. In it I discuss how to move from panic mode and fretting to taking the small actions that will really make a huge difference, politically. Not only is the show full of political activism tips, it also outlines suggestions for how to stay sane while taking those actions. Additionally there are interviews with Alexander Edelman, political campaign consultant, as well as with James Atkinson, social activist. I discuss with both men what the road ahead looks like for those of us who want to take back our Democracy. Links and articles mentioned on this episode How To Be Calm Under Pressure: 3 Secrets From A Bomb Disposal Expert Sarah Kendzior’s info: website, twitter, text of her tweet The 2018 Town Hall Project Spread Sheet of schedule for all Congress’s town hall meetings 5 Calls a Day Re:act Newsletter mentioned on the show How to subscribe to the re:act newsletter Flippable Countable Swing Left Alexander Edelman’s article on Medium Here is a link to the site which will tell you exactly who your State Senator and State Assemblyperson is. Remember, these are the elected officials in charge of gerrymandering districts! You want to keep your eye on these races, and flip them blue. How Venezuela dealt with the takeover of their government by the extreme right. Very useful. If you have time…read it. Air Purifying Vertical Forest Building being constructed in China Here is James Atkinson’s sample list of organizations in Los Angeles that you can volunteer in to make a huge difference: If you’re concerned about politics/social justice, and you want to get involved, there are lots of opportunities in LA. Here’s a list of organizations. I’ll update with more later. AMERICAN CIVIL LIBERTIES UNION civil liberties group volunteer: https://action.aclu.org/secure/volunteer-aclu-socal donate: https://action.aclu.org/donate-aclu?ms=web_horiz_nav_hp contact: 213–977–9500 ANSWER antiwar / antiracism group volunteer: http://www.answercoalition.org/volunteer donate: https://answercoalition.nationbuilder.com/donate contact: 2936 W 8th St Los Angeles, CA 90005 (2nd floor of the First Unitarian Church) COUNSEL ON AMERICAN-ISLAMIC RELATIONS America’s largest Muslim civil liberties organization donate: https://www.cair.com/donations/general-donation/campaign/… volunteer: https://www.cair.com/about-us/volunteer-with-us.html contact: 2180 W. Crescent Avenue, Suite F Anaheim, CA 92801 714–776–1847 info@losangeles.cair.com DEMOCRATIC PARTY - LOS ANGELES COUNTY LACDP conducts Democratic Party campaigns in Los Angeles County volunteer: http://www.lacdp.org/volunteer/ donate: https://secure.actblue.com/contribute/page/lacdpdonate contact: 3550 Wilshire Blvd. Suite 1203 Los Angeles, CA 90010 213–382–0063 info@lacdp.org DEMOCRATIC SOCIALISTS OF AMERICA multi-issue, non partisan socialist group join: https://dsausa.nationbuilder.com/join donate: https://dsausa.nationbuilder.com/donate event calendar: http://www.dsa-la.org/dsa-la-calendar/ contact: 323–496–6604 carolnewtn@gmail.com DIDI HIRSCH MENTAL HEALTH SERVICES mental health, substance abuse, and suicide prevention services volunteer: http://www.didihirsch.org/volunteer donate: https://interland3.donorperfect.net/weblink/weblink.aspx… contact: 888–807–7250 (M-F 8:30 am - 5:00 pm) DOWNTOWN WOMEN’S CENTER helping women overcome poverty volunteer: http://www.downtownwomenscenter.org/volunteer donate: http://downtownwomenscenter.force.com/…/rc_connect__campaig… contact: 442 S San Pedro St Los Angeles, CA 90013 213–680–0600 LA WORKS calendar of local volunteer opportunities volunteer: http://www.laworks.com/HOC__Volunteer_Opportunity_Calendar_… donate: http://www.laworks.com/donate contact: info@laworks.com 323–224–6510 LOS ANGELES LGBT CENTER LGTB advocacy group volunteer: https://lalgbtcenter.org/how-you-can-help/volunteer donate: https://lalgbtcenter.org/how-you-can-help/donations contact: 1625 N. Schrader Boulevard Los Angeles, CA 90028–6213 323–993–7400 LOS ANGELES MUSEUM OF THE HOLOCAUST provides free Holocaust education to the public & houses precious artifacts volunteer: http://www.lamoth.org/…/job-opport…/volunteer-opportunities/ donate: http://www.lamoth.org/support-the-museum/make-a-donation/ contact: Los Angeles Museum of the Holocaust 100 S. The Grove Drive Los Angeles, California 90036 323- 651–3704 lisa@lamoth.org MEXICAN AMERICAN LEGAL DEFENSE & EDUCATION FUND Latino legal civil rights organization volunteer: jobs@maldef.org donate: http://www.maldef.org/ways_to_donate/index.html contact: http://www.maldef.org/contact/index.html 634 S. Spring Street Los Angeles, CA 90014 Phone: 213–629–2512 MIDNIGHT MISSION services for the homeless to reach self-sufficiency volunteer: http://www.midnightmission.org/…/spring–2…/volunteer/step–1/ donate: https://app.mobilecause.com/form/j6Qkhw contact: 601 South San Pedro Street, Los Angeles, CA 90014 USA 213–624–9258 NATIONAL ORGANIZATION FOR WOMEN multi issue women’s rights group join: http://now.org/membership/ donate: http://now.org/more-ways-to-give/ OPERATION HOPE financial literacy for the poor volunteer: http://www.operationhope.org/getinvolved donate: http://www.operationhope.org/donate contact: Youth Empowerment, Los Angeles 707 Wilshire Boulevard, 30th Floor Los Angeles CA 90017 213–891–2900 PLANNED PARENTHOOD ADVOCACY PROJECT LOS ANGELES COUNTY public policy & advocacy wing of planned parenthood, the reproductive health care provider volunteer: http://www.ppactionca.org/…/los-an…/volunteer-with-ppap.html donate: http://www.ppactionca.org/donateppaplac contact: grassroots@pp-la.org.org PUBLIC COUNSEL pro bono law firm that serves people at or below the poverty line volunteer: http://www.publiccounsel.org/pages/?id=0048 donate: https://48477.thankyou4caring.org/pag…/donation-welcome-page contact: 610 South Ardmore Avenue Los Angeles, CA 90005 Tel: (213) 385–2977 RAPE, ABUSE & INCEST NATIONAL NETWORK anti-sexual violence organization that helps survivors and advocates policies volunteer: https://www.rainn.org/get-involved donate: https://donate.rainn.org locations: https://volopps.rainn.org SIERRA CLUB environmental organization volunteer: http://clubvolunteer.org/positions?chapter=0400 join: https://sierra.secure.force.com/…/rc_connect__campaign_desi… donate: https://vault.sierraclub.org/ways-to-give/#donate-maintab contact: Sierra Club, Angeles Chapter 3435 Wilshire Blvd, #660 Los Angeles, CA 90010–1904 info@angeles.sierraclub.org 213–387–4287 TREVOR PROJECT crisis intervention & suicide prevention for LGBTQ youth volunteer: http://www.thetrevorproject.org/pages/volunteer donate: https://give.thetrevorproject.org/ contact: PO Box 69232 West Hollywood, CA 90069 info@thetrevorproject.org 310–271–8845 Thank you To…. Alex Moothart, web design and social media Elsie Escobar, mentor and fairy godmother extraordinaire!  

The Anthropologist tells the story of Katie Yegorov-Crate, a thirteen-year-old girl from Fairfax, Virginia. She is carted around the globe by her mother, noted environmental anthropologist Susie Crate. Susie studies the effects of climate change on centuries-old indigenous communities. Famed anthropologist Margaret Mead also analyzed how communities confront change, but that which results from war and modernity. Mead’s daughter Mary Catherine Bateson, now 76 and a cultural anthropologist in her own right, provides extraordinary insight into what Susie and Katie discover. Filmed over the course of five years, The Anthropologist is a meditation on change, both individual and societal. Susie and Katie work with people in Siberia, the South Pacific, the Andes, and the nearby Chesapeake Bay, who struggle to reconfigure how and where they live. In Siberia, where Susie met Katie’s father while doing research, Katie’s relatives can no longer farm on land they’ve occupied for generations. Katie’s roots are also threatened by the inhospitable soil. Uniquely revealed from their daughters’ perspectives, Mead and Crate demonstrate a fascination with how societies are forced to negotiate the disruption of their traditional ways of life, whether through encounters with the outside world or the unprecedented change wrought by melting permafrost, receding glaciers and rising tides. Co-director Jeremy Newberger stops by to talk about the rapid climate changes occurring around the world and the increasing human cost. For news and updates go to: ironboundfilms.com/the anthropologist facebook.com/TheAnthropologistDocumentary/ THE ANTHROPOLOGIST will have a one-week engagement beginning November 18 at Laemmle’s Music Hall, 9036 Wilshire Boulevard, Beverly Hills, CA 90021, 310-478-3836. Go to: laemmle.com/films/41178

I Am No Longer Troubled by the Extravagance (BOA Editions / Underdays (Univ of Notre Dame Press)Please join us this evening as two terrific poets share their latest collections.I'm No Longer Troubled by the Extravagance by Rick Bursky is a collection of poems that assign new meanings to the people and things of the past. The book moves in three sections through a fantastic landscape that maps human fragility. The poems in the first section speak to matters of the heart--intimacy and loss--punctuated by lovers who leave. The second section is comprised of prose poems chronicling misadventures and conspiracies: Russian spies on Wilshire Boulevard, artichokes that mate for life, and secret photographs of God. Finally, the third section pans out from individual experience, hosting the collective in fable-like reflections. Together, the poems in Extravagance mark with fragile acceptance the surreal extravagance of being aliveRick Bursky is the author of Death Obscura (Sarabande Books, 2010) and The Soup of Something Missing (Bear Star Press, 2004), winner of the Dorothy Brunsman Poetry Prize. He lives in Los Angeles where he works in advertising and teaches poetry in the UCLA Extension Writer's Program.Underdays by Martin Ott is a dialogue of opposing forces: life/death, love/war, the personal/the political. Ott combines global concerns with personal ones, in conversation between poems or within them, to find meaning in his search for what drives us to love and hate each other. Within many of the poems, a second voice, expressed in italic, hints at an opposing force under the surface, or multiple voices in conversation with his older and younger selves his Underdays to chart a path forward. What results is a poetic heteroglossia expressing the richness of a complex world.Martin Ott is the author of the poetry book Underdays, Sandeen Prize winner, University of Notre Dame Press, 2015. Martin served as an interrogator in the U.S. Army and moved to Los Angeles to attend the Masters of Professional Writing Program at USC. His previous full length poetry collections are Captive, De Novo Prize winner, C&R Press, and Poets' Guide to America and Yankee Broadcast Network, coauthored with John F. Buckley, Brooklyn Arts Press. His two books of fiction are the novel The Interrogator's Notebook (currently being pitched as a TV pilot) and his short story collection,Interrogations, Fomite Press, 2016. His blog for writers, Writeliving, has been read by more than 25,000 people in 100+ countries.

Colin Marshall sits down in Santa Monica with architect and urban designer Doug Suisman, author of Los Angeles Boulevard: Eight X-Rays of the Body Public, soon out in a new 25th anniversary edition. They discuss the difference in cycling to his office on Wilshire Boulevard versus Venice Boulevard; the conceptual importance of "path" and "place" in any urbanism-related discussion he gets into; his arrival in Los Angeles in 1983, after years spent in Paris and New York, and the mixture of disappointment and fascination he first felt on the boulevards here; what it meant that he sensed movement as well as abandonment; how Los Angeles wound up with the its destructive-car-culture rap, and how its freeways have less to do with that than the way its boulevards also became a kind of freeway system; the mistaken notion that the city "doesn't have transit," and what specific kinds of transit it actually does still lack; his work with the design of the Metro Rapid buses, and why they've struggled so long just to get a dedicated lane; the combined optimism and complacency of Los Angeles in the 1980s, before any rapid transit had appeared; the excitement he first felt at the the city's private architectural boom, despite its seeming lack of a public realm; how Los Angeles has begun to overcome its "enclave instinct" and find an "urban public language" as Amsterdam did in the 1930s; the importance of the Olympics, MOCA, LACMA's Anderson Wing, and now the Ace Hotel's opening in downtown, that "50-year overnight sensation"; what caused Wilshire's "wig district"; what his childhood trips from his suburban home to downtown Hartford, Connecticut taught him about city life; coffee shops as harbingers of human connectedness; the basic differences between "apartment cultures" and "house cultures," and how a city moves from one to the other; and the way the boulevards fit into the psychological framework of Los Angeles alongside the mountains and the ocean.