BOSSes, Anne Ganguzza and Lau Lapides explore a core challenge for every voice actor: managing personal emotions and moods to deliver a consistent, authentic performance. The Bosses delve into how easily actors can slip into autopilot or let personal frustration compromise a read. This episode provides practical acting methodologies to help you discipline your thoughts, shift your emotional state on demand, and utilize your entire emotional range to serve the story.

00:00 - Anne (Host) Hey Boss, listeners, Anne Ganguzza here. Leveraging years of expertise in the voiceover industry, I offer coaching and award-winning demo production that embodies excellence. I am dedicated to your success. Let's work together to get your career to where you've always wanted it to be. Visit anneganguzza.com to find out more.

00:24 - Speaker 2 (Announcement) It's time to take your business to the next level, the boss level. These are the premier business owner strategies and successes being utilized by the industry's top talent today. Rock your business like a boss a VO boss. Now let's welcome your host, Anne Ganguzza.

00:43 - Anne (Host) Hey everyone, welcome to the VO Boss Podcast and the Boss Superpower Series. I'm your host, Anne Ganguzza, and I am here with Superpower co-host Laura Lapidus. Yay, thank you, annie. I love being called a superpower. Well, I'll tell you what your shirt is so colorful today. I love it.

01:06 - Lau (Guest) Yeah, I'm feeling like this blue is putting me in a certain mood. You know, getting me very moody, but not in a blue mood, more in a hot mood.

01:15 - Anne (Host) Yeah, it's blue and flowers, so there's kind of like a cult, like a culmination of moods, maybe I thought you were going to say a cult.

01:22 - Lau (Guest) No, not a cult, but more of a comedy, more of likes, maybe I thought you were going to say a cult.

01:33 - Anne (Host) No, not a cult, but more of a comedy, More of like artistic meets, comedy meets, I don't know, meets like hot diva thing, oh my gosh. Well, you know that's funny. I'm always so thankful to talk to you, Law, because you're always so positive and upbeat and happy.

01:41 And you know it's interesting because I, as you know, I mean I work with a lot of students and a lot of them that are working full time and then doing voiceover part time, and so they've got, or they've got life happening you know life you know, life, life can happen, life happens and I'll tell you what your mood and how you are dealing with the day can so affect your reads, because I'll have some people that'll be like, yeah, I did it last night, after you know, I came home from work and I'm like, well, yeah, I can tell, because you were exhausted or did you have a bad day, because it actually reflects in your read and I thought it'd be great to talk about how your mood affects your performance.

02:30 I mean, it seems so obvious and we just say, yeah, your mood affects your performance, but maybe it affects it more than you even know, because a lot of times I feel like we go on autopilot. When we're in a certain mood, or we don't want to deal with certain things, or you know, we're not going to acknowledge certain feelings, we then compartmentalize, and we don't always compartmentalize in a way that's helpful for our performance.

02:53 - Lau (Guest) So true. And you know, I first thought about mood as a young, young kid, really, when I was being trained in the theater. I would have directors that would say for rehearsal, leave your trash at the door. Don't worry about it, it'll be there to pick up on your way out.

03:11 - Anne (Host) Leave your trash.

03:12 - Lau (Guest) What does that mean? And meaning that to discipline yourself in the workspace, you cannot bring in every feeling, every thought and every mood that you're walking in with. You have to leave it behind and come into that neutral discipline space.

03:28 - Anne (Host) Unless.

03:28 - Lau (Guest) maybe you're using it to create a character Unless you're channeling it, but even so it's like can you move in and out of it?

03:37 - Anne (Host) That's tough to do. Yeah, that's tough to do.

03:40 - Lau (Guest) Yeah, or is it so adopted in you, so inside of you, that you can't see it? You no longer have the self-awareness to see the mood that you're in.

04:03 - Anne (Host) They're like no, I thought it thought it was great. And then, in reality, I'm like you were tired, weren't you? You know, or you were exhausted, or you were frustrated, or and sometimes it'll become it'll come out right in the first few words I'm like you hate this script, don't you? It's like, well, I had a bad day and so, yeah, being able to compartmentalize or put that aside. And then the probably, I would say, the biggest problem for me in the niches that I teach is that it's. You can start off in one mood. You can say, ok, I've got to be positive, I got to get my energy up, and because I've had a long day, and so let me get my energy up. And then you've got it up for a couple of seconds and then, and then, all of a sudden, you go into autopilot and you lose track of the fact that you got out of right, you got out of that energy and you just went on autopilot. I think going on autopilot is like 90% of the problems in, let's say, long format narration anyways.

04:58 - Lau (Guest) Yeah, and also really being able to you know, with your analysis that you're doing of your script, it's really being able to pinpoint what is the mood of the story, how does the tonality change, not just the writing of it and the language of it, but also the rhythmic cadence of it and the musicality of it. What is happening with the mood? Because, as actors, if we don't have mood, if we don't understand mood and there's no mood to it, then we completely lose our momentum. There's no momentum without mood.

05:28 - Anne (Host) And I love how. All right, so now we just took it from our mood to the script and the script's mood, and that's a really important, I think, factor to consider, because not only do we have to put aside any mood that might be detrimental to our performance, but we also have to read the mood of the script and then apply a point of view that would equal the mood of the script in order to serve it. You know, properly, really, and the mood doesn't just happen at the beginning of the script.

05:58 The mood is all throughout the script and it changes which I think is so important to understand that it changes and you need to figure out how it's changing. You can't just assume that you're going to be happy from the first sentence all the way to the end, because a good story, right, there's always an evolution of. You know, you start off maybe questioning or concerned or hey, what's the best solution for this? And then, all of a sudden, the discovery right, you start learning about this product or you realize how this product has helped, and then you become more excited about it and then you want to share that with that listener. So it's an evolving story and I think if you don't analyze that script for the evolving mood, yeah, you're not doing it justice.

06:38 - Lau (Guest) And so many VOs, I think certainly at the early stages of voiceover, really miss the point of when a coach might say oh, who are you speaking to? Where are you at. It just becomes a pedestrian and saying oh, I'm talking to a best friend or I'm talking to my teacher, and then they leave it at that. But they don't realize that not only is that specific in terms of your environment and how you behave and the mood that you're in when you walk in a doctor's office, for instance.

07:07 But each doctor is different. Doctors are not the same, they're different people. So how many voiceover talent really investigate the depths of let's say, who am I talking to, or where am I, or what's happening, because of the kind of tones and moods that it's going to shift you into?

07:27 - Anne (Host) Well, yeah, because you would talk to your doctor a whole lot different than you would talk to your friend and the whole, the whole thing in casting where it says like you're talking to your best friend, right. I think that kind of did a disservice to a lot of voice actors who took that at face value and did not realize that the intention behind that was simply to get you to not sound like a commercial or sound like you're trying to sell somebody something. And I think it doesn't, because I have I have a number of students are like OK, so I'm talking to my friend Sue and I'm like but Sue doesn't care about, sue doesn't care about Lincoln Financial, like Sue uses Bank of America. So you have to really figure out who is it that you're talking to that's interested and can benefit from the topic that you're talking to.

08:16 And it may not be your best friend, sue, like I always use SAP as an example. Like Sue doesn't even know what SAP is right, and so how can you talk to Sue about it? Because she's gonna be like what, what is SAP? Why do I care about it? And it's hard to talk to somebody in a scene, right as an actor, when it's not relevant to them, and so who you are talking to is so, so important. Talking to your doctor is much different than talking to your best friend, betty.

08:43 - Lau (Guest) And not getting complacent or lethargic or lazy about stopping at finding out the information. Now we have to go into the emotional mindset of the person in the situation. Sure, it's not enough to just know where I am or who I'm speaking to. I have to know in context what we're discussing and how I feel about. That's where your point of view comes in and also how it shapes the whole scene like where you start and where you end up should be a very different place. Oh yeah, In terms of mood.

09:16 - Anne (Host) Absolutely the mood. The mood shifts and and ultimately I love that you mentioned about like it's. It's not necessarily about you and how you sound when you're delivering that information. It's about how what you're saying is affecting the person that you're talking to, right? How is it going to help them? And then people are like well, what do I? What? What's the most important thing? What are the important words in the script? Well, the ones that affect the person that you're talking to. They could care less that. You know, sap sold a million widgets last year, right. But what they care about is that SAP is going to make their lives easier by consolidating right, consolidating the installations in all different departments of different software, and it's going to make their company run better. So that's what they're concerned. They don't care that SAP I mean, in reality, as a consumer do you care like that? You know Coke Zero sold a billion last year.

10:11 - Lau (Guest) No, it doesn't matter. I mean, and even just like, if you're talking to people you know in your world, it's like I choose a friend. You know, like you make choices on the friend you want to talk to about business, the friend you want to talk to about your mom, the friend you want to talk to about something super personal, like you make those choices along the way, do the same with your script, and not only with your script, annie, I'd say with your business in total.

10:36 - Anne (Host) And if your friend doesn't apply. Can I just say this yeah, if your friend doesn't apply, then don't use your friend. Right, apply, then don't use your friend, use somebody that can really benefit, because then what it does is it turns it from you just talking to like anybody or someone, right, who's going to buy the product, into someone that's going to benefit from the product and you will be helping them, and then that becomes like more emotional, right, it becomes like oh, there's meaning to this, there's a purpose. Right, there has to be a purpose to what you're saying. And if you don't have a purpose and you're like well, I'm just going to give them information, right, any old person information about the product, well, that doesn't give you much purpose.

11:20 - Lau (Guest) Yeah.

11:22 - Anne (Host) Yeah, then I could just read it to you, because I don't have a purpose, like I have to want to help you, right, I have to want to make your life better, and that's going to give me purpose and emotion, and that emotion will help to at least give me a point of view that will make it more unique than just hello. This is a product that I want to sell you right you know, that's it.

11:45 - Speaker 2 (Announcement) Right.

11:45 - Lau (Guest) And it seems like we're saying you know that commercial campaign, whatever it was, trivago or something. Thank you, captain Obvious. You know like what we're saying should be obvious and common sense, but it's bringing back to what you were saying at the beginning of the show, and that was don't go on autopilot, don't let your mind go into this sort of complacent neutral zone. You have to be a thinking, working talent that's always considering how a situation changes. A situation changes moment to moment, and so does your mood.

12:21 - Anne (Host) A thinking that's a good one. Right A thinking that's a good one. Right A thinking. Working talent, as well as your business decisions.

12:30 - Lau (Guest) You're an amazing business woman who's always thinking, strategizing, paying attention Like what is the mood? I'll give an example what is the mood of your website?

12:42 Well, if you look at the person who's going on your website, they instantly feel a certain way. Right, they do so. Why not strategize how you would like your audience to be feeling when they see a visual of you, when they see a testimonial of you? Sure, how do they feel? What mood is it in? Well, we all know in sales sales 101, that when you see a success story, you feel good, you feel successful. Potentially, you feel like you could do that. So that shifts your mood instantly. It's compelling.

13:23 - Anne (Host) It's so interesting Like we just spoke about this in recording a previous episode about how did that ad make you feel? Right? I wanted to be that person. I wanted to buy that product because I wanted to be like that person. I wanted to feel good. Look good, I wanted to, right? I think it's really all about feel good, like who buys a product that wants to feel sad or angry, right? So how is that? How is your voice going to affect the person that you're talking to? How is it going to make them feel better, right? Yes, feel good, look good, make more money in respect. We all just want to feel good, right? Yes, feel good, look good, make more money in respect. We all just want to feel good, right? I don't know anybody that purposely wants to feel sad. Well, we want to feel. Sometimes I like a good cry, but that doesn't mean that I'm going to be voicing something to give somebody a good cry, unless I want to affect them in a creative way in that way, right?

14:11 - Lau (Guest) Well, I think that there's power. Well, I think that there's power. You know, the first thing that flipped into my mind was the original. The original Disney Snow White that we all saw when we were young kids was that the evil queen looks in the mirror and says you know mirror, mirror on the wall. Who's the? There is a mood mirror that we create as artists to like.

14:34 Looking at Shakespeare said, as as held to a mirror up to nature. It's like, as actors, as talent, we're mirroring society and then society is mirroring us, and it's this reciprocal thing that goes back and forth. Well, one of the biggest things we're hired on is our energy, which is directly connected to mood. Energy and mood. Mood go hand in hand, and one of the things we're let go and fired on is our energy too.

15:00 Sure so being very aware, heightened awareness of the kinds of moods, mood shifts, mood swings, mood highs, lows, like okay, great, that's your palette. But being aware of when am I applying the nuances of mood?

15:17 - Anne (Host) No, thank you for bringing me out of the commercial, corporate aspect of voiceover, because you just there are. There's a gamut of emotions, right. So if we're doing character animation, we really do have to, we have to kind of take on those emotions so that we can make others feel right, we can make others feel something and that's it's. It's interesting I was just talking to somebody the other day about, like, my creative rest, right when I'm not in the booth, is I love to watch a good movie or a good show, because it's incredible how, how much that can can change you as a person.

15:51 And I want to, and I want to feel as though my voice can do that for somebody. That can make them feel good, change their lives in some way. That is good, whether I do make them cry on purpose or I make them feel good about a product or however that is. And that is absolutely about the mood, absolutely about the mood, and again, it has to be the mood that's dictated by the script, which, if we're not looking at that script and we're not analyzing that script, for the mood board, right, For the mood board of the, I guess the mood board of the script, that would be a good name for a class right, the mood board, the mood board, the mood board, and you get a mood mirror with the class.

16:35 Yeah, yeah yeah, exactly, exactly. You need to create that mood all along the pathway of the script, because that's the best way to tell the story, because our stories, stories, are boring if we're all just one particular consistent emotion. I mean, how do you hold anybody's attention in that respect? Usually it's like the emotions are all over, and some more so than others, depending on the focus and the purpose. Right Again, it's one of those things when you look at a script, what is the purpose Like? What is it that you want your listener to feel, believe, buy, you know or do when you're done with it? Because we have, what a cool opportunity, like, think about it. That's an opportunity.

17:19 It's a wonderful opportunity to be able to do something like this.

17:24 - Lau (Guest) It's amazing In an industry where you feel like you just have no control over anything. There's one thing you can control, or at the very least manage really well, is your mood and being able to understand what are my triggers, what are my buttons, what are my happy buttons and sad and angry buttons?

17:42 What are they so that I can artificially trigger them when I need to and artificially turn them off when I need to, because I think that that's a huge misnomer is like coming in and just saying, oh, I just am going to lay prostrate to whatever I feel in the day. Well, that's a huge misnomer. Is like coming in and just saying, oh, I just am going to lay prostrate to whatever I feel in the day. Well, that's not true. Like professional performers have to discipline the way they feel throughout the day so that they're not taken by all their you know chaotic, crazy, creative thoughts all the time. You have to be able to discipline those and use them and redirect them when you need them.

18:19 - Anne (Host) I like that Disciplining your thoughts or disciplining your moods.

18:23 - Lau (Guest) I mean you have to do both. You can't believe every single thing that comes into your head. As the famous Dr Amen neurosurgeon says. You cannot believe everything you think and say believe everything you think and say right, you're not going to be held, you know, captive by your thoughts. Yeah, yeah, yeah. You have to be careful of that because as actors and as creatives and as business owners, sometimes we get a thought, a suggestion and then it starts to ripple and run like a slippery slope that well, maybe it's this and maybe they think this of me and maybe it didn't work. Because you have to discipline that and put yourself in that, neutralized. I call it recalibration. Recalibrate your mood.

19:03 - Anne (Host) And also it's it's. You've also got to be able to adjust that mood. If you're being live directed and all of a sudden that mood wasn't what they wanted, and all of a sudden here's a new mood. We want to switch it this way, or you've got somebody else that says no, I really wanted this, I want to make it brighter, or I want it to be more serious, or I need it to be more even keeled, or whatever it is.

19:27 - Lau (Guest) You've got to be able to adjust those moods and it's a lot of work, like a lot of people say, oh, you should just be happy. No, you can't just be happy. You're a human being. It's a lot of work to be disciplined in being positive-minded and positive energy when you're working, because you don't always feel that way.

19:44 - Anne (Host) It's not always in alignment to your life, I think a lot of times and I've got a love-hate relationship with people who are told to smile more in their scripts Because some people take that so literally, and then they smile on every single word and I'm like, but that's not true to the story, right? I don't talk to you like this, the entire time, with every single word, with this smile, because it's not authentic, right? So I think really the smile comes from, I think, a lot of new people to the industry. The smile is to get them out of a read really.

20:24 And that's what it's for, but then they take it so literally. Then there's a smile and I get them when I'm trying to teach them long format narration and every word is a smile, and that's not the case. There's a nuanced story to be told. There's a story to be told, and not all of it is a smile. However, and some people can think a smile that's me I can think, because I'm pretty much bubbly anyways. I can think a smile and it comes out in my mood, right yeah.

20:48 - Lau (Guest) Yeah, and we're going to create an invention. I just had an idea for an invention and your audience is going to be the first to hear about it.

20:56 - Speaker 2 (Announcement) You and I are going to create the mood meter.

21:00 - Lau (Guest) I love it. The mood meter is sort of like a not like a metronome, but like a measuring device that measures your mood based on your behavioral affects and the sound you make, whatever.

21:12 - Anne (Host) How cool is that. That's a great invention.

21:14 - Lau (Guest) So when someone says are you okay today? Do you feel okay?

21:18 - Anne (Host) Yeah, it's like a lie detector. And then it goes like this yeah, it's like a lie detector.

21:23 - Lau (Guest) And you have to strap it on to some part of your body, right. And then when it goes this way, you know you're in trouble. And it goes this way, you know it's good. Right the mood meter.

21:33 - Anne (Host) Absolutely, you're resonating, you're vibrating with a mood that is right, and so let's talk about what are ways to allow us, what are some ways that would allow us to separate ourselves from our own, let's say destructive moods in the booth right, because it's really not about our moods in the booth. I mean our personal moods unless it's going to help the script in the booth. I mean our personal moods unless it's going to help the script. How do we disassociate from a rough day at work, a long day with the kids or whatever that might be? You know?

22:03 - Lau (Guest) the first thing that comes into my mind is an acting methodology that a lot of folks have not heard about Even actors have not heard about this which is so specific. It's called Rasa boxes and look it up, it's very fascinating. It's where you tape the ground, literally put tape on the ground into boxes and when you walk into the box, the box represents an emotion. So the actor, like they're on the bench going into the professional game, has no moment of in-between.

22:30 They go from neutralized, completely neutralized, into the box into the emotion immediately, and then, when they step out of the box, they come out immediately. It's a fantastic technique. Well, in essence, our booth is our box but, you can create that anywhere in your world. You're in a hotel room, create your box, but then when do you evolve your mood?

22:54 - Anne (Host) or is this just to disassociate yourself from, let's say, a bad mood? Right, let's say you're in a bad mood, or you're tired, or you're angry, or you're frustrated because I don't know. You just had a fight on the phone with a customer service rep, or you couldn't get a hold of a customer service rep Right. Or you couldn't even call. You're trying to text a customer service rep.

23:14 - Speaker 2 (Announcement) Right, you're trying to order that damn chat bot that's on the website.

23:18 - Anne (Host) There you go, see how I've just evolved it over the years. It used to be that you'd call and you'd be frustrated. Now you get nobody and then you get the automated. You're frustrated and then, yeah, then then there are no phones and what do you do? You chat with the service representative and then you get the chat bot. So the evolution of customer service over the years. So, yeah, you want to make sure that you are not in that frustrated mode and so it's just clearing you of this box. Once you step into this box, consider that. What is that called? Again, the RASA box.

23:52 - Lau (Guest) Everyone look it up. R-a-s-a.

23:54 - Anne (Host) It's an international technique, you step in this booth and you clear your emotion from anything that's going to detract you from executing your job properly.

24:05 - Lau (Guest) And another big issue that I see with clients and with students is that they can't control the analysis, the paralysis of analysis, so they immediately go into intellectualizing it, analyzing it, and they cannot get to the emotion.

24:21 - Anne (Host) If you go in a box and you become.

24:24 - Lau (Guest) You drop your inhibitions, you drop. That. Is this right, Is this wrong? Is this what they want, Is this what they mean? And just go right into it. You're going to go to places that you were not allowing yourself to go to because you were stopping it intellectually.

24:38 - Anne (Host) Stop that voice that's up here that says is it right, Is it what they're looking?

24:42 - Lau (Guest) for yes, am I good?

24:44 - Speaker 2 (Announcement) Right, it's that whole sabotaging voice.

24:48 - Anne (Host) You've got to turn that off and simply not be concerned about it. And again, it's one of those things. It's so interesting because so many people are when we talk about that mood right, I have so many people when I talk to them on a free consult and they're like, well, I want you to hear my voice and let me know if I have what it takes and I'm like that is really has nothing to do with your voice. It really and I said honestly, I can hear that you would do well if you wanted to, if you would allow yourself to, because I enjoy your personality, I enjoy the engagement, I feel like you're an engaging person and I feel like the potential is absolutely there. You just have to allow it to happen. And again, I can hear.

25:28 I mean, if they have a speech impediment or something like that, sometimes that might affect, like me, understanding everything. It doesn't mean that you can't be a voice actor, but really it's. It's me connecting with you on a human level. That's the mood. That's the mood that's going to say, yes, I can be a successful, I can be a successful voice actor. Exactly A mood that says I can engage with human beings in a human way and be interesting and likable and all that or not likable, depending on what the script calls for. But initially, when I'm meeting someone, you know how. You just meet someone and you're like, oh yeah, like you just immediately connect, they have the it factor.

26:08 - Lau (Guest) They have the factor.

26:09 - Anne (Host) So many people have the factor, but they don't think they do. Right Again because of that voice that's saying I'm not good enough. Is it what they're looking for? I don't think I can. It's that horrible, sabotaging voice.

26:21 - Lau (Guest) I also would say, annie, that if you have the self-awareness to know, or you have a buddy that can tell you that you're too high or you're too low coming into your work, it's never a good place to start. You should be able to go high and go low if you need to, but you should not be starting from that place. You should be starting from that, really neutralized. I don't call it relaxed, it's not relaxed, it's released. I call it the middle C. Yeah, it's the middle. It's like you're the core of being released and being present and being open and aware. Yeah, it really is that.

27:00 - Anne (Host) Like a melody, like a music passage.

27:02 It can fluctuate up and down and it can have all sorts of places to go, whereas if you're coming into anything high or low and don't equate it so much to pitch although it does equal pitch, but we're not necessarily talking about pitch but sometimes I tell people when they come in hi, see that that's a performance, hi, I'm behind the mic and I want to sound a particular way and that just makes me pitch up. Yeah, I want to be that really low voice, but you'll notice that when I do that I have no place to go. I can't go down further. I mean, I started at the lowest possible voice. I have no place to go If I start too high.

27:51 - Lau (Guest) I've got no place to go. So if you start right in the middle, at that middle C, you got lots of places to go. What a cool conversation. That is right. And one more thing I want to say is don't ever fall into the mindset that you're not capable of a particular mood because it's not part of your natural persona or personality. So let's say you're a more introverted person, you don't let out your emotions quite as much, and you're more business oriented and you do those kinds of reads Great, but it's all in there, it's just a matter of unlocking it.

28:12 So how you unlock those particular personality traits that allow those moods and spirits to come out is really it's exterior, it's situational. So if you put yourself in the right situation it will come out of you.

28:27 - Anne (Host) It's like that adrenaline call when you're like, oh, I'm a superhero all of a sudden. Yeah.

28:32 - Lau (Guest) So what I'm trying to say is change your environment. If you can't do it in your booth or you can't do it in your place, then go into the woods, go onto a ski slope, go to a restaurant and really remember the feeling of what that is to be surrounded by it, because sometimes you need to remember, we forget. We have kinesthetic memory in our muscles, but sometimes we do forget.

28:55 - Anne (Host) And sometimes, when we get older, it's even easier to forget. Speak for yourself, speak for yourself. I can't remember what I came in for this morning. Oh wait, we're recording the VO Boss episode.

29:06 - Lau (Guest) We're doing a podcast, we're doing a podcast.

29:08 - Anne (Host) I remember, I can't forget that. But anyway, what a great conversation.

29:12 - Lau (Guest) This is so good, good stuff, it's so necessary yeah.

29:15 - Anne (Host) Bosses. So get yourself in your box. Uh, learn to disassociate those that do not serve you, those emotions that don't serve you, those moods that don't serve you, and then be able to evolve the moods that serve the copy. Yes, love it and get. And, whatever you do, get into the mood. Yeah, there you go. I'm in the mood. I'm in the mood. All right, bosses, big shout out to ipdtl, which got me in the mood this morning. You too can connect and network like bosses. Find out more at IPDTLcom. Bosses, have an amazing week, an amazing mood-filled week, and we will see you next week.

29:54 - Speaker 2 (Announcement) Bye.

29:54 - Lau (Guest) See you next week.

29:56 - Speaker 2 (Announcement) Bye. Join us next week for another edition of VO Boss with your host, Anne Ganguzza, and take your business to the next level. Sign up for our mailing list at vobosscom and receive exclusive content, industry revolutionizing tips and strategies and new ways to rock your business like a boss. Redistribution with permission. Coast to coast connectivity via IPDTL.

The specific steps some people take to manipulate you

The Overwhelmed Brain

Ad break

The AI-powered Podcast Player