Podcasts about Annie Get Your Gun

Welcome to Season 04 Episode 4.15 - the "Producers" edition - of Notes from the Aisle Seat, the podcast featuring news and information about the arts in  northern Chautauqua County NY, sponsored by the 1891 Fredonia Opera House. Your host is Tom Loughlin, SUNY Distinguished Teaching Professor and Chair Emeritus of Theatre and Dance at SUNY Fredonia. Guests on this episode include: Mr. Steve Wendell/And The Tony Goes To..."; Mr. Rick Mascaro/Founder, Lakeshore Center for the Arts; Mr. Jefferson Westwood, retiring Director, Rockefeller Arts Center. Notes from the Aisle Seat is available from most of your favorite podcast sites, as well as on the Opera House YouTube Channel. If you enjoy this podcast, please spread the word through your social media feeds, give us a link on your website, and consider becoming a follower by clicking the "Follow" button in the upper right-hand corner of our home page. If you have an arts event you'd like to publicize, hit us up at operahouse@fredopera.org and let us know what you have! Please give us at least one month's notice to facilitate timely scheduling. And don't forget to enter the giveaway for a $25 gift card from Domus Fare, and 2 tickets to any movie from the Cinema Series. Entries must be received by Friday June 6th at 12 noon! Listen to the podcast for the question and answer. Then email your answer to operahouse@fredopera.org. Make sure you put the word "Giveaway" in the subject line and include your preferred contact information. Thanks for listening! Time Stamps (Approximate) 1:55 - Steve Wendell/And The Tony Goes To... 16:30 - Rick Mascaro/Lakeshore Center for the Arts 33:33 - Arts Calendar 35:31 - Mr. Jefferson Westwood/retiring Director, Rockefeller Arts Center Media "I Wanna Be A Producer", from the musical The Producers, music and lyrics by Mel Brooks, performed by Matthew Broderick, from the original cast album, March 2001 "What I Did for Love", from the musical A Chorus Line, music by Marvin Hamlisch, lyrics by Edward Kleban, performed by Priscilla Lopez, from the original cast album, Columbia 1975 "That's Entertainment", from the film musical The Band Wagon, music by Howard Dietz and Arthur Schwartz; written by Betty Comden and Adolph Green, performed by the Boston Pops Orchestra, John Williams, conductor, January 2014 "There's No Business Like Show Business", from the musical Annie Get Your Gun, written and composed by Irving Berlin, performed by the WDR Funkhausorchester, Michael Seal, conductor, June 2022. "There's No Business Like Show Business", from the film musical There's No Business Like Show Business, written and composed by Irving Berlin, performed by Ethel Merman. 20th Century Fox, December 1954. Artist Links Steve Wendell Rick Mascaro Jefferson Westwood Box Office at SUNY Fredonia Lake Shore Center for the Arts Main Street Studios Ticket Website WCVF Fredonia WRFA Jamestown   BECOME AN OPERA HOUSE MEMBER!

This week, Maris and Mackenzie have the sun in the morning and the moon at night as they take aim at the sharpshooting musical classic Annie Get Your Gun. Maris shares memories of performing in the show during her youth—while trying to recall which elements were cut or changed from the original version, and which parts of their production didn't make it into future revivals. The duo also dives into the musical's problematic ending and how it influences their answer to this podcast's usual final revival question. Plus, they explore which historical elements hit the mark and which ones wildly miss the target.All this and they say that falling in love is wonderful, it's wonderful, so they say in this all new episode. Don't forget to leave us a review and share your thoughts on this episode on our social media pages. Follow the links below to reach our pages.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

Next week, there's no business like show business as Maris and Mackenzie dive into the classic musical Annie Get Your Gun! Maris reminisces about her time performing in the show, and together they explore how the ending has evolved over the years. They also unpack how the musical began as the passion project of Dorothy Fields—before creative control was ultimately taken from her.All this and doin' what comes natur'lly on next Friday's all new episode!Don't forget to leave us a review and share your thoughts on this episode on our social media pages. Follow the links below to reach our pages.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

This week, Bobby and Steffan are joined by the powerhouse that is Graham Newell — an accomplished dance educator, mentor, choreographer, and former West End performer who brings two decades of experience in the arts to everything he touches. From Cats to curriculum design, Graham has done it all — and he's still pushing the boundaries of what's possible in arts education.

1 weekend, 2 episodes, 3 guests, 40 years of living! And AW is LIVING to be joined by Pamela Bob! (Say what?! *faints*) To kick off Aaron's Birthday weekend, we give LA Guns a shot and dig up their 2012 album 'Hollywood Forever', before reloading and firing off on all cylinders about Annie Get Your Gun. Plus, we chat Little House on the Prairie, Living on a Prairie, Silence! the Musical, Pamela Anderson's Oscar snub, and heaps more in this hilariously warm episode!  --SOCIALS--Pamela: https://www.instagram.com/thepamelabob/ Cracked Open Tickets: https://crackedopentheplay.com/*****Juxtaposing Metal with Musicals - joined by iconic guests from the worlds of Music, Broadway, Hollywood, and more! https://www.thetonastontales.com/listen -- https://www.patreon.com/bloomingtheatricals - https://twitter.com/thrashntreasurehttps://linktr.ee/thrashntreasure*****Help support Thrash 'n Treasure and keep us on-air, PLUS go on a fantastical adventure at the same time!Grab your copy of The Tonaston Tales by AW, and use the code TNT20 when you check out for 20% off eBooks and Paperbacks!https://www.thetonastontales.com/bookstore - TNT20 *****   ★ Support this podcast on Patreon ★

LEGENDARY TV ACTRESS STEFANI POWERS STEFANI POWERS BIO Biography Stefanie Powers began her career as a teenager dancing for the Michele Paniaff Ballet Company and Jerome Robbins. At 16 she was put under contract to Columbia Pictures in the twilight of the Hollywood Studio System where she made 15 motion pictures and was loaned to United Artists for the John Wayne production of [error]. MGM Television bought her contract from Columbia to present her as The Girl from U.N.C.L.E. (1966). Her television credits include over 200 guest appearances, 18 mini-series and 2 more weekly series, The Feather and Father Gang (1976) and the long-running Hart to Hart (1979). Her long career has included appearances on the stage beginning in 1964 with "Under the Yum Yum Tree" in San Francisco which ran for 12 years after its initial opening. She has appeared on and off Broadway in musical shows and tributes; in the West End in the musical, "Matador" and "Love Letters". Appearances on the British stage included "The King and I", "The Adjustment" and "84 Charing Cross Road." Her stage appearances in the United States include "Annie Get Your Gun", "Oliver", "Applause" (the revival), "Sunset Boulevard" and "Gotta Dance" directed by Jerry Mitchell. In 2018 she appeared in the film The Artist's Wife (2019) with Lena Olin and Bruce Dern and a revival in London of "84 Charing Cross Road." She has an active life in wildlife conservation and is the creator of the William Holden Wildlife Foundation, formed after the death of her long-time life partner William Holden. In that vein she has received numerous fellowships and awards for her tireless field work in conservation and is a faculty member of the Oxford Literary Festival at Christ Church College at Oxford where she heads forums with authors of outstanding books dealing with the crucial environmental issues of our day. She's been on the boards of four zoos in North America and is an independent board member of a cluster of 3 mutual funds which are a part of the American Funds, one of the largest mutual funds families in the world. She presented the PBS 13 part series, "Funding Your Dreams" as a road map for women contemplating investment options. As a member of the Writers' Guild of America she was nominated for her script of "Family Secrets", received five Emmy nominations for acting roles and a People's Choice Award. She resides in Los Angeles, London and Kenya. - IMDb Mini Biography By: Stefanie Powers  

Stefanie Powers began her career at age 15, dancing for famed Broadway choreographer, Jerome Robbins. She was put under contract to Columbia Pictures in the final years of the Hollywood star system. While under contract, she appeared in 15 of the 31 motion pictures she has made, co-starring with screen legends such as; John Wayne, Maureen O'Hara, Lana Turner, Ava Gardner, Cliff Robertson, Elliot Gould, Roger Moore, Donald Sutherland, Bing Crosby, Glenn Ford, Lee Remick, James Caan and Sammy Davis. She recently co-starred with Richard Chamberlin in the critically acclaimed independent film, THREE DAYS OF HAMLET. Her first television series, "The Girl From U.N.C.L.E.," marked a milestone in U.S. television's history as the first hour long series featuring a female in the leading role. Her television career includes over 25 mini-series, over 200 episodic guest starring appearances, 35 movies for television and two more television series, "Feather and Father" and the long running "Hart to Hart," starring opposite Robert Wagner, now celebrating its 45th anniversary. She became a member of the Screen Writers' Guild of America in the 1980s and has produced several of the screenplays she has written, one of which, "Family Secrets," was not only a stepping stone for the careers of James Spader and Gary Sinise but it garnered her a nomination for the best screenplay of the year by her peers in the Writers' Guild. Her writing has extended itself to a memoir called, One From The Hart, published by The Robson Press. Throughout her career she has never neglected her theatrical roots, appearing in productions of; How the Other Half Loves, Under the Yum Yum Tree, Sabrina Faire, A View From the Bridge, Oliver, Annie Get Your Gun, the West End debut of Matador, off-Broadway in The Vagina Monologues, back to the West End with Robert Wagner in Love Letters, which they also toured the United States with, becoming the cast most associated with the play after over 500 performances. Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

In this podcast episode, I sit down with the legendary Cubby O'Brien, whom I had the pleasure of meeting earlier this year on a Broadway cruise where I was performing with several acts, and he was with the iconic Bernadette Peters. Cubby, best known for his time on The Mickey Mouse Club and touring with The Carpenters, has had a remarkable career on Broadway, drumming for shows like Annie Get Your Gun, The Producers, and Beauty and the Beast. In this chat, we dive into his incredible experiences, including a memorable moment when Buddy Rich told Karen Carpenter she was his favorite drummer! Please tune in to hear it all, and remember to subscribe and share!Carl "Cubby" O'Brien, born July 14, 1946, in Sun Valley, California, is an accomplished American drummer and former child actor, best known as one of the original Mouseketeers on The Mickey Mouse Club (1955–1958). Discovered by Disney talent scouts at a Screen Actors Guild benefit in 1954, Cubby became the youngest male to audition for the show, securing his spot after a simple yet memorable rendition of "Happy Birthday." After his time with Disney, Cubby pursued his true passion for drumming, performing with bands around Los Angeles, including a two-year stint with Spike Jones, which opened doors to major acts. He went on to work with legendary artists such as Ann-Margret, Shirley MacLaine, and Diana Ross, and spent ten years touring with The Carpenters after meeting them on The Carol Burnett Show.Cubby's prolific career extends to Broadway and television, with notable performances in productions such as West Side Story, Hair, The Producers, and Gypsy. He has also lent his drumming talents to movie soundtracks, including Grease, Change of Habit, and Gypsy. In addition to his extensive stage and screen credits, Cubby has played drums for Siegfried and Roy in Las Vegas and continues to perform in the Broadway production of Chicago. Throughout his career, he has worked with an array of stars, from Bernadette Peters to Steve Lawrence & Eydie Gorme, and remains a respected figure in the music industry. Cubby currently resides with his wife, a University of Oregon graduate, having recently relocated from New York.Clayton Craddock founded Broadway Drumming 101, a comprehensive online platform that provides specialized mentorship and a meticulously curated collection of resources.Clayton's Broadway and Off-Broadway credits include tick, tick...BOOM!, Altar Boyz, Memphis The Musical, Lady Day At Emerson's Bar and Grill, and Ain't Too Proud - The Life And Times Of The Temptations, Cats: The Jellicle Ball and The Hippest Trip: The Soul Train Musical. He has subbed for shows like Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, Spongebob Squarepants - The Musical, Hadestown (tour), and many more. Clayton has appeared on The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Boyle, Norm Lewis, Denise Williams, Chuck Berry, and Ben E. King.Clayton is a proud endorser of Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.For more about Clayton Craddock, click here: www.claytoncraddock.comCONNECT WITH ME ON MEETHOOK Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Welcome to another episode Production Design Film Study where we dive deep into the art of Production Design in Oscar-nominated films. I'm your host, Kim Wannop, and today we have a special treat as we explore the cinematic landscapes of 1950 with my guest, assistant set decorator Ethan Goodwin. Join us as we critique films like “Sunset Boulevard,” “All About Eve,” “Annie Get Your Gun,” “Samson and Delilah,” and “Destination Moon.” analyzing everything from their narrative choices and visual effects to their set designs and costume details. This episode is packed with insights into the challenges of revisiting older films, comparing classic storytelling with modern standards, and appreciating the intricate craftsmanship that brought these stories to life. We'll dissect the eclectic mix of genres that shaped 1950's film landscape, from the sci-fi beginnings of "Destination Moon," supported by groundbreaking visual effects and a surprisingly educational Woody Woodpecker cartoon, to the lavish sets of "Sunset Boulevard" and "All About Eve," both hailed for their timeless production design. We'll also discuss memorable moments and surprising details, such as a balcony unnoticed in multiple viewings and a comedic character's impact on a serious plot. So, if you're a lover of classic Hollywood or passionate about the nuances of set decoration, this episode promises a fascinating journey through the golden era of film. Let's get started!

What is fear? Fear is a natural response to a perception of danger. All creatures on earth have it. We use fear to spur us into action - to run or take other steps to save our lives. There are many studies listing specific fears of different societies. Believe it or not, here in the United Sates, one of our greatest fears is public speaking. In numerous studies, the fear of public speaking ranks number one – higher even than the fear of death. I'm not a psychologist, sociologist or neuroscientist so I'm not about to embark on an exploration of why that is, but I do know there are ways to conquer this fear. And it is worth conquering. The inability to express yourself when you have something to say can severely impact your career. In New Orleans, Chris Trew is an improv comedian who, alongside his comedy career, has turned his talents toward teaching communication skills. Chris conducts workshops for people in business. His goal is to help a business person become a better communicator, a better leader in their field, and to learn to embrace and enjoy attention rather than fear it. In the world of New Orleans comedy, comedian Nicolo Giardina is known as “Pickle.” The name was inspired by a rap song and cemented by fellow inmates when Pickle spent time in jail, the result of a decade-long career in sales - in the drug business. Today, rather than sit around and wait for the phone to ring to be booked at a local comedy club, Pickle has crossed over to the other side of the microphone and produces comedy shows. These shows are principally called Roast Beefin'.  Roast Beefin's are comedy roasts where two comedians battle each other in a kind of cutting competition. You can see Roast Beefin' mostly at the Hi Ho –Lounge - where it's been anchored since 2020. Although producing comedy shows in what is principally a music venue and bar in St Claude might sound like a fun way to make a living, Pickle describes the local comedy industry as “competitive and ruthless.” In 1946 a show opened on Broadway called Annie Get Your Gun. A number of songs from that show have survived to this day. Maybe the most well-known is a song called “There's No Business Like Show Business.” On the one hand the song is a love letter to the world of live performance. And on the other, it's a wry observation of the kind of addiction behavior that seems to underlie the world of entertainers. This verse might say it best:“Even with a turkey that you know will foldYou may be stranded out in the coldBut still you wouldn't change it for a sack of goldLet's go on with the show” Chris and Pickle, as producers of comedy in New Orleans, have both chosen a tough path. But although it might sound trite, it's true – somebody has to do it. We need comedy, and comedy demands comedians.  Out to Lunch was recorded live over lunch at Columns in Uptown New Orleans. You can find photos from this show by Jill Lafleur at itsneworleans.com.See omnystudio.com/listener for privacy information.

durée : 00:22:06 - "Annie Get Your Gun" de Irving Berlin - Annie du Far West (Annie Get Your Gun) est une comédie musicale américaine, livret de Herbert et Dorothy Fields, paroles et musique d'Irving Berlin, créée à l'Imperial Theatre de Broadway le 16 mai 1946. L'histoire se réfère à Annie Oakley, tireuse d'élite vedette du spectacle de Buffalo Bill.

Composer Jerry Herman (Composer and lyricist; born July 10, 1931, in New York City) It only takes a moment to realize that Broadway's Golden Age is alive and well and thriving as long as Jerry Herman's around. "When they passed out talent," the legendary Carol Channing has said, "Jerry stood in line twice." Almost single-handedly, the creator of Milk and Honey, Hello, Dolly!, Mame, La Cage aux Folles and so much more has revitalized and nourished the all-American tradition of great and unstoppable show tunes. His music and lyrics have kept audiences tapping their feet, humming along, and wiping their eyes with tears of joy for generations. Even as often he's been underrated as being too easy to like in a world of dark and foreboding musicals, too entertaining, too tuneful and much too upbeat, the genius of Herman's deceptively simple songs cuts through any shortsighted criticism. "Jerry has succeeded so well in his mission that people don't give him credit," said Michael Feinstein, "because to be simple without being cliche is nearly impossible." Herman's genius, in truth, is not so much simple as it is subtle. For all his cock-eyed optimism-and very much in the tradition of his forefathers Rodgers and Hammerstein-a Herman musical always carries a message of timeless values, of humanity's triumph over hatred and ignorance, of happiness over despair. 1983's La Cage aux Folles, a smash hit on Broadway and a Tony Award winner in all three of its Broadway productions-and counting-is not only a bona fide crowd-pleaser but also the most sweetly radical musical of its age. Here on the Broadway stage, decades before the fight for marriage equality hit the headlines, was a pair of gay dads raising a family, and here was "...a man singing a love song to another man-I don't think that's ever been done in a Broadway musical before." Herman told The Washington Post that during previews in Boston "I didn't know whether or not they'd throw stones. The audience gave it an ovation." "By the time Georges and Albin-having weathered a son's passing ingratitude and a zealot's intolerance-walked hand in hand into the St. Tropez sunset, the audience was on its feet," The Washington Post reported. "What La Cage aux Folles celebrates, after all, is loyalty and love, respect for others and respect for self and, yes, even family. The good old values." Gerald Herman was born in New York in 1931 and raised in Jersey City. His parents Harry and Ruth ran a children's summer camp in the Catskills, where young Jerry surprised everyone by teaching himself the piano. Once, he recalled years later, "my parents took me at a tender age to see Annie Get Your Gun, and I was absolutely dazzled. I have one of those retentive ears, and when I came home I sat down at the piano and played about five of the songs. My mother was amazed." Many more would be amazed. At 17, he was introduced to Frank Loesser, who encouraged him to continue composing once he heard some of Herman's songs. He went to the University of Miami, joining its adventurous theater program and himself appearing in undergraduate shows including the musical Finian's Rainbow. His alma mater since then has honored this distinguished alumnus and today boasts the Jerry Herman Ring Theatre at the heart of its drama program. After graduation from Miami, Herman headed back to New York and put together a review of his songs so far: I Feel Wonderful opened at the Theatre de Lys in Greenwich Village October 18, 1954 and ran for 48 performances. He was just getting going. While playing piano in a New York jazz club called the Showplace, Herman brought together his friends Phyllis Newman and Charles Nelson Reilly for another review called Nightcap, which opened in 1958. This one ran for two years. In 1960 came Herman's Broadway debut, alongside material by Fred Ebb and Woody Allen, in the review From A to Z. That same year came Parade, also at the Showplace, starring Reilly and Dody Goodman. A hit, Parade moved to the Players' Theatre and it was during this run that a producer asked Herman if he would be interested in writing a musical about the founding of the state of Israel. Milk and Honey, starring Molly Picon as the ultimate Hadassah lady, opened in 1961. It earned Herman his first Tony nomination for Best Musical of 1962. He had arrived. It was David Merrick who brought together Herman and the first of his vulnerable but ultimately invincible heroines, Dolly Levi. Hello, Dolly! starring Carol Channing opened in 1964, ran for 2,844 performances, became Broadway's longest-running musical and has been revived often since. It swept the Tony Awards, taking home a then unmatched 10 including Best Musical and becoming one of the happiest episodes in the history of the Broadway musical. Mame followed in 1966, starring Angela Lansbury and teaching the world that in the toughest times "We Need a Little Christmas." What has followed amounts to a life-affirming body of work rivaled by few: Dear World, the underappreciated Mack Mabel, The Grand Tour, Mrs. Santa Claus, Jerry's Girls, and of course La Cage aux Folles. The theater world knew a good thing when it heard and saw it: Tonys, Drama Desk Awards, Theatre World Awards all followed, as did a 2009 Special Tony Award for Lifetime achievement, and a 2010 Drama Desk Special Award for "enchanting and dazzling audiences with his exuberant music and heartfelt lyrics for more than half a century." Right now in the 21st Century, we can be sure that someone, somewhere is singing a Jerry Herman song. That's one happy way we know the man's been right all along: the best of times is now.

[00:01:07] Dianne Ogle: I had my first child in Texas and I was working for a corporation running their marketing department. And I had to put my oldest son in with a lady who had a small group of children in her home. And every day I'd go get him. I would see him in a swing. And I told my husband, I cannot do this. I feel like I couldn't run this marketing department yet. I want to have more of an impact on my own son. And so, my boss said, great. She said go start your own business, figure out what that looks like. And I'll be your first client. And I thought, oh my goodness, how am I going to do this? [00:01:47] Tommy Thomas: Our guest today is Dianne Ogle. Dianne began her career in sales and marketing before making a name for herself as a leader who could grow organizations and identify trouble spots and bottlenecks that tended to enter an organization's growth and effectiveness. As a prominent figure in the Executive Women of Influence Network, Diana has dedicated her career to empowering women in leadership roles across various industry sectors. Her leadership experience spans leadership development, team dynamics, and organizational strategy, thus making her a sought-after advisor and coach. Her impact is widely recognized, and she continues to inspire and support women in their professional journeys, helping them to navigate the complexities of leadership and achieve sustained success. [00:02:38] Tommy Thomas: Dianne, welcome to NextGen Nonprofit Leadership. [00:02:41] Dianne Ogle: Thank you for having me, Tommy. I'm excited to be here with you. [00:02:45] Tommy Thomas: I've been looking forward to this. You come with good recommendations from one of my previous guests and one of my future guests. I'm looking forward to this. Take me back to your childhood. What was that like? What are some of your fondest memories? [00:02:59] Dianne Ogle: I grew up in the Midwest. I was born in Colorado but grew up in Indiana with a high work ethic, middle class. Early on, my parents took us to a church that didn't really preach the gospel as far as what the Bible taught. And one summer when I was 11, my mom took us to a local Baptist church that had VBS. That was the first time both my mom and I heard the gospel. And she became a Christian with the mother's group that they had. And then I did shortly thereafter and so it was a beautiful place to grow up and go to college. And we lived on the baseball field because I had a brother who played baseball up until minor leagues. And so, there were three of us. I was the oldest of three. So, it was just a great way to grow up in the Midwest. [00:03:57] Tommy Thomas: So, what was high school like? [00:03:57] Dianne Ogle: I had to change high schools in my junior year.  I went to one school in Indianapolis from kindergarten until my sophomore year. And then my parents went north of Indianapolis. And at the time it was a really rural area in Fishers, Indiana, which now it's like the largest high school. But back when I transferred, it was farm kids and I was the city girl moving out into the farm kids and I went kicking and screaming. That was not a good transition for me, but the Lord's hand was in it even then. I had to take the driver's ed course and I had the athletic director who was a tough football coach, and my dad was a barker, so he didn't intimidate me, but he quickly got me involved and got me to be a stat girl because my brothers were athletes. [00:04:58] Dianne Ogle: And he taught me to do the statistics for football, basketball, and track. And so, it was a great entry into a smaller school that was very established with kids who had been growing up together. And then I got a chance to be in musicals and got to play in Annie Get Your Gun. So, it was just a fun, great group.   [00:05:22] Tommy Thomas: What kind of career aspirations did a young 16-year-old Dianne have? [00:05:29] Dianne Ogle: I had a lot of parents thinking I should go to California to go into acting. I had a lot of common sense of knowing the value of a dollar. Because I was raised that if you wanted extra money, you had to work. So, I started working as a babysitter at age 11, got my first job at 15. I bought furniture, I bought my car. And so, I had a really deep, intrinsic work value at a very young age. And I didn't have a lot of role models of women. Unless you wanted to be a teacher or a nurse, there was not a lot of women, at least in my little world view at that time in the Midwest. [00:06:06] Dianne Ogle: Mom stayed at home with us. Now I knew she had worked at the Air Force Academy back when she was single in finance but other than that, I didn't have a lot of visual people ahead of me that I could see. Now my dad was in business. And so that's started me out in that track of well, maybe that's what I'll tip my toe into. [00:06:29] Tommy Thomas: What's something that people are always surprised to find out about you? [00:06:35] Dianne Ogle: They are probably surprised that I come from all brothers, that I was raised on a baseball field, that I love sports, and I can talk with the best of them about many sports. And now I have three boys, and I've got a grandson. And so, Boys-R-Us is what we call ourselves. And I now have two granddaughters. Yay, I've been redeemed. But it's interesting because now the Lord has had me working with mostly all women. So, it's interesting. I was raised with mostly all men and then God's used it to now have me work with women. So it's been a sweet time. ++++++++++++++++ [00:07:10] Tommy Thomas:   You graduated from college, and you got out in the workforce. Take me back to the first time you ever had a staff. And what do you remember about that element of basic leadership? [00:07:23] Dianne Ogle: I started my career in Indianapolis at a computer software company.  And then about a year and a half in, I was working in Pittsburgh running a sales territory and their president's club, only women. So, I learned really young about being the only woman in a whole salesforce and I didn't see any women ahead of me. And then I was tapped in Pittsburgh to come to central Florida and open an office for a temporary help company, which is in your industry. I didn't have any experience in it, but I thought I would just go down there. And that really was my first hand at leadership because before that, as you can imagine, I'm in charge of a sales territory and my clients and peers, but I wasn't having anybody that I was personally in charge of leading until I moved to Florida, had to launch this office. [00:08:19] Dianne Ogle: This was back in the early eighties and I had it doing over a million dollars in annual revenue within three years and they eventually had me take over Tampa and then do trap troubleshooting up here in Atlanta where I'm at. But yeah, that was the first time I got inherited by a staff, but then I had to build staff. I had to train them both inside sales and outside sales and didn't get a lot of training. It was just let's go do it. I really did it based on my own values on what I saw worked. I have a high work ethic and integrity is huge for me. And so being able to just navigate that was really important for me. [00:09:05] Tommy Thomas: If I could have shadowed you earlier at that time, as you were building that team, what would the typical weekday or month look like? Dianne Ogle: I started out with team meetings, daily team meetings, especially for my internal staff, of course that was back before computers. And so, everything was on these huge Rolodex clocks and these files that were flipping around and we had clients, we had built it to Martin Marietta and law firms and Harcourt Brace Jovanovich. We were considered a little bit higher level administrative, so we didn't do lower and then we did some permanent placement. We would start off our day on just trying to get our grounding. Who was going to do what and what was coming up. Because every morning you had either calls coming in from clients or you had employees that either could or could not make their commitment, which was always a challenge. And then my sales staff, who are you going to visit? What appointments do you have? What do you need? How can I come alongside you? Do you want me to go with you? And so just that constant motivation and help to make sure that they were adhering to what we needed the office to do. [00:10:24] Tommy Thomas: If I could have been in one of your staff meetings and you took a break and left the room and I asked them, what's the toughest thing about working for Dianne? What do you think they would have said? [00:10:35] Dianne Ogle: Probably just adhering to their commitment to their numbers and even if the climate is tough, and it is hard with rejections, especially my sales team. But having to get back on the phone or having to try to get back in front of people, which is, like I said, we didn't have computers. So, all of it was either you had to just do cold calling. Knock on those old doors, which I got kicked out of some buildings early in my career, but you just had to have that tenacity and not every day is that easy. And so that's probably what they would say is that, boy, she's going to keep making us get up and go back out and try to call that person again and try to see them. Because we found that the more we could see people in person and have that face to face, the stronger that trust bridge and relationship could happen. [00:11:28] Dianne Ogle: And then we can not only help navigate any kind of problems or issues, but we have a chance to grow together. And so, we all knew, and that's what I kept telling all our team, both internal and external. We've got to be able to find ways to get in front of them to build those relationships. [00:11:46] Tommy Thomas: If I flip that, what would they say was the most rewarding part of being on your team? [00:11:51] Dianne Ogle: Probably their autonomy. I'm not a micromanager. And so, if they wanted to do their schedule a certain way, I wasn't going to micromanage how they did it. I always want to just come alongside to encourage and spur them on and help to motivate them for their highest and best. And quite frankly, it's tough every day, whether you're going through something personal, cause we're all whole people, right? [00:12:15] Dianne Ogle: And how we show up each day can change based on other areas of our life that could be impacting us. And so just helping to navigate that I care deeply about not only today working with my C level clients, but also back then. We are real people. We have real issues. And so how can we be there to support each other? [00:12:38] Tommy Thomas: You started out not having many mentors. When did mentors show up in your life? [00:12:45] Dianne Ogle: Once I asked. [00:12:47] Tommy Thomas: Okay. [00:12:48] Dianne Ogle:  I had my first child in Texas, and I was working for a corporation running the head of their marketing department. And I had to put my oldest son in with a lady who had a small group of children in her home. And every day I'd go get him, and I would see him in a swing. And I told my husband, I cannot do this. I cannot feel like I could run this marketing department yet. I want to have more of an impact on my own son. And so, my boss said, great. So that's when I made the transition from corporate into on my own. Cause she said just do your own job, go start your own business, figure out what that looks like. And I'll be your first client. And I thought, oh my goodness, how am I going to do this? And so, I ended up listening to a lady who was a speaker. She came from a similar but different background than me, but I could see, we saw things similar, and I thought, that's it. [00:13:48] Dianne Ogle: I'm going to go up afterwards and ask her to mentor me. And what I didn't know, she was highly sought after. She was an author and a public speaker. And she heard my why and my desperation. And she goes, of course, but you'll have to do homework. I'm like, fine, put me to work. And her name's Betty Price out of Dallas. And she was a gem. She shared; she opened her heart. She showed me how to write contracts. She showed me how to set up a business and really grow it. So that was absolutely amazing. [00:14:20] Tommy Thomas: Before we get a little broader, what are some times in your life that have really tested your metal and what did you learn? [00:14:36] Dianne Ogle: I got married at 30 and then we moved from Florida to Texas for my husband to go to seminary to get a master's in religious education and marriage and family counseling. And so, I was the breadwinner, which didn't bother me at all because I'd been independent and been earning my own income, but it bothered him more because he came from a hospitality background. And so that was an interesting season for us because I didn't fit the mold of most seminary wives or any that I ever saw. And we couldn't live on campus because my job location would bend too far for me to commute in that big metroplex. That was a hard season. Being a newlywed, having a heart for the Lord, but not finding community for anybody who could really. In fact, I got a lot of judgment and condemnation because of what I did. And I wasn't fitting that traditional role of a seminary wife. That was painful back then. [00:15:41] Tommy Thomas: Frederick Wilcox says progress always involves risk. You can't steal second base with your foot on first. What's the biggest risk you've ever taken and how did it turn out? [00:15:53] Dianne Ogle: Starting my own business. That was out of desperation. I had no vision. So that was also something I really wrestled with. Cause I'm like, I don't sell Tupperware or Avon. I don't know, what do you do? But it helped me. At least my old boss said do what you do now for me. And you'll figure it out. And sure enough, I started having small businesses tap me to help them. At least I initially started helping them on how they could grow their business through effective sales and marketing and with the teams that they had and how to develop those teams so that they could be a producing, performing, high performance, achieving team together. But that was a huge risk because we were still meeting my income. And so, you go from the luxury of having great benefits and a great package to, oh my goodness, I got to build this thing fast. [00:16:49] Tommy Thomas: It's been said, most of us learn most things from our failures. If that's the case, why are most of us so afraid to fail? [00:16:57] Dianne Ogle: Because sometimes the stakes are high. Like in my case, we needed my income, and we needed it, it wasn't a luxury. We didn't have a lot put aside or family that would just say, oh, let me write you a check or any kind of investments back in that day. And so, there was a lot on the line for us to succeed or for me to succeed for sure. And yet still support my husband and our joint goals moving forward. ++++++++++++++ [00:17:27] Tommy Thomas:   Let's move a little bit into your current organization. I'm fascinated and I'm going to probably mispronounce the title. So why don't you save me that embarrassment? And you tell us about your women's collaborative. [00:17:39] Dianne Ogle: It's called Areté Executive Women of Influence. Areté is a Greek word. It is unique. But when, and I can tell you the backstory, the name is a Greek word that means excellence and the Greek men and women attained it, especially in the face of adversity. And when I saw that definition, I'm like, that's it. That's the name. Because we all could either opt out or we press into the pain and stay in the game that God's called us to through that whole sphere of excellence, right? It's not perfectionism, but it's excellence. [00:18:19] Tommy Thomas: Where did the idea come from? Did you think about it on the tennis court one day or did somebody approach you? [00:18:26] Dianne Ogle: We serve a master weaver.  He weaves our story, weaves our expertise. So, one of the clients that I had when I first started my business, someone in New York City found me and said, hey, we want to start a chapter for women business owners that are at a higher level. We want to start a chapter there in Dallas and we want you to launch it, grow it, run it. And of course I had no background in that. I had other background, but I knew what it would take. I could see what it would take. Initially I said, no, because by then I think I had two little boys at home. I had other clients on my books, but they kept coming back around. And I thought, you know what? If I can rally women, because I too know the plight of the high-level woman and I can encourage her. Then I need to be open to it. And so, it was very quickly the Lord let me know that I should take that endeavor on. And so, I grew a very large chapter in Dallas, ended up taking over their Houston chapter. And then there were some ethical issues. I just couldn't protect my Dallas women anymore. [00:19:39] Dianne Ogle:   I finally let them know I need to step aside because I cannot continue to be this placeholder for some integrity issues that I just can't be a part of anymore. So, they said Dianne, start your own. I'm like, okay. That's not my vision but they were desperate. So, I started my own with that particular group. They all came with me, not that I was trying to do it out of ill means. It was their choice. And so, I launched it, figured out how to do a 501C(3) and did that until we moved to Knoxville, Tennessee. And I had my third boy at age 40, and I did that for just a small bit. And I finally handed the baton over to them and said, you take the organization. [00:20:22] Dianne Ogle: I'm going to get this back to you because I needed to be more present for my boys in that new season. So then fast forward, we moved to Orlando and oh, back up, one other caveat. They called me their little Christian leader. And so, I always felt handcuffed in my leadership with them. They knew I was a Christian. I'm not a Bible leader, but I'm authentically going to be who God created me to be. But they put me on notice that you better keep that in a box. And I thought, I told my husband, I said, that is too hard. That doesn't fit who I am. I'll never do that again. Love when you tell the Lord, never going to do that again. [00:21:06] Dianne Ogle: That was hard. So fast forward in 20, the crash happened in 08. My husband had been with Wyndham Worldwide at that point for a decade and his job got released, finally catching up to him about 2010. So, I started introducing him to some men that I didn't know. They didn't know my backstory. They didn't know me, but I would get us in front of some men. Cause I wanted to teach my husband, just have to tell your story and see what God's doing and see if there's any fits. Tommy, four men in a short amount of time would look across the table at me and I'm trying not to keep the conversation on me at all and said, Dianne, you need to start something for the high-level woman. By the fourth one, who was the president of the Central Florida Chamber, he just knew he couldn't meet the needs of his high-level women and that he would come in contact with another one. It was his partner. Another one. It was his wife who was an engineer. It was, they were all coming from different places and spaces, but they heard the plight of the high-level woman. [00:22:10] Dianne Ogle: So, I went back to my prayer closet, and I thought, Lord, I always say, here I am, use me, send me. I thought, woe to me if I start putting guardrails up going, been there, done that, this is too hard, I know what it would take. And he quickly showed me four columns, like those Grecian columns. Before he gave me the name of Areté, which is interesting how God works, but I'm a visual girl. And he showed me that they would come from profit, non-profit, academia, and public service sectors. Because I always knew we were missing a lot of women. Not every woman owns her own business. I didn't come from that space. I ended up there by default, but I came from corporate, and I thought we're missing women everywhere, especially women of faith and those who love Jesus. [00:22:55] Dianne Ogle: And I thought, what Lord, what would it look like if we could link arms with this higher level of women and create a container of confidentiality of trust of authenticity and vulnerability. What would that look like, Lord? And what could we do where we are better together? As one of our members says. And so that's when Areté was born. I called my CPA at the time and said, this has been a year since I've done this. I don't know Florida laws. And she said, Dianne, get it going. I'll be your first member. I was like, whoa, I hadn't even quite made the decision that I was going to do this. Then I'm like jumping in the fire ring again. So that's how that got launched. [00:23:39] Tommy Thomas: So, it's primarily a word-of-mouth growth pattern. [00:23:42] Dianne Ogle: Yes, Tommy, I would say absolutely. And our men still do this day. I had a pastor in Tennessee call me this week. He used to be my pastor at Knoxville. And he said, hey, I've met somebody that, there's not many of y'all out here, but she needs to talk to you. And because I also do executive coaching. So, she wasn't sure if she needed executive coaching or if she needed an Areté type of group. Because we have a chapter in central Florida, one in Atlanta, and then I have remote members now I've opened that up for the past two years. In Texas and Pennsylvania. And yeah, it's been quite an adventure for sure. Over the last 13 years now. [00:24:22] Tommy Thomas: Next week, we will continue this conversation with Dianne Ogle. In that episode, Dianne shares her insights on the importance of authenticity, community, and resilience in leadership. She delves into the importance of building a supportive community among women leaders and the role of prayer in strengthening leadership. She'll also share her observations on key areas that can derail leadership or enhance a leader's career. This episode offers profound insights for anyone looking to deepen their leadership impact.   Links and Resources JobfitMatters Website NextGen Nonprofit Leadership with Tommy Thomas The Perfect Search - What every board needs to know about hiring their next CEO Areté - Executive Women of Influence   Connect tthomas@jobfitmatters.com Follow Tommy on LinkedIn Follow Dianne on LinkedIn   Listen to NextGen Nonprofit Leadership with Tommy Thomas on: Apple Podcasts | Spotify    

NEW FOR JULY 15, 2024 Electric music in the air . . . Summer Storm - The Best Radio You Have Never Heard Vol. 488 1. Suite: Judy Blue Eyes (early) - Crosby, Stills and Nash 2. Maggie May - Matthew Sweet & Susanna Hoffs 3. Infinity Girl - Sunshine Boys 4. The Devil's Right Hand (solo live) - Steve Earle 5. Rocking In The Free World (solo live) - David Byrne 6. Burning With Optimisms Flame (live) - XTC 7. Refugee (early) - Tom Petty and The Heartbreakers 8. Legendary - Bon Jovi 9. One Way Street (live) - Aerosmith 10. From A Whisper To A Scream - Elvis Costello w/ Chris Difford 11. Annie Get Your Gun (live) - Squeeze 12. Sinesimilla - Black Uhuru 13. Incident At Neshabur (live) - Santana 14. Shame (live) - Tedeschi Trucks Band 15. Diane - Material Issue 16. Thick As A Brick (live) - Jethro Tull 17. Scene From A Troubled Mind (live) - Govt. Mule 18. La Princess Purdue / The Great Marsh (live) - Camel 19. Confrontation - Tangerine Dream The Best Radio You Have Never Heard. Your musical lightning rod since 2004 . . . Accept No Substitute Click to leave comments on the Facebook page.

Angie Schworer is a Broadway stage actress and dancer who got her start working at Walt Disney World, where she performed in 15 Years of Magic and the Diamond Horseshoe Revue, and she opened Disney MGM Studios!  From there, Angie headed to New York where her Broadway career started in 1991 when she booked "The Will Rogers Follies." She went on to shows such as "Crazy For You," "Sunset Boulevard," "Annie Get Your Gun," "Young Frankenstein," "Catch Me If You Can" (where she was an Astaire Award nominee), "Big Fish," "Something Rotten!," and most recently played Minnie in "Some Like It Hot." Despite these amazing credits, Angie's probably best known for 2 shows. The first was "The Producers" in 2001. She was in the original Broadway cast an ensemble member and was the Ulla understudy. She also did the national tour for a year, and then returned to Broadway in 2003 and served as the permanent Ulla replacement until the show closed in 2007, making her the longest-running Ulla. She was also in the 2005 movie starring Matthew Broderick, Nathan Lane, and Will Ferrell. The other show she's best known for is "The Prom," where she starred as Angie Dickinson. She was nominated for the 2019 Chita Rivera Award for Outstanding Female Dancer in a Broadway Show for her performance. Enjoy listening to incredible Angie Schworer! Email: TheMouseAndMePodcast@gmail.com Support: www.patreon.com/themouseandme FB & Instagram: The Mouse and Me TikTok: @TheMouseAndMePodcast Twitter: @MouseMePodcast Music by Kevin MacLeod from https://incompetech.filmmusic.io --- Support this podcast: https://podcasters.spotify.com/pod/show/themouseandme/support

Anthem number two! This time, we're looking at an anthem for this business we call show: "There's No Business Like Show Business," written by Irving Berling for 1946's Annie Get Your Gun. While that's still a popular show, the song has definitely broken free and is now widely recognized as perhaps the definitive song about the ups and downs of a life lived on the stage. For this episode, we'll be discussing both the song, and Ethel Merman, who very much made it one of her signature songs, even though she wasn't the one who sang it in the show.  All clips are from 1972's Merman Sings Merman and are protected by the Fair Use guidelines of Section 107 of the Copyright Act for criticism and commentary. All rights reserved to the copyright owners. Listen to the SMSTS playlist on Spotify! Follow SMSTS on Instagram: @somuchstufftosing Email the show: somuchstufftosing@gmail.com

Patrick Wetzel joins Scott and The Mouse and Me for a great chat about his incredible career in film, on tour, and on Broadway.  Patrick was in Disney's film version of "A Christmas Carol" starring Jim Carey where he was Bob Hoskins dance double. He was also in the 2005 movie "The Producers" starring Matthew Broderick and Nathan Lane, "The Inevitable Defeat of Mister and Pete" with Jennifer Hudson, and "The Prom."  His tour credits include "Joseph and the Amazing Technicolor Dreamcoat" with Donny Osmond, "Cinderella" with Eartha Kitt, "The Producers" with Martin Short and Jason Alexander, "Billy Elliot," and "The Prom."  On Broadway, Patrick made his debut in "Ain't Broadway Grand" and appeared in the revival of "Annie Get Your Gun" with Bernadette Peters, "Thou Shalt Not," "The Producers," "The Drowsy Chaperone," "Spamalot," and "All About Me" with Dame Edna.  Also on Broadway he was the Associate Director for "Tuck Everlasting," he stage managed "Something Rotten" and Disney's "Frozen," and he continues to sub as a resident director for "Aladdin" and stage manages the national tour of "Mrs. Doubtfire."  Be sure to stay tuned next week where there may or may not be a first for The Mouse and Me. There may or may not an Extra Special Guest. We cannot confirm nor deny this fact. We're just sayin'... Email: TheMouseAndMePodcast@gmail.com Support: www.patreon.com/themouseandme FB & Instagram: The Mouse and Me TikTok: @TheMouseAndMePodcast Twitter: @MouseMePodcast Music by Kevin MacLeod from https://incompetech.filmmusic.io --- Support this podcast: https://podcasters.spotify.com/pod/show/themouseandme/support

A Complicated WomanMay 10 – June 2, 2024the Terris Theatre, Chester JEFF CALHOUN (Director/Choreographer) Broadway: Disney's Newsies (Tony Award Nomination for Best Director), Bonnie & Clyde, Jekyll & Hyde, Grey Gardens, Deaf West's Big River (Tony Award Nomination for Best Revival of a Musical), Brooklyn, Annie Get Your Gun, Grease read more The post BroadwayRadio Interview: Jeff Calhoun, Director / Choreographer of A Complicated Woman appeared first on BroadwayRadio.

Harvey Brownstone conducts an in-depth Interview with Patrick Cassidy, Broadway, Movie & TV Star, Son of Shirley Jones & Jack Cassidy About Harvey's guest: Today's guest, Patrick Cassidy, is a popular actor and singer who's been dazzling the world of stage and screen with his remarkable talent, charisma and versatility for over 4 decades.   And his talent comes as no surprise, given that he is a member of Hollywood royalty.  He's the son of the beloved and legendary entertainers Jack Cassidy and Shirley Jones.    His body of work in musical theatre is incredibly impressive.  On Broadway, he starred in “The Pirates of Penzance”, “Annie Get Your Gun”, “Aida”, “42nd Street” and “Leader of the Pack”, which earned him a Tony Award nomination for Best Actor.  He's also starred in national tours of some of those shows I just mentioned, and in fact he won the National Broadway Theatre Award for Best Actor in a Touring Musical for his performance in “Aida”, before playing the role on Broadway.   He originated the role of “The Balladeer” in the Off-Broadway production of Stephen Sondheim's “Assassins”.  And he has starred in numerous other theatrical productions including “The Sound of Music”, “Joseph and the Amazing Technicolor Dreamcoat”, “The Robber Bridegroom”, “Company”, and “The Threepenny Opera”, for which he was nominated for the Garland Award for Best Actor.   On the big screen, he's appeared in “Off the Wall”, “Nickel Mountain”, “Fever Pitch”, “Love at Stake”, “Man of Her Dreams”, “A One Time Thing”, and of course, the brilliant, groundbreaking Oscar-nominated movie, “Longtime Companion”.  On television, you've seen him in many movies, TV series and miniseries including: “Midnight Offerings”, “Angel Dusted”, “Dress Gray”, “Dirty Dancing”, “Napoleon & Josephine”, “Hitler's Daughter”, “Ruby & The Rockits” and many more.    Our guest is also the artistic director of the renowned Studio Tenn Theatre Company in Franklin, Tennessee.   For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ To learn more about Patrick Cassidy, go to:https://www.instagram.com/patrickcassidyofficial/ #PatrickCassidy    #harveybrownstoneinterviews

Rerun: Gun totin', horse ridin' spectacular ‘Buffalo Bill's Wild West' opened in Omaha, Nebraska on 17th May, 1883 - the start of a multi-decade run. With a cast of hundreds, including Calamity Jane, Sitting Bull, and Annie ‘Get Your Gun' Oakley, it toured the world - and forever shaped the way cowboys and Indians were represented in popular culture.  In this episode, Olly, Rebecca and Arion reveal the little-known indoor version of the show, consider the role of Native Americans in the ensemble, and explain why the Cossacks in the cast weren't so popular when they returned home to Georgia…   Further reading: • Footage from Buffalo Bill's show - from the McCracken Research Library, Wyoming: https://www.youtube.com/watch?v=g3meHAqxuDI • William F. Cody profiled at the University of Sheffield's  National Fairground and Circus Archive: https://www.sheffield.ac.uk/nfca/researchandarticles/buffalobill • ‘Ten Things You May Not Know About Annie Oakley', from History:  https://www.history.com/news/10-things-you-may-not-know-about-annie-oakley ‘Why am I hearing a rerun?' Each Thursday and Friday we repeat stories from our archive of 800+ episodes, so we can maintain the quality of our independent podcast and bring you fresh, free content every Monday-Wednesday…  … But

"Pal Joey," "Native Son," "Annie Get Your Gun"  - during the years of the Second World War, there was a new surge of exciting Broadway productions trying out in Philadelphia. But at the same time, the Shuberts' domination of the Philadelphia theater market was meeting increasing scrutiny. For a blog post on our website, with images from the productions we discuss in the episode:https://www.aithpodcast.com/blog/quaker-city-theater-in-the-war-years/If you enjoyed the show, PLEASE LEAVE US A REVIEW! You can do it easily, right here:https://www.aithpodcast.com/reviews/If you have any questions, inquiries or additional comments, you can write us at our email address: AITHpodcast@gmail.comOr, follow us on Mastodon: https://historians.social/@schmeterpitzFacebook: https://www.facebook.com/AITHpodcastPatreon: https://www.patreon.com/AITHpodcast© Podcast text copyright, Peter Schmitz. All rights reserved. ℗ All voice recordings copyright Peter Schmitz. ℗ All original music and compositions within the episodes copyright Christopher Mark Colucci. Used by permission.

Welcome to the Instant Trivia podcast episode 1153, where we ask the best trivia on the Internet. Round 1. Category: Stupid Show Biz Answers 1: It's the role Danny Bonaduce played on "The Partridge Family". Danny. 2: Mike Myers flexed his powers to play Studio 54 owner Steve Rubell in this 1998 film. 54. 3: Andrea McArdle, who starred in a production of "Annie Get Your Gun" in 2006, first became famous playing this role. Annie. 4: Greer Garson became the Mrs. of actor Richard Ney after he played her son Vin Miniver in this 1942 film. Mrs. Miniver. 5: It was the title of the last big-screen remake of "Beau Geste", released in 1977. The Last Remake of Beau Geste. Round 2. Category: Sharp 1: Cardsharp is an old term for a gambler who is notorious for doing this. cheating. 2: This synonym for a sniper has the same first and last letters as "sniper". a sharpshooter. 3: Be a sharp dresser by ironing your pants to keep these sharp. the creases. 4: Patricia Clarkson won a Golden Globe for playing Amy Adams' mom on this HBO miniseries. Sharp Objects. 5: This Chikara line of knives from this company is made of "premium Japanese stainless steel". Ginsu. Round 3. Category: Occupational Homonyms 1: A job like a chauffeur, or a part of your PC that needs to be updated occasionally. a driver. 2: It can mean highest in rank or value, as well as someone of high rank at your school. principal. 3: Not just an occupation, it's also a type of fruity pie. a cobbler. 4: A certain member of our military forces, or an adjective that refers broadly to the sea. Marine. 5: Someone who oversees construction work, or a muscle that becomes shorter. contractor. Round 4. Category: Add Some Consonants 1: Numbered explanatory comment at a page's bottom: OOOE. a footnote. 2: MPH indicator: EEOEE. speedometer. 3: A John Lennon classic: IAIE. "Imagine". 4: A portable musical instrument: AOIO. an accordion. 5: Old MacDonald had this point in a planet's orbit when it's nearest to the Sun: EIEIO. perihelion. Round 5. Category: Renting 1: In Alaska, a failure to pay utility bills can be grounds for this process against a tenant within 5 days. eviction. 2: Many states limit this required upfront sum to an amount equal to 1 or 2 months rent. a (security) deposit. 3: Renters with low incomes can seek assistance through the Section 8 program of this U.S. govt. department. HUD. 4: Discrimination against renting to families with children is illegal except for housing reserved for these only. senior citizens. 5: California rental agreements have implied warranties that the apt. isn't rotten, verminous or otherwise this 13-letter word. uninhabitable. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

The dazzling international soloist line-up is Kim Criswell (Olivier-award nominated for Annie Get Your Gun; “Lucy” opposite Sting in 3 Penny Opera; Cats); Michael D. Xavier (Joe in Sunset Boulevard opposite Hollywood film star Glenn Close; Joe Bradley in Roman See omnystudio.com/listener for privacy information.

Harvey Brownstone conducts an in-depth Interview with Jeff Calhoun, Acclaimed Broadway Director, Choreographer & Producer About Harvey's guests: Today's guest, Jeff Calhoun, is a highly acclaimed director, choreographer and producer who's brought us some of the most beloved and iconic Broadway shows.   As a dancer he appeared in the first national tour of “The Best Little Whorehouse in Texas”, and he made his Broadway debut in “Seven Brides for Seven Brothers”, and then replaced Tommy Tune for a limited engagement, co-starring with Twiggy in “My One and Only”.    He's directed and/or choreographed many Broadway shows including “The Will Rogers Follies”, for which his collaboration with Tommy Tune won the Tony Award for Best Choreography.  He also brought us the first Broadway revival of “Grease”, for which he earned a Drama Desk Award nomination AND a Tony Award nomination for Best Choreography, “Annie Get Your Gun”, “Big River”, for which he received the Tony Award for Excellence in Theatre, and TWO Los Angeles Drama Critics Circle Awards for Best Director and Best Choreography, “Grey Gardens”, “Bonnie and Clyde”, for which he won TWO San Diego Theatre Critics Circle Awards for Best Director of a Musical AND Outstanding New Musical, “Jekyll and Hyde”, and “Newsies”, for which he earned a Tony Award nomination for Best Direction of a Musical.    Our guest has brought groundbreaking productions to the world famous Deaf West Theatre in Los Angeles, including “Oliver”, “Big River” and “Pippin”.  And he also directed the world premiere of the first original American Sign Language musical, “Sleeping Beauty Wakes”, for which he won the 2007 Ovation Award for Best World Premiere Musical.   He also directed both the world premiere and international stage productions of “Disney's High School Musical” and “Disney's High School Musical 2”.  And he directed the national tours of 2 immensely popular shows: “Irving Berlin's White Christmas”, and “Dolly Parton's 9 to 5: The Musical”. For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ To see more about Jeff Calhoun, go to:https://www.instagram.com/thejeffcalhoun/https://www.playbill.com/person/jeff-calhoun-vault-0000004580 #JeffCalhoun   #harveybrownstoneinterviews

My guest this week is Ted Chapin whose captivating 2003 book Everything Was Possible: The Birth of the Musical “Follies,” has recently been reissued in a revised and updated edition.  As you may know, this book is based on Ted's first-hand experience as the production assistant on the original Broadway production of the Stephen Sondheim, Hal Prince, & James Goldman landmark musical Follies. Of course, the expression, “I just couldn't put that book down” is a cliché – but in this case, it has been absolutely true – twice! -- both when I read this book when it was originally released, and again just a few weeks ago when I had the great pleasure of diving into it all over again. On last week's episode, Peter Filichia, talked about wanting to be able to go back in time and be a “fly on the wall” to witness the inner workings of legendary musicals as they were being put together. Ted's book allows all of us to do exactly that. This book makes you feel as it you are right there in the thick of it during Follies' rehearsal period in New York, and in Boston during its out-of-town tryout's many trials and tribulations. For 40 years Ted served as the President of The Rodgers & Hammerstein Organization a role that he was personally chosen by the Rodgers and Hammerstein families to take on. On his watch, there were eight Tony Award-winning Best Revivals of musicals in the R&H catalog -- On Your Toes, Carousel, Show Boat, Annie Get Your Gun, South Pacific, The King And I – twice! – and Oklahoma! He also supervised major R&H productions In London, on television, and around the world. And Ted is the co-founder of the acclaimed City Center Encores! series, and he currently serves on the boards of City Center, The Kurt Weil Foundation, and the American Theatre Wing. It is always a delight to speak with him – especially regarding his one-of-a-kind experience of being in the rooms where Follies happened.  Become a PATRON of Broadway Nation! I want to thank our Broadway Nation Patron Club members, such as John Schroeder and Alan Brodie whose generous support helps to make it possible for me to bring this podcast to you each week. If you would like to support the creation of Broadway Nation, here is the information about how you too can become a patron. For a just $7.00 a month you will receive exclusive access to never-before-heard, unedited versions of many of the discussions that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. You will also have access to additional in-depth conversations with my frequent co-host Albert Evans that have not been featured on the podcast.  All patrons receive special “on-air” shout-outs and acknowledgement of your vital support of this podcast. And if you are very enthusiastic about Broadway Nation there are additional PATRON levels that come with even more benefits. If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please just click on this link: https://broadwaynationpodcast.supercast.tech/ Thank you in advance for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

Matty and Kikau talk with Erin Farrell Speer, the Head of the Musical Theatre Program at The University of Utah. She just completed her first semester in this new position after leading the MT program at the University of North Carolina Greensboro. She was the Director of Undergraduate Studies for the School of Theatre at the UNCG, where she developed a new BFA musical theatre program with music director and arranger Dominick Amendum. Her recommendations include the series Jury Duty on Amazon Freevee, Brenee Brown's podcast "Unlocking Us", Justin Su'a's podcast "Increase Your Impact", Liz Gilbert's Big Magic, and The Alchemist by Paulo Coelho! --------------------- Before joining the Department of Theatre, Erin was an Assistant Professor specializing in Musical Theatre and Director of Undergraduate Studies for the School of Theatre at the University of North Carolina Greensboro, where she developed a new BFA musical theatre program with music director and arranger Dominick Amendum (Wicked, Prince of Egypt). While at UNCG Erin was also recognized as the College of Visual and Performing Arts Outstanding Teacher in 2021. In 2022 she was the recipient of the UNCG-wide James Y. Joyner Award for excellence in teaching.  A Los Angeles native, Erin made her Broadway debut serving as the Directing Assistant to Tony Award winner Christopher Ashley on Escape to Margaritaville, the Jimmy Buffett musical. She also served in that capacity for the show's pre-Broadway tour. Erin's career has taken her from coast to coast, giving her the opportunity to work off-Broadway at the York Theatre and regionally with companies like Center Theatre Group/the Mark Taper Forum, the Orlando Philharmonic Orchestra and the Sarasota Opera House. In addition to her directing career, Erin has worked professionally as a performer in theatre, film, and commercials, even spending a year as an agent assistant in LA. She couples her directing and performing knowledge with nearly two decades of teaching experience, covering a wide range of abilities from true beginners to Broadway performers and television stars. Erin was previously an adjunct faculty member in musical theatre and dance at Florida Southern College and instructed/lectured in musical theatre, directing and theatre history at Penn State. She earned her MFA in Directing for the Musical Theatre Stage from Penn State University where she studied in their nationally recognized musical theatre program under the mentorship of veteran Broadway director and former SDC President Susan H. Schulman. Erin is also a proud graduate of The University of Michigan, where she earned her BFA in Acting from another nationally recognized program and studied alongside many future Broadway and film/TV stars.   Some of her favorite university direction/choreography credits include American Idiot, Rock of Ages, The SongeBob Musical, The Bridges of Madison County, Sweet Charity, Hot n' Cole, ‘S Wonderful!, Dreamgirls, The Wild Party, Stones in his Pockets, Romeo and Juliet, and many others. Professional direction/choreography credits include All Shook Up, Little Shop of Horrors, Oklahoma!, Bye Bye Birdie, Seussical, Footloose, Cinderella, Annie Get Your Gun, and Guys and Dolls among many others. Film direction: Hear Our Voices, Radio. Film producing: One Week at Woolworths, Flatbush Avenue. Erin is a proud Associate of the Society of Directors and Choreographers (SDC), and an alumna of the Director's Lab West.

Success, Loss and Creative Reinvention: A Multi-Hyphenated Journey with Bobby Hedglin-Taylor   Episode #120   In this episode, Bobby opens up about the profound grief he experienced during the pandemic after losing his mother to COVID. But in the face of tragedy, he found solace in creative outlets, such as writing a cookbook and a book about his mother called "Hashtag Shit My Momma Says." Sharing his mother's funny catchphrases and stories became a source of healing and humor for both Bobby and his audience. We also dive deep into Bobby's pivot into stand-up comedy and his new project - a love story set at Burning Man. As a multi-hyphenated artist, Bobby continues to explore various mediums and finds inspiration in the most unexpected places.   You'll Learn:   Embrace your nonlinear journey: Bobby's career in the arts has been far from linear, and he attributes his success to embracing the twists and turns. From theater to trapeze to stand-up comedy, he has explored various artistic mediums, finding inspiration in unexpected places. Remember, there's no right or wrong way to pursue your creative passions!   Turn adversity into art: Bobby's healing journey after losing his mother to COVID and battling his own fight with the virus led him to express his experiences through writing. His books, like "Hashtag Shit My Momma Says," blend humor, memoir, and recipes to offer comfort to those dealing with similar challenges. When life throws you curveballs, transform your pain into creative fuel.   The power of collaboration and promotion: Bobby's self-publishing journey taught him the importance of collaboration and giving back. By leveraging launch teams, reviews, and podcasts, he was able to connect with a wider audience and successfully promote his books. Remember, as creative entrepreneurs, investing time and energy into collaborations and strategic promotion can make all the difference in reaching your desired audience.   Instagram TikTok Facebook @Bobby Hedglin-Taylor or @Escape to Ravioli Mountain Get Bobby's book "#Sh*t My Momma Says" on Amazon Bobby Hedglin Taylor-Bobby's work was featured on Broadway in the smash hit revival of PIPPIN where he trained Tony award winners Patina Miller and Andrea Martin for their roles in the A.R.T. production, as well as Tovah Feldshuh who replaced Andrea Martin. Bobby was the tightrope trainer for Rob McClure and his two understudies for the 2012 musical CHAPLIN on Broadway. Off Broadway his aerial work was featured in the CSC version of A Midsummer Night's Dream starring Bebe Neuwirth and Christina Ricci. Bobby's career combines over 30 years of theatrical expertise and circus performance to bring Aerial Dance to a whole new level! He was the Cirque choreographer and coach for Holland America Cruise line. On New Years Eve 2011 and 2018 Bobby and 16 other acrobats flew 75 feet to the roof of Madison Square Garden as part of the surprise gimmick for the rock band PHISH. For the past 20 years he's worked as an aerial sequence choreographer. Staging 29 productions of the musical BARNUM, as well as training and sequencing for shows like AIDA, TARZAN (TOTS National Tour and the Louisiana premiere) , CARNIVAL, THOMAS THE TANK ENGINE-CIRCUS ON SODOR, MADAGASCAR LIVE! and ANNIE GET YOUR GUN. In 2021 he checked off another box on the bucket list and became an author. His book #ShitMyMamaSays-a humorous look at life while dealing with dementia. His 2nd book “Escape To Ravioli Mountain-a Memoir in Food” is coming soon! Bobby still enjoys all aspects of height, flight and aerial dynamics. His philosophy is simple "Why Walk when you can fly?"     Take the Creative Visionary Quiz and find out your type to learn how to understand and utilize your energy to create abundance in your life and business.  www.creativevisionaryquiz.com   Nick Demos is a Tony and Olivier Award winning Broadway producer, documentary filmmaker, conscious business coach and manifestation expert With over 15 years of teaching pranayama (breath work), yoga and creativity as well as thirty years in the entertainment industry, he has travelled from the Tony Awards to ashrams and run a multi-million dollar business in between. Nick helps you clear blocks and tap into your creative intuition so you can tell your stories and manifest the business and life of your dreams creating wealth and impact.    

“F” is for Freed, Arthur (1894-1973). Film producer, songwriter. Freed became best known for his musicals with MGM as he helped to fashion and energize the studio's popular musicals, including: Meet Me in St. Louis, Annie Get Your Gun, Singin' in the Rain, An American in Paris, and GiGi.

“She's just trying to trick me with her baby birthing tricks!” Andy comes in and pinch hits (pinch sings and dances) for Ross, who's suddenly allergic to joyous musicals from the 50s!   0:00 -- Intro and Andy 2:55 -- Annie Get Your Gun 25:45 -- Singin' in the Rain55:33 -- Seven Brides for Seven Brothers1.16:55 -- Contact information 1.18:34 -- Awards and rankings 2.00:56 -- Future business 2.16:05 -- Outro, and outtakes Hey! Be sure to watch One Flew Over the Cuckoo's Nest, The Ninth Configuration, and The Princess Bride for next time! Hey! DON'T leave us a voicemail at (801) 896-4542! Hey! Shop the Zazzle store! Hey! Hear In Memoriam! Hey! Hear Fantasy Murder Love Triangle! Hey! Judy Garland in Annie Get Your Gun! Hey! Julie Newmar on Seven Brides for Seven Brothers! Hey! The Metallica video with Johnny Got His Gun! Hey! Mark Kermode on The Ninth Configuration Hey! Subscribe in iTunes! Hey! Check out the Facebook page and vote on the next category! Hey! Check out Jon's YM&T Letterboxd list! Hey! Check out Roy's YM&T Letterboxd list! Hey! Email us at yoursminetheirspodcast@gmail.com! Send new topics! Send new theme songs!

Musicologist Cary Ginell joins us to talk about his new book, "Carefully Taught: American History through Broadway Musicals." Cary is a wealth of information about music in general (and lots of other topics too!), but especially about musicals. Here he talks about musicals that were fairly accurate from a historical standpoint, or why they strayed, and others that stomped all over history with wild abandon. He also couches their creation or production in the time period they covered or during which they were produced with thoughtful consideration of the dark parts of our country's history. A lively discussion ranging from early musicals to favorites, such as South Pacific, The Music Man, Oklahoma, Ragtime, Hamilton, and many more.Cary's page on Amazon:https://www.amazon.com/stores/Cary-Ginell/author/B001H6W2QQ?ref=ap_rdr&store_ref=ap_rdr&isDramIntegrated=true&shoppingPortalEnabled=trueThoughts? Comments? Potshots? Contact the show at:https://www.discreetguide.com/podcast-books-shows-tunes-mad-acts/Follow or like us on podomatic.com (it raises our visibility :)https://www.podomatic.com/podcasts/books-shows-tunes-mad-actsSupport us on Patreon:https://www.patreon.com/discreetguideJennifer on Post.News:@JenCrittendenJennifer on Twitter:@DiscreetGuideJennifer on LinkedIn:https://www.linkedin.com/in/jenniferkcrittenden/Discreet Guide Training:https://training.discreetguide.com/

Angie Schworer / @ngieschwore - "It's all about the button, baby." - Susan Stroman Broadway! The Prom (Angie ), The Producers (Ulla) , Something Rotten!, Big Fish, Catch Me If You Can, Young Frankenstein, Annie Get Your Gun, Chicago, Sunset Boulevard, Crazy For You, and The Will Rogers Follies. Met Opera: The Merry Widow. Regional: The Cher Show (Georgia/Lucille Ball), Annie (Lily St Regis), Disaster The Musical (Jackie), Mamma Mia (Tanya), Always A Bridesmaid (Monette), Sweet Charity (Nikki), Chicago (Roxie), Damn Yankees (Lola), The Full Monty (Vicki), Minskys (Ginger), Crazy For You (Irene), The Will Rogers Follies (Z's Fav). TV: Rosie O'Donnell Show, Dana Carvey Show, Law and Order: CI, QueerEye, As The World Turns, Kennedy Center Honors, and Smash . Film: The Producers https://lifeism.co/the-dash-poem-by-linda-ellis Headshot John Ganun / dressing room photo Micheal Kushner https://builtforthestage.com/ - fill out the form and ask about our next fitness challenge! www.broadwaypodcastnetwork.com Learn more about your ad choices. Visit megaphone.fm/adchoices

“And instead of oil coming up, it's genocide blood.” Halloween concludes with a dose of reality, or at least several very real threads of really amok imagination. Hey Zo's back!  BTW I badmouth our horrendous Halloween podcasts from three years ago, but it was actually a pretty phenomenal year for us where we watched The Dead of Night, Ugetsu, Ouija: Origin of Evil, [REC], Lake Mungo, Hell House LLC, Friday the 13th: The Final Chapter, The Texas Chainsaw Massacre 2, and Slumber Party Massacre II. 0:00 -- Intro and Halloween catch-up9:14 -- The Imposter27:23 -- Room 2371.02:01 -- The Nightmare1.15:41 -- Awards and rankings2.03:03 -- Future business2.10:11 -- Outro, and outtakes Hey! Be sure to watch Annie Get Your Gun, Singin' in the Rain, and Seven Brides for Seven Brothers for next time! Hey! DON'T leave us a voicemail at (801) 896-4542! Hey! ⁠Shop⁠ the Zazzle store! Hey! ⁠Hear⁠ In Memoriam! Hey! ⁠Hear⁠ Fantasy Murder Love Triangle! Hey! ⁠View⁠ the Room 237 trailer! Hey! The Shining ⁠maps⁠! Hey! Connie's YouTube ⁠confessional⁠ - Sleep Paralysis, Spiritual Warfare, and My Story Hey! Subscribe in ⁠iTunes⁠! Hey! Check out the ⁠Facebook⁠ page and vote on the next category! Hey! Check out ⁠Jon's YM&T Letterboxd list⁠! Hey! Check out ⁠Roy's YM&T Letterboxd list⁠! Hey! Email us at yoursminetheirspodcast@gmail.com! Send new topics! Send new theme songs!

To continue our discussion on the juicy topic of "belt," Alexa is joined by voice teacher and trainer of musical theatre and CCM, Amanda Flynn. Amanda has performed in shows like "Wicked" and "Mamma Mia" and has held the position of Production Vocal Coach for "The Lightning Thief" and "Be More Chill" on Broadway. She is the author of "So You Want to Sing Musical Theatre," the updated and expanded edition, and is here to chat about mastering belt in musical theatre. KEY TAKEAWAYS When discussing belting, it's essential to remember that it doesn't originate from Western classical singing. It's a form of sound production found worldwide, particularly in indigenous music traditions. Belting gained popularity in popular music through black female blues artists who incorporated this technique to intensify the emotional impact of their voices. When we apply Western classical principles to belting, many aspects don't align, leading to confusion among singers who realise that what they've been trained on doesn't quite fit this distinct vocal style. Mastering belt with laryngeal and acoustic registration involves controlling vocal folds, optimising resonance, and blending chest and head voice for a powerful and emotionally charged performance. Remember, if it sounds like a belt and works for a song then it's good. If you're getting the sound you want, don't overthink it. BEST MOMENTS ‘Belt is the most common and popular musical expression we have' ‘Belting is complex, it's not simple and straightforward' ‘They said you were belting out a sound because it's this big pop of a sound, almost like a punch' ‘One of the top questions I'm asked is what is belting, but we never ask a classical singer what classical is' EPISODE RESOURCES amandaflynnvoice.com Instagram & Tik Tok: @amandaflynnie Sign up for one of Amanda's classes, here: https://amanda-s-school-a64e.thinkific.com/ Get your copy of Amanda's book on Amazon Relevant Links & Mentions: Artists mentioned: Ma Rainey; Ida Cox; Bessie Smith; Ethel Merman; Musical Theatre shows mentioned: Wicked; Oklahoma! Annie Get Your Gun; Jagged Little Pill; Six; Lizzie; Little Women; Anastasia Rob Rokicki: https://www.robrokicki.com/ Singing Teachers Talk Podcast - Ep.101 How to Belt with John Henny Singing Teachers Talk Podcast - Ep.118 Mastering Mix Voice and Belt with Gemma Sugrue Voice Study Centre: https://voicestudycentre.com/ Acoustic Comparison of Lower and Higher Belt Ranges in Professional Broadway Actresses by Amanda Flynn, Jared Trudeau & Aaron M. Johnson: https://pubmed.ncbi.nlm.nih.gov/30409455/ Voce Vista: https://www.vocevista.com/ So You Want to Sing Musical Theatre (updated and extended edition) by Amanda Flynn Mary Saunders Barton: https://belcantocanbelto.com/ Cross-Training in the Voice Studio: A Balancing Act by Mary Saunders Barton and Norman Spivey New York Singing Teacher Organisation: https://nyst.org/ ABOUT THE GUEST Amanda is a voice teacher specialising in musical theatre and CCM singing. She coached Broadway performers and served as a vocal consultant at Two River Theatre. She aids injured singers and holds an MM in Vocal Performance and multiple vocal certificates. An active researcher, Amanda authored "So You Want to Sing Musical Theatre." She's a Clinical Assistant Professor and Program Head at Pace University. FUTURE PODCAST SUGGESTIONS  Do you have a burning question on the voice or being a singing teacher? Maybe you have a topic you want us to explore or a guest you'd like to hear from? Let us know by completing the Podcast Suggestion Form: https://forms.gle/naUum9N3unzNMPLN8 ABOUT THE PODCAST BAST Training is here to help singers gain the knowledge, skills and understanding required to be a great singing teacher. We can help you whether you are getting started or just have some knowledge gaps to fill through our courses and educational events. basttraining.com Click here for updates from BAST Training Presenter's bios: basttraining.com/singing-teachers-talk-podcast-biosThis show was brought to you by Progressive Media

The conclusion of a three-part program paying tribute to the extraordinary Ethel Merman, known for starring in Broadway shows like CALL ME MADAM, ANNIE GET YOUR GUN, and GYPSY. This episode includes an archival interview with Stephen Sondheim and a rare recording of Merman rehearsing an early draft of “HAVE AN EGGROLL, MR GOLDSTONE.” It highlights music from such shows as HELLO, DOLLY, HAPPY HUNTING and several, rare, live performances.   Featured songs: “HAVE AN EGGROLL, MR GOLDSTONE,” “LITTLE LAMB,” “MR. GOLDSTONE, I LOVE YOU,” “ROSE'S TURN,” “WORLD, TAKE ME BACK,” “THERE'S NO BUSINESS LIKE SHOW BUSINESS,” “OLD ENOUGH TO KNOW BETTER,” “JUST A MOMENT AGO,” and “THAT'S THE KIND OF DAME I AM.”   Originally produced and broadcast in 1984. For more information go to AnythingGoesPL.com or BPN.FM/Anything Goes. Theme music arranged by Bruce Coughlin. Associate producer Jeff Lunden. Anything Goes – Backstage with Broadway's Best – is produced and hosted by Paul Lazarus. Learn more about your ad choices. Visit megaphone.fm/adchoices

John Daniel's ears must have been ringing throughout the month of September as several guests, including Del Lyren, Bobby Medina, Vinnie Ciesielski and others mentioned him on the podcast in this last month.So I decided it was time to reach out and see if we could schedule a podcast!John was game, and we ended up having a terrific discussion on Gestalt theory as it pertains to trumpet (a first on the podcast), the unique qualities of the cornet vs. the trumpet, recollections of the early days of the amazing Brass Band of Battle Creek and much more.Enjoy the interview, and be sure to check out John's book Special Studies for Trumpet!What you'll hear in this episode:-John's beginning struggles on trumpet as a kid...03:00-What is "gestalt" theory as it pertains to trumpet?...05:45-About John's upcoming album featuring Bb and soprano cornet...08:30-Unique characteristics of playing Bb vs. soprano cornet vs. trumpet...12:00-Memories playing alongside the great Peter Roberts!...15:40-There's no "right way" to play and teach a brass instrument...20:00-A rare discussion on pedagogy here on the podcast lol...25:00-Memories of the early days of the Brass Band of Battle Creek...33:20-Cultural differences in cornet v. trumpet and how the BBBC has helped popularize the genre...38:45-Moving on from a top-flight academia gig and preparing for the new album release!...41:10-A profoundly different experience playing trumpet v. cornet...49:00-Plus whatever your discerning ears deem worthy of your time and interest...Resources mentioned:John's website and "Special Studies for Trumpet" bookTrumpet Dynamics Facebook groupAbout the Guest:John Daniel is the Professor of Trumpet at Lawrence University. He received the Specialist in Music degree from the University of Michigan, Master of Arts in Music from the University of Iowa, and Bachelor of Music from Ball State University. His primary teachers were David Greenhoe, Richard Giangiulio, and Armando Ghitalla. Mr. Daniel previously held tenured positions at Penn State University and Abilene Christian University. While attending the University of Michigan on full scholarship, he won the graduate concerto award and was principal trumpet of orchestras in Ann Arbor and Saginaw, Michigan.Mr. Daniel served as principal trumpet with the San Angelo Symphony Orchestra and Abilene Philharmonic Orchestra for nine years and has performed with the San Antonio Symphony, Pennsylvania Ballet Orchestra, Palm Beach Opera, New Jersey Symphony Orchestra, and Music at Penn's Woods Orchestra, as well as on Broadway for revivals of Annie Get Your Gun and Gypsy. He has played recitals in Carnegie Hall, the Kennedy Center, throughout South Korea, the Eastman School of music, the Julliard School, and throughout the United States.As a jazz musician he has appeared with Lionel Hampton, Bill Watrous, Wycliff Gordon, Marvin Stamm, Vinnie DiMartino, Phil Woods, Ernie Watts, the Nelson Riddle Orchestra and many others. Mr. Daniel released A Calling in 2004, a jazz CD featuring his compositions and is featured on a 2006 Mark Masters release, Karel Husa Trumpet Concertos. The Husa CD was on the entry list to be nominated for a Grammy Award in the category “Best solo with orchestra” and “Best classical recording”. He has been a member of North America's finest brass band, the Brass Band of Battle Creek, since 1993. He plays Schilke trumpets, flugelhorn and cornets exclusively.Thank you for joining us on "Trumpet Dynamics" – telling

The second of a three-part program paying tribute to the extraordinary Ethel Merman, known for starring in Broadway shows like CALL ME MADAM, ANNIE GET YOUR GUN, and GYPSY. This episode includes archival material with Merman discussing her collaborations with icons like Jimmy Durante and Irving Berlin. It highlights music from such shows as STARS IN YOUR EYES, DU BARRY WAS A LADY, PANAMA HATTIE, SOMETHING FOR THE BOYS, and HAPPY HUNTING.   Featured songs: “IT'S ALL YOURS,” “A LADY NEEDS A CHANGE,” “FRIENDSHIP,” “I'VE STILL GOT MY HEALTH,” “SOMETHING FOR THE BOYS,” “HEY, GOOD LOOKIN',” “I GOT THE SUN IN THE MORNING,” “I GOT LOST IN HIS ARMS,” “I WONDER WHY,” “HAPPY HUNTING,” and “GEE, BUT IT'S GOOD TO BE HERE.”   Originally produced and broadcast in 1984. For more information go to AnythingGoesPL.com or BPN.FM/Anything Goes. Theme music arranged by Bruce Coughlin. Associate producer Jeff Lunden. Anything Goes – Backstage with Broadway's Best – is produced and hosted by Paul Lazarus.  Learn more about your ad choices. Visit megaphone.fm/adchoices

"Face To Face" Although she got her start behind the drum kit playing for her dad's band, the Detroit-born Suzi Quatro taught herself how to play bass so she could be in her sister's band, The Pleasure Seekers. She moved to England at 21 and released a string of rather massive albums like her 1973 self-titled debut and the searing Your Mamma Won't Like Me in 1975. A pioneering presence in the pop world, Quatro influenced everyone from Joan Jett to Chrissie Hynde to the Talking Heads' Tina Weymouth. A global superstar with over 50 million albums sold, Quatro's CV is a wealth of riches. Here are just a few of her highlights: She toured with Slade and Thin Lizzy, headlined the 'Girls Night Out' at the Isle of Wight Festival, won a handful of Bravo Otto awards, appeared on Happy Days as rocker Leather Tuscadero, was awarded the Icon Award by the Women's International Music Network, was inducted to the Michigan Rock and Roll Legends Hall of Fame, received an honorary doctorate in music from Anglia Ruskin University and appeared as Annie Oakley in a London production of Annie Get Your Gun and friends. The singer/songwriter is a stone cold legend and her music is filled with melodic muscle and harmonic smarts. Her new album, a joint effort with Scottish singer/songwriter KT Tunstall is an instant classic. Titled Face To Face, it's a stirring song cycle that's reflective, confessional, tough and tender and catchy as hell. It's a perfect album that's an end to end delight. www.suziquatro.com www.bombshellradio.com (http://www.bombshellradio.com) Stereo Embers www.stereoembersmagazine.com www.embersarts.com Twitter: @emberseditor IG: @emberspodcast

This is the first of a three-part program paying tribute to the extraordinary Ethel Merman, known for starring in Broadway shows like CALL ME MADAM, ANNIE GET YOUR GUN, and GYPSY. This episode includes archival material with Merman discussing her collaborations with musical theatre icons like The Gershwins, Cole Porter, and William Gaxton. It highlights music from such shows as GIRL CRAZY, TAKE A CHANCE, ANYTHING GOES, and RED HOT AND BLUE.  Featured songs: “Medley of songs performed by Ethel Merman,” “I GOT RHYTHM,” “LIFE IS JUST A BOWL OF CHERRIES,” “EADIE WAS A LADY,” “YOU'RE THE TOP,” “BLOW, GABRIEL, BLOW,” “RED HOT AND BLUE,” and “DOWN IN THE DEPTHS.”  Originally produced and broadcast in 1984. For more information go to AnythingGoesPL.com or BPN.FM/Anything Goes. Theme music arranged by Bruce Coughlin. Associate producer Jeff Lunden. Anything Goes – Backstage with Broadway's Best – is produced and hosted by Paul Lazarus. Learn more about your ad choices. Visit megaphone.fm/adchoices

Shownotes What exactly IS a sex room? What would you find in a Tantric practitioner's sex room? What Layla's true fetish is… How to reach co-meditation states of union Why mastering sex means you must have a dedicated space Would more orgasms really equal less hate? All the different lies we've been told about sex How Melanie is redefining the conversation about sex over 60 5 Easy keys to make your own sex room Bio Melanie Rose's career in show business began at the young age of 13, when she starred in the original musical "Annie" as Tessie and went on to have a successful career in the West End musical scene, performing in productions such as "Annie Get Your Gun," "Dames At Sea," and "42nd Street," alongside Catherine Zeta-Jones.  She has also worked on television projects with the BBC, ITV, and Channel 4. In 2000, Melanie moved to Hollywood, California, and started her interior design company, Melanie Rose Designs. She specialized in high-profile, discreet renovations for a mainly entertainment industry-based clientele, then began focusing on creating sacred spaces, also known as sacred rooms, for an eclectic group of clients. More recently, Melanie has started writing a series of erotic novels based on her real-life experiences as a designer. While she insists that the protagonist of the series, Lily Langtry, is not based on her, it is clear that they share many similarities. Melanie's novels are represented by Kaitlyn Dougherty at Paradigm and the television rights to her "Indecent" series of novels have already been acquired. A television script based on the first book led to the creation of the non-fiction Netflix series, "How to Build a Sex Room," which Melanie not only created but also hosts. Melanie's international clientele takes her all over the world. She currently resides in Los Angeles.   TimeStamp 00:00:00 Intro 00:00:31 This Tantric Life with Layla Martin 00:01:22 Connect with Layla (email) 00:02:10 Melanie Rose Introduction 00:03:54 What is a sex room? 00:08:55 Primordial caves, the original sex rooms? 00:09:23 VITA Coaching Certification 00:11:17 What elements would be in a tantric practitioner's sex room? 00:17:48 The path from tantra to BDSM or BDSM to tantra 00:19:05 Do you have a fetish? 00:20:40 What would you recommend for a BDSM room? 00:24:33 Let's talk about pussy 00:26:03 Co-meditation states of union 00:27:29 I want to build spaces that invite play 00:33:37 I'm going to bring my whole self to the erotic experience in this space 00:36:30 If you want to master anything you have to have a place to practice 00:39:01 Bedroom sanctuary. If we had more orgasms maybe we'd have less hate 00:39:44 Let's try MOOD ~ pleasure junkie 00:41:30 How I became a sex witch 00:43:13 Food & Dildos 00:48:04 Magnetic 21 day challenge 00:49:15 Lies we've been told about sex 00:54:55 Creating a space to push your boundaries when it is safe & consensual 00:57:10 Having the best sex of your life at 67 ~ redefine aging 1:03:03 Wanting a sex room starts with a conversation 01:04:04 Watch Melanie Rose on Netflix's 'How to Build Your Own Sex Room' and check out her BDSM jewelry 01:05:18 How to build your own sex room in 5 steps 01:10:05 Conclusion ===    Follow Layla!  Instagram: https://www.instagram.com/thelaylamartin/  Website: www.laylamartin.com  Sign up to receive my free weekly email that allows you to slowly master the art of experiencing confidence, power, sexiness, radiance, and true love. Listen on Apple Podcasts: https://podcasts.apple.com/us/podcast/this-tantric-life-with-layla-martin/id1685418994 Listen on Spotify: https://open.spotify.com/show/72iBpAwMSsTl9zLk8fHMp1?si=9f465574aa114d63 MOOD Sexy Plant Activated Supplements: SHOP MOOD For Men: Learn advanced sexual skills that will make you the best possible lover by unlocking your primal power AND your partner's pleasure in Men's Sexual Mastery - https://hubs.ly/Q01c_Wgx0  Obliss: The Sexual Masterclass for Women. This 6-week online course contains 24 transformative exercises and techniques. Obliss - Learn More   TRUTH AND LOVE COACHING INTERNATIONAL, LLC – VIDEO DISCLAIMER The information contained within this video is for informational purposes only. We shall in no event be held liable to any party for any reason arising directly or indirectly for the use or interpretation of the information presented in this video. Copyright 2023, Truth and Love Coaching, LLC - All Rights Reserved. MB013VDZT2EYP3T  

The Marquis Theatre was having great success in 2001 with the revival of Annie Get Your Gun. It had opened in 1999 with Bernadette Peters and Tom Wopat and became just the second show in Marquis history to surpass 1000 performances. It closed with Crystal Bernard in the title role with Tom Wopat coming back as Frank Butler to close the show on September 1, 2001. But ten days after Annie Get Your Gun closed, all of Broadway closed, New York City shut down, and an entire nation was brought to its knees in anguish, heartache, and disbelief. Everything stopped. So far this season, Closing Night has been focused on individual shows at the Marquis Theatre and how and why they closed. But in this special episode, we'll look at the whole Broadway community—the shows and actors and industry leaders—how they were affected by 9/11 and what it took to bring theater back to New York City. Follow on Instagram and listen to Closing Night on your favorite podcast app. --- Closing Night is a production of WINMI Media with Patrick Oliver Jones as host and executive producer. Dan Delgado is the editor and co-producer, not only for this podcast but also for his own movie podcast called The Industry. Maria Clara Ribeiro is co-producer, and a big thank you goes to Playbill, the Guides Association of NYC, and the American September Project whose resources made this episode possible.  Click here for the transcript and full list of links and resources used in this episode. Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode 278, Broadway 1940s, presents songs from prominent musicals of the decade including On the Town, Oklahoma, Kiss Me Kate, Annie Get Your Gun, South Pacific, Carousel and several others. Songs include I Hate Men,... Read More The post Episode 278, Broadway 1940s appeared first on Sam Waldron.

At long last, our long-teased prints podcast episode is here! David & Katherine discuss Hirschfeld's long, exciting history with prints, and answer your burning print questions. Learn more about the Harlem, Rhythm, and Kabuki series, plus many more works! Follow along with the show notes to see the works mentioned in this episode! Lithograph Example: Bob Hope (1988) Etching Example: Barbra Streisand in Funny Girl (1975) The Hook Shop (1926) Fez Drawings (1926) Art Students League - Caricature Study (1926) Railway Station, Kharkov (1928) Art and Industry (1931) The Dizzy Club (1931) La Serviette Au Cou (1931) Harlem as seen by Hirschfeld (1941) - Apollo Chorine Rhythm Series (1970) Kabuki Series (1976) Chelsea Pub (1931) Elvis (1968) - (Print with Spotlight) Charlie Chaplin Back View (1981) Reba in Annie Get Your Gun (2001) What's My Line? TV Guide Cover (1957) Lindy Hop from the Harlem Series (1941) The Movies (1954) Conductors of the Philadelphia Orchestra (2002) The Summit (2002) Ringo Starr (2001) Audrey Hepburn in Breakfast at Tiffany's (1997) The Grateful Dead (1995) Jack Lemmon in Tribute (1979) The Sopranos (2001) Frank Ferrante as Groucho Marx (1986) Swing Quartet (1956) United Nations Postal Service (1991) Beverly Hills 90210 (1995) The Gershwins (1955) The Thin Man (1998) Jerry Garcia (1995) Visit our shop for available prints! Print sales support the activities of the Al Hirschfeld Foundation! Visit our website Visit our shop Like us on Facebook Subscribe to our Youtube Channel  - Check out Episode 2 of the Hirschfeld Moments Series! Follow us on Twitter Follow us on Instagram

Katie checks in with Broadway star (Damn Yankees, Song and Dance, Cats, Steel Pier, Annie Get Your Gun, Elf, Tuck Everlasting, Kimberly Akimbo), Valerie Wright.

Harvey Brownstone conducts an in-depth interview with John McDaniel, Renowned Composer, Conductor, Musical Director & Producer About Harvey's guest: Today's guest, John McDaniel, is a renowned composer, conductor, musical director and producer who became a household name in the late 90s when he appeared on the Rosie O'Donnell Show as Rosie's musical director and lovable sidekick for 6 seasons, for which he received 5 Daytime Emmy Award nominations for Outstanding Achievement in Music Direction and Composition, and winning 2 Emmys for Best Talk Show.   He's been the Musical Director for many Broadway shows including “Grease”, “Chicago”, for which he won the Los Angeles Drama Critics Circle Award for Best Musical Direction, “Brooklyn, The Musical”, which he also produced, “Taboo” starring Boy George, and “Annie Get Your Gun”, starring Bernadette Peters - and subsequently Reba McEntire - which won the 1999 Tony Award for Best Revival of a Musical, and for which he won a Grammy Award as producer for Best Musical Show Album.   He also conducted the 1993 reunion of the original Broadway cast of “Company” in concert at Lincoln Center, as well as the U.S. tour of Andrew Lloyd Webber's “Starlight Express”.  He was the arranger and Musical Director for Patti LuPone's live concert on Broadway, and he also produced the album.   He's been the musical director and orchestrator for numerous TV specials, including – most recently – the fabulous Carol Burnett 90th Birthday Special on NBC, which was the most watched TV show of the week.    He's recorded 4 solo albums, including my personal favourite, “John McDaniel Live at Joe's Pub”.   He also produced and conducted a wonderful CD entitled “The Maury Yeston Songbook”, featuring performances by Tony Award winners Betty Buckley, Sutton Foster, Christine Ebersole and  many others.   And his collaborations with renowned British singer Barb Yungr, have produced 2 popular albums - "Come Together", featuring songs from The Beatles, and "Float Like a Butterfly", celebrating the songs of Sting.    In 2000, he received the Board of Director's Award from the Manhattan Association of Cabarets.  He's been a special guest conductor for numerous symphony orchestras throughout the country, and he frequently performs in concert all across America and around the world, working with artists like Audra McDonald, Jessie Mueller, Brian Stokes Mitchell, Christine Ebersole and many more.    And currently, the immensely successful production of Bonnie & Clyde in London's West End, features orchestrations by our guest. For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ To see more about John McDaniel, go to:http://johnmcdaniel.com/https://www.facebook.com/John-McDaniel-125288137482952/https://twitter.com/therealjohnmcdhttps://www.instagram.com/johnmcd123/https://johnmcdaniel.com/listen/#amazon #JohnMcDaniel #harveybrownstoneinterviews

Actor, director, & producer Román Zaragoza currently stars in CBS' award nominated comedy series “Ghosts.” Zaragoza instantly became a fan favorite as Sasappis, a blunt troublemaker who tries to fill eternity by having a little fun & creating some drama. The series debuted on CBS in October 2021 to critical acclaim, with media calling it “charming” (Paste Magazine), stating that a “CBS comedy about the diverse spirits haunting an upstate manor is scary good” (The Wall Street Journal) & declaring that “it's a superb cast full of fresh faces dropping quotable one-liners left & right” (TVLine). The Television Critics Association Awards also h&ed the comedy two nominations: Outst&ing New Program, & Outst&ing Achievement in Comedy in 2022. “Ghosts” premiered season two on September 29, 2022. In film Zaragoza serves as a producer on the short “This Is Their Land,” which premiered at the Dances with Films Festival in New York City on December 2, 2022. The film takes place during the Modoc War of 1872-73, follows the brave Modoc Civic Leader Captain Jack as he negotiates for peace in his homeland against the U.S. army, & the sacrifices he makes for the sake of his people. “This Is Their Land” is currently on the festival circuit. As a director Zaragoza most recently co-directed a music video entitled “Change Your Name” for artist Raye Zaragoza, one of his two sisters, which was inspired by their mother's life & the intersectionality of changing names during the immigration process. Born in New York City, Zaragoza was raised in a melting pot of culture. He identifies as mixed race, being of Akimel O'otham & Mexican descent on his father's side & Japanese & Taiwanese descent on his mother's side. His father, acclaimed actor Gregory Zaragoza & mother, college business professor Shirley supported Zaragoza's love for the arts from a very young age, with one of his earliest childhood memories spending time backstage watching his father star in the 1999 Broadway revival of Annie Get Your Gun, alongside the legendary Bernadette Peters. Zaragoza & his family moved to Hell's Kitchen when he was nine, where he would take the subway to school & pass by all of the major Broadway shows, which would become a huge influence on his future career. By the time Zaragoza turned eleven, his parents moved the family to the west coast, settling in southern California where he continued taking acting, dance, singing, & improv lessons. When Zaragoza was fifteen, he began working with Native Voices at the Autry, the only Equity Native American Theatre company. It was there that he met his mentor, R&y Reinholz, who made an influential impact on Zaragoza's life as well his show “Off the Rails” at Native Voices which was later selected to go to the Oregon Shakespeare Festival. Zaragoza attended Cal State University Northridge where he graduated with a degree in Film Production. He is a proud member of CSUN's American Indian Student Association & continues his involvement post-graduation. While in college, he took time to go work with the prestigious Oregon Shakespeare Festival (OSF - 2017, 2018, 2019) where he was able to further hone his craft. Zaragoza notes that his time working with the company aided in discovering more about his identity, specifically his racial identity, bringing characters to life that were a vessel for Native, Asian, & mixed identities. Upon graduation & finishing his time with OSF, Zaragoza landed his biggest role to date, starring on CBS' “Ghosts.” Zaragoza writes essays & poetry focusing on mixed representation in film, television, & theatre. On the charity front Zaragoza has supported a h&ful of organizations over the years including Seeding Sovereignty, Black Lives Matter, Return to the Heart Foundation, & IllumiNative, an initiative created & led by Natives to challenge the negative narrative that surrounds Native communities & ensure accurate & authentic portrayals of Native communities are present in pop culture & media.

In this episode I explore the life of Betty Hutton, who was born Elizabeth June Thornburg in 1921 in Battle Creek, Michigan. She went on to find success as a singer, and an actress of stage and screen. She performed in over 20 films during the golden age of musicals in Hollywood. Some of her most popular films were 'Annie Get Your Gun' 1950, 'The Greatest Show on Earth' 1952 and 'The Miracle of Morgan's Creek' 1944. She grew up in poverty, with her father leaving her mother and sister when she was a young girl. She performed on stage for the first time at age 4 or 5, and then became a singer, and went onto a success career on stage and in films. Her portrait is featured at the History Education Center at the Battle Creek Regional History Museum. For a film bibliography of Betty Hutton, click here. For more information on Michael Delaware, visit: https://michaeldelaware.com

My interview with Kristin Stultz Pressly on her book, I Can't Give You Anything but Love, Baby: Dorothy Fields and Her Life in the American Musical Theater. Dorothy Fields was America's most brilliant and successful female lyricist. Working with thirteen different composers, Fields wrote the lyrics and/or librettos for unforgettable masterpieces, such as Annie Get Your Gun, Redhead, and Sweet Charity. Her more than four hundred songs include the standards "On the Sunny Side of the Street," "Pick Yourself Up," "The Way You Look Tonight," and "I Can't Give You Anything But Love."

This week we welcome our old pals, Curtis Wenis (@curtiswenis) and Sammy Eto'o (@WorriedLadybird) back on the show to discuss a lot of things. Twitter, blocking people on Twitter, joking on Twitter, babies, cloth diapers, bidets, and so much more. Plus, Wenis' youngest child makes their podcast debut. Also lots of house talk, some shitting on Kansas City, and other things. Support the showFollow us on Twitter: @CHIDSPIN / @SighFieri / @RoundingDownRate and review us on Apple Podcasts or wherever you listen to podcasts!

My guest this week is Ted Chapin who's captivating 2003 book Everything Was Possible: The Birth of the Musical “Follies,” has recently been reissued in a revised and updated edition.  As you may know, this book is based on Ted's first-hand experience as the production assistant on the original Broadway production of the Stephen Sondheim, Hal Prince, & James Goldman landmark musical Follies. Of course, the expression, “I just couldn't put that book down” is a cliché – but in this case, it has been absolutely true – twice! -- both when I read this book when it was originally released, and again just a few weeks ago when I had the great pleasure of diving into it all over again. On last week's episode, Peter Filichia, talked about wanting to be able to go back in time and be a “fly on the wall” to witness the inner workings of legendary musicals as they were being put together. Ted's book allows all of us to do exactly that. This book makes you feel as it you are right there in the thick of it during Follies rehearsal period in New York, and in Boston during its out-of-town tryout's many trials and tribulations. For 40 years Ted served as the President of The Rodgers & Hammerstein Organization a role that he was personally chosen by the Rodgers and Hammerstein families to take on. On his watch there were eight Tony Award winning Best Revivals of musicals in the R&H catalogue -- On Your Toes, Carousel, Show Boat, Annie Get Your Gun, South Pacific, The King And I – twice! – and Oklahoma! He also supervised major R&H productions In London, on television, and around the world. And Ted is the co-founder of the acclaimed City Center Encores! series, and he currently serves on the boards of City Center, The Kurt Weil Foundation, and the American Theatre Wing. It is always a delight to speak with him – especially in regard to his one-of-a-kind experience of being in the rooms where Follies happened.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Not cheek-to-cheek, but nose-to-nose--great duets of conflict, contrast, and contrariness from Les Misèrables, Annie Get Your Gun, Follies, Zorbà and more.