Podcasts about Bam

Sam and Bill hash out their "do not play" list for the wedding, applied for their marriage license, and try to list out their own flaws for one another as a partner exercise. WHICH basically turn the rest of he episode into a peaceful beef. No shock there. OH and Bill as a baby is horrifying, Just wait.

In Hour 3 we get back into the Miami HEAT victory last night as we hear from Coach Spo postgame following an All Star performance from Bam Adebayo. Tobin poses the question on whether or not Bam's Success as a number one option correlates with the HEAT's success. Next Tobin focuses on  another disrespectful ESPN list before we close the hour out with Damage is Done!

Bam Adebayo is back to being Bam. Mike Schur joins the show for his Stat of the Day and for a list he was born for: Top 5 Blue Jays Names To Make You Smile. Learn more about your ad choices. Visit megaphone.fm/adchoices

Akuyea Karen Vargas: source (https://www.tidelandmag.com/articles/2022-03-a-warrior-for-peace)(photo credit:  Nora Phillips)"Vargas may be small in stature, but the 59-year-old mother of three is a towering presence in the West Sound's African American community. An army veteran, community activist, arts educator, youth mentor and historian, she has been a tireless advocate for the young and underserved, and for healing racial divisions in our communities for over 25 years.After growing up on the East Coast and serving in the Army, Vargas arrived here in 1992 when her husband was assigned by the Navy to the Bangor submarine base. Raising her three Black children in the overwhelmingly white Bainbridge schools was a rude awakening, Vargas recalls. Advocating for her own children in the school system led her to start advocating for other children of color. Eventually she joined the district's Multicultural Advisory Committee, which she co-chairs to this day.Through two programs she founded in 2003, the Living Arts Cultural Heritage Project and Living Life Leadership, Vargas has taught cultural history and life skills to hundreds of youth throughout Kitsap County, including many of the young leaders who spoke at those demonstrations in 2020.Recognizing her contributions, Governor Jay Inslee bestowed Vargas a 2021 Governor's Arts and Heritage Award in the new category of Luminaries, honoring people who “stood as shining lights for their community during the pandemic.” Commenting on the award, Sheila Hughes, executive director of the Bainbridge Island Museum of Art, described Vargas as “a trusted advisor… as well as a great friend who has a genuine laugh and a huge hug just when you need one.”Multicultural Advisory Committee Living Arts Cultural Heritage Project and Living Life Leadership2021 Governor's Arts and Heritage AwardDanielle (00:35):Welcome to the Arise Podcast, conversations on race, faith, justice, gender and healing. And as many of you know or aware, I mean it's election season. It's election day. And whether we're voting today, we already voted. Maybe some of us cannot vote for various reasons in our communities. This is an important time in the nation and it has been an important time for many years. I think back to 20 16, 20 18, 20 20. And now we're in 2022 and we're still working through what does it mean to exercise this right to vote? What does it mean? What is impacting our communities? What things are important? And today I had a Coyier, Karen Vargas of Kitsap County. She is an elder. She is on the Multicultural Advisory Committee for our county. She is living arts cultural heritage, founded the Living Arts Cultural Heritage Project and Living Life Leadership. She has taught cultural history and life skills to hundreds of youth throughout Kitsap County and including many of the young leaders who spoke at demonstrations in 2020. Ms. Vargas is concerned about the impact of what Covid did. She is deeply invested. And in 2021, the governor of Washington, Jay Insley, bestowed on Vargas an arts and heritage award in the category of luminaries honoring people who stood as shining lights for their community during the pandemic. And someone that commented on the award, Sheila Hughes, the executive director of the Bainbridge Island Museum of Art, described Vargas as a trusted advisor as well as a great friend who has a genuine laugh and a huge hug for just when you need one. So as you think about listening tune in and hopefully keep an open mind to the conversation. So it's just an honor to join forces Akuyea (02:51):, what we need to be doing. We have done tremendous work together for many years back from the Civil Rights Movement and even before we were working in a collective collaborative way to address the issues that affect all of our communities. And so the more we can do that, the more we can cultivate that, I think we can begin to do some impactful work that will move things forward. Danielle (03:24):And I love the way we got connected. It happened at church. Yeah, I saw you at a couple events before that, but then you were speaking to church and I saw the post on Instagram. I was like, I told my family we're going to church today, I know. So we showed up and we made this connection around youth and mental health. Would you be able to speak to that a little bit? Akuyea (03:50):Yes. Our children are not doing well, let's just start there. Our children are having a difficult time. They're dealing with trauma, they're dealing with depression, they're dealing with anxieties, just dealing with life and they don't know how or what to do. In 2019, I had one of my living life leadership students take her own life and it devastated me the way she did it. She ran in the middle of a highway, sat down and allowed car to run over her. And what I still mean, the actual act devastated our students, our parents, her friends, the school. And we have to address some of the issues because we knew before that time that she was struggling with her mental health and with depression and all these things. And so what do we do when we, when actually know we are aware that our students have social and emotional stuff and trauma and stuff? Pauses. Because she was struggling with her meds too. She said those medications made her feel all wacky And then she was telling me some of the medication that she said would cause depression. I said, Well, why you on medication? It's gonna cause depression or anxiety. And so we need to have a conversation. We need to be talking about it. And we need to be talking about it from multiple issues, not just with the parents or the students or with the schools, but for the health and wellbeing of that young person. Should we be prescribing all this medication? They don't know the chemical imbalances. I'm not sure. That's not my field . But to be able to help them to process some of all of this , we really need to be talking more about the mental health of our young people. We have to do it. Danielle (06:43):I mean, first I'm stunned and not stunned because death of young, of the young is always shocking. And I'm aware that it's also I'm angry and sad that also it is not surprising. And I think you named the year as 2019. So this was even before a pandemic. Akuyea (07:12):Before the pandemic. So I know that we were dealing with this way before the pandemic. And only God can tell you The depth of all of that during and even now the results of the pandemic in the state of our young people's health, mental health, especially their mental health. Danielle (07:40):I think one thing that struck me when I spoke to you after that church service was the fact that I began to tell you stories of my own children at school. And you were like, I got into advocacy because of my kids. And it's not that I wasn't paying attention before I had kids experiencing it, but it becomes heightened alert, heightened awareness, and just even watching the depression cycle through my own family cycle, through my friend's kids on multiple levels. I mean from depression to anxiety to suicidal ideation to self harm, to just the lack of ability to pay attention or find interest like you described the hopelessness. And so just the heightened awareness. And then we were talking about schools and this and we are now post 2020, George Floyd, the murder of George Floyd by police, the multiple other lynchings that happened in that year. And we're back. We're actually talking on election day and the impact this has on students of color and their mental and frankly white bodied students too. This is not just a one section of society's problem, this is a larger issue. Akuyea (09:05):And the role of social media plays in their isolation and just being focused on what I call the device and not engaging and not having those healthy social skills and not being able to sit down in a room and just have a conversation. Being in rooms plenty enough time that our students are talking to one another, sitting right next to one another. And that's about, they don't want us to know what they're talking about. I know what that's about too. Let's not play. We don't know what that's about too. But when you ask them to sit down and just let's talk, they act like they don't do it. They don't know what to do. . And I think we are losing how to engage personally and how to have healthy relationships personally. One, we were doing some conflict. I can remember we were doing some conflict resolution and someone had advised, and I won't say the name, someone had advised, Well let's do this on Zoom. I said, Wait, wait, wait. , you know, can be brave at a distance, but you need to come into a circle . And you need to be able to look the individual in their eye. . You need to be able to see their body language and to be able to feel what's happening in the environment. . I said there are elements that when you are moving to do conflict resolution or healing and peacemaking, that that's done in a , intimate in an environment where those can come together. . And I understand Zoom has been a good tool in everything , but I also know social media and zoom, give your balls that you don't have when you sitting in front of somebody and you got to be accountable for some harm that you have done. , you feel safe because you know what, You can say what you want to say and you can do all of that. Because you know what? I'm just on a zoom , I'm over here , I can be brave over here. Could you stand before the individual and confront some mess that go down But if we're going to get to a place of healing and reconciliation, you have to be able to step into that Because the bottom line, if I got conflict with you and you got conflict with me and we can say all we can be on social media calling each other, boom, bam, bam, bam, bam. When, and this happened with some of our students too. , when they confronted each other, one of them stabbed the other one to death. Now all of that hostility was allowed over the social media to be able to do all that. Building up, texting. I'm coming over, I'm gonna kick your tail. And Danielle (13:19):I think you bring up something that I'm thinking about Aku, which is not only do we need to, we can't intervene on our students behalf unless we as caregivers, parents, community members, adults in the community are willing to do the work first. Gonna smell it a mile away. Yes. They're gonna know if we haven't done the work ourselves. AKuyea (13:46):Let tell you about our young people. They are the best hustlers learners. And they, they're watching us And they say, Oh yeah, they ain't about it. They ain't about it now. In fact, they're learning from us We are their first teachers. . They know when we talk trash and they sitting over here. That's why all of this stuff is coming up in our schools. You've got all of these racist ideologies coming out. The students are listening to their parents in their home talking yang yang and saying, Oh no, we ain't doing this. Yeah. Them negros in, Oh this, that, all of that racists ideology at home. And when the students, they're ear hustling, they say, Oh no, my parents, no. And giving them the green light, they come to school and guess what? They feel em bolded and empowered to say and do what they want. Because guess what? Those parents have modeled it for 'em and modeled it for them very well. . And they feel like they can say what they want. Their parents got their back Even the teachers come to school with racist ideologies, . And it pours out on students of color. When you got staff and teachers calling students the N word and it's okay, going on, something's very wrong with that picture . But yet here we find ourselves in 2022 So we've got all kinds of dynamics happening, but popping off in the schools Danielle (15:51):So we can't be people as community members, adults, people that wanna see change in progress from whatever lens you're coming from. We cannot be people that say, Hey, let's have peace. If we're not gonna be willing to have that conversation in our own homes, Because our kids will go into schools which they are doing and they will enact what we're doing in our private lives. They'll continue to perpetuate it. So we have to be people about what we do in our private lives is what we do. What privately happens is publicly is publicly congruent. Akuyea (16:34):Oh, I'm glad you said that. Because what's done in the dark will come to life. Danielle (16:39):It will. Akuyea (16:40):And it does. And it manifests itself. We look at the attitude and the behavior and the character of our young people . And we're saying, Okay we're dealing with some stuff. And I hear me say this, I pray and I commend our teachers. Our teachers have to deal with whole lot of stuff . But when they were looking at the condition of the learning environment in our schools and they understood that they had to train their teachers with having trauma, they have to train the teachers to look at diversity, equity, and inclusion. They have to teach our kids. So when they started introducing social emotional learning, I said that was social, emotional and cultural learning. Why in the world did you take off culture? Culture is an ideology as well. . You bringing in these cultural elements and cultural, what I said, behaviors, It's not all just about, They said, Oh no, we don't wanna, That's a race. I said, No . What culture we have in our schools. The culture that we have in our school is very unhealthy. That's an unhealthy culture. . And what are the cultures that are manifesting in our schools? There's a culture of what I would call hatred going on in our school. . Oh, culture of bullying. They did a whole thing for years of bullying. Well, what culture were you deal. You have a culture of unhealthy behavior and bullying going on in your school. They always get all squeamish and fear all culture that has just to do with race. And I come from a culture and you come from a culture and everyone that steps themselves into those environments come from a culture Danielle (19:17):I love what you're saying because don't get me wrong. I wanna do this work of anti-racism. Yes. I learned from the president of my grad school Dr. Derek McNeil. He said, Anti-racism is enough for us to say, Hey, stop that. Stop the harm. But where we find healing is within our cultures, In our cultures. You got Mexican culture, you got Irish, you got I'm You got African culture, there's a lot of cultures we could be learning from to bring healing. If we change and we try to operate under the social Akuyea (19:54):That's right. Because think it European Western culture here in this United States. Danielle (20:01):And if we operate under the idea that no, it's just a melting pot or we're just whitewashed, we miss the particularities that cultures can bring us that also don't bring harm. They also bring healing. Akuyea (20:14):One of, you know what, I'm glad you said that. It's not a melting pot. The United States is not. One of the things that Bishop Lawrence Ray Robinson taught us is that we are a salad bowl. We come in with distinctive things within that salad. The onion is the onion. It doesn't lose itself in there. The tomato is the tomato. The lettuce is the lettuce. The broccoli, if you wanted to throw it in there, is broccoli. You know what I'm saying? How I'm the peppers are the peppers, the olives are the olives. Very distinctive. But they come together to have a beautiful, wonderful salad . And each of them bring a distinctive flavor to that salad bowl. . Now when we think of a melting, we're talking about what are we a melting pot? What does that even mean? ? We haven't even examined our own terminology and our own languaging. That can be very confusing. Cause a melting pot means everybody gotta assimilate in that pot. Danielle (21:35):. So I think about this and I think it comes back to our young people. They're smart enough to know what we've been doing isn't working and they're also picking up on what we're leading by example in They're doing the same as us or they're trying to do something different. But I think what you and I were talking about, we need some other frameworks here. This is a crisis. Oh Some action steps. Let's have some frameworks for our community because we are not trying to have a school shooting here. Right? Danielle (22:14):We are ripe. And that is very alarming. We hear about all of these school shootings and atrocities that's happening across our nation and all of these things that are popping off and other countries and everything. But honey, this Kitsap County, I have always said, let us do some intervention and prevention because we don't wanna be on the national news for the atrocities that could be committed in our community. And I can say this, we are no better than any other community. And it can happen here. It can happen Anywhere else. . And that's real because guess what the signs are telling , What is popping up and manifesting in our communities is telling and the unhealthy behavior and activities that have been manifesting is really alarming. And we should be paying attention. And our community is only gonna be as healthy as we are and we're not. Speaker 2 (23:33):Right. There's a high level of depression, a high level of anxiety high level of despair across our adult communities in the area. There's a great Danielle (23:48):There's a great amount of actually division in our community. And I don't think that that division is necessarily wrong. Now listen to me because It tells you where you're at If you say, Oh, we're so divided, let's just come together. I have to say, Wait a minute, let's find out why we're divided. Maybe there's some good reasons. And once we know the reasons, then there's opportunity to tell a more true story about Kitsap County. And through the true story, hopefully we can move towards some reconciliation and understanding. Yeah. Yeah. That's what's gonna benefit our youth. So I don't think it's like, Oh, just throw your kids in mental health therapy. No, you need to be doing the work too. Akuyea (24:38):Yeah. Yeah. I'm glad you said that because one of the things that I've been just kind of thinking of is, what does that even look like? What does truth and reconciliation even look like? And I said, Well, you can't get there if you're not willing to acknowledge The history, acknowledge the culture that's here in our county that has been prevalent here for hundreds of years. Kensett County is a very racist county. Very. If you're not willing to say that, that's a problem. If you're not willing to look at that history here, cross-bar, even lynchings even, you better understand when we talking about the history, the taking of land, all of that. If we go back just to the late 18 hundreds early In this county, we would better know how to move equity forward in our community. But because we're not willing, Oh, everything's tucked under the rug and things that have happened, Oh, those things have been erased. . I can remember that back when I first got here in the nineties, it was a lot of work going on with Raymond Reyes and with Jean Medina and Theor. There was a lot of racist behavior with a lot of ill behavior a lot of what I would call racist ideologies in our school districts at the North end that was manifest. But it was at the south end too. It was in the Mason counties. It was all over. But we were dealing with it here at the north end, the SaaS drive and kids at school district, the Banbridge Island School District they were coming together cuz they had to deal with all the stuff that was popping off in the schools. . And I can remember they formulated common threads and once Jean Medina retired, it was like all those years of work just went away. Bam. And it came straight back. What did that say to me is that racism was alive and well and has always been alive and well in Kitsap County, . And if we're not intentionally addressing it and calling it out, it will continue to manifest and grow. We have to begin to hold the schools and our community accountable for the behavior that, because otherwise what I see is you just give them a green light. You give these young people a mind that okay behavior that that's acceptable. Oh, I can go to school and say, Oh, because that's the culture that breeds here. Danielle (28:19):Right? I mean, you reminded me of some of the history. I actually have a friend who grew up as a child in this area on La Molo on the waterfront, a Japanese American family. They were removed from their house prime property and they were deported to a internment camp and they lost their land right on the Molo. And now when I drive by that piece of property, it's worth millions of dollars. Akuyea (28:50):All I'm saying, right, The removal. And she's not the only one. The removal of native individuals off their own lands, And not, let me say it like this. In the 1920s, they held one of the largest in Seattle. They held a lot of their meetings right here on Bay Bridge Island on Pleasant Beach Back in 1992. When I got here, they were all up in the uproar talking about why did the clan target island? Well it wasn't until I did research later that I found out the history. They have strongholds here. They have headquarters camps all over Kitsap County, . If you do look at Chuck's report, he works with the Human Rights Council. He has done research about the entire region here and the headquarters and where white supremacists and Klan members and all of them set up their headquarters and kids that . So we need to understand the history that has thrived here for over a hundred years , and understand that that culture is alive and well. in Kitsap County, Danielle (30:46):Cause if we tell a false history, we can't actually heal the wound. Akuyea (30:50):It won't be able to. You gotta know your history, good, bad, and ugly. You got to know your history. And let me say this, there are regions that have deep history. If you go down to Mississippi and Alabama, Oh those are strong holes. , Virginia. And guess what? This northwest got stronghold too. . And we act like, oh no, not here, But that's a false narrative. when they left the south back after slavery, they came here to formulate a new frontier. A new frontier in Oregon and in Seattle in this north, deep roots in this northwest. And if we don't even know that history, we are just, we're fooling ourselves into thinking, Oh no, not here. Not in the northwest. We're not like Alabama. I said, But after the Civil War, they came and set up roots here. Strong roots, You don't think so. You better check your history. Danielle (32:30):And I think we can be lulled to sleep because people will say, Well you got a democratic governor and you got a Democratic senator and you vote unquote blue. But we both know that being blue doesn't mean you're telling something true. Akuyea (32:48):Honey, let me tell you what one of the Klan masters said he was taking off his, when he left, it was a split in Oregon. And when he left Oregon and came to Seattle, he said he was taking off his hood and he was putting on a suit He went and got those jobs, started setting policy, started working in government, law enforcement all over. So don't think just because they don't have the hood that they're still not working in those ideologies. Danielle (33:36):, I mean as you've named in Kitsap County, the idea of manifest destiny has been repeated over and over. And we see it in some of the ways that even the county commissioners have ran and used. I'm thinking of one county commissioner that owns land that therefore wants to create housing resource. And the danger of that. And Danielle (34:05):If you don't think it's entrenched and institutionalized, you better think again. If you don't think it's in our systems, you better think again because those systems were created by those individuals. We have to understand the legacy of that as well. , we've got a lot of work to do. I, I can tell you, I don't know everything, but I'm sure willing to research and learn Oh no. We never move out of hopelessness. We are people of hope. We are as human beings. We are people of hope. We always hope for the better. We hope for the son to shine. We hope that we have a good dinner tonight. We are steeped in hopefulness . And for us to operate out of hopelessness is, we ought not to even perpetuate that Because hope is in our dna. is part of our being. You hope your children will do well. you hope you find a good husband. you hope you find someone that can love you the way you wanna be loved. No, we, that's in our DNA to be hopeful, . And when we start being hopeless or working hopelessness, what happens is we start to decline depression and all these other things begin to come into our lives. And oh, it filled with anxiety. When you remove hope from someone's life, then you know what they spiral to that place that they commit self-harming and harm others as well. So no, we don't wanna move outta hopelessness . And we wanna talk about that need. You have to empower our young people to understand we don't move in hopelessness, I even tell a kid, you hope you get an ice cream. Oh yeah, they want that. Yeah, , we can build hope, we can cultivate that. We can begin to push back on hopelessness Danielle (37:05):And I think the way we do that is, it's this funny thing. If you're from a dominant culture and your culture wins by not telling a true story . And it can feel that if you tell the true story or what's behind the curtain, that you will be plunged into despair. And let me say this, you should grieve and be sad and be angry at that history behind the curtain. That is not bad for you. It is And then that will enable you to take small steps to help your young person with a white body Be able to learn to hold history and hold making change. Akuyea (37:52):And what when we continue to perpetuate lies and perpetuate harmful history, we have to do some self examination going on with us that we wanna keep holding this harmful history in place here. What? What's going on with us as human beings that we would want to perpetuate harm on any individual because they're different than I am. They come from somewhere a different, they have a different culture. They talk different . Why do we always go to that place? Danielle (38:56):I think we can learn so much from what happened in different places in the world and how they subject and no one's done it perfectly. Cuz there's not a perfect way to do it. It's messy. But I think of my friend from Germany who's talked about learning about the Holocaust and her family's involvement in the Nazi regime. Family has worked with their own shame and worked to change their attitude towards the Jewish peoples there in Germany and the fighting of that nationalism. And then I think of the conflict in Rwanda and how yes, now be currently neighbors with someone where hoot season and Tutsis that they were formerly enemies. Blood enemies. So it's not that this hasn't been done, but in both those spaces you see that there's memorials to the harm that was done in Germany. Akuyea (39:53):That's exactly right. That's exactly right. They moved. And that's important. They move their nation into addressing the harms that had been perpetuated and those atrocities that had been done. And they had to move their entire nation and the globe into acknowledging and moving those families into a place of healing And that work that was deep work But we've not done that deep work here. Danielle (40:35):No, we haven't. And then we see our young people in despair and acting out the same fights. And then we have the gall to say, Well what's wrong with you Akuyea (40:51):Oh yeah. Oh yeah. And we've gotta take a pause and look at ourselves because we've gotta examine ourselves in this . We can't point fingers. We have to begin to be accountable for the harms that we have done here in our own country. , we wanna always say, Oh well that was Germany and oh that was Africa. That was over in Asia. What about what happened on this soil? You exterminated the entire indigenous population. . There are tribes we'll never see again. Think about that. And have we even addressed those atrocities, All of the souls that was lost during the trans-Atlantic slave trade that didn't even reach the shores. And if the sea could give up her dead, she could tell a story. But yet we don't wanna step into that harmful history. We don't wanna acknowledge that harmful history. We don't wanna talk about, Oh, don't teach my child how in school this critical race theory thing. Oh no, no, no, no, no, no. Don't dig that up. Don't bring that up And I said, Well what's the pushback on telling whole history Danielle (43:02):And I think from a Latino Latinx perspective, there has to be the acknowledgement of the anti-blackness in our culture.Affects our sisters and brothers in the communities of color outside of us. I hate from Latinos. And what's interesting, all those mixtures are part of what makes a Latino Akuyea (43:31):Thank you. That's why I said, Oh, we have to understand we're where we come from our history. Cause that's where the work begins. Danielle (43:41):And then the xenophobia Cultivated. And I think what is important about knowing this history for me, because then I have to say, and I'm Oh, I'm gonna die in shame. I'm some shame. But it's a way for me to say, how do I build connection with you then Akuyea (44:03):I wish Carrie was on here because we work with our equity sisters and we've worked with our Kitsap race and for a whole year we were doing aging our voices and speaking truth together with our Kitsap serves. Those Europeans showing up for racial justice and all of us. And coming together, it was the coming together to be able to talk about some hard things and for them to be able to hear and for us to be able to hear, for us to be able to share our experiences and our voices and be able to put it down and be able for them to say, I'm feeling like Harry would say, Am I in denial here? Is this implicit? Buy it, what's going on? But to do that self, that type of self evaluation and be able to stay in that space when it was very uncomfortable, to deal with some hard history And so those are transformational, engaging opportunities and experiences that we've got to bring to the table. That's real truth and reconciliation, . That's the layer of foundation to be able to move forward and be able to heal and be able to reconcile and talk about how we gonna reconcile it. What will we do? How will we begin to build a healthy way of engaging with one another and build in a relationship. Now the relationship might not be tight. I might not be come away being old lovey dovey fu fu fu. But understanding one another and being able to speak peacefully to one another. being able to say, You know what? I agree or I don't agree. And stay in that space where we can work through some of the challenges that we have and some of the difference of opinions and ideals we have between one another. Danielle (46:29):And I think our kids are just waiting for us to pass these tools to them. My daughter was part of a meeting and part of what happened with my daughter who's Mexican, is that she heard a classmate called the N word and then spoke up about it and then was sharing that story. And then one of the Latino students was talking about , how another Latino student was talking about being told to go across the border. And my daughter shared that the African American student presence said, I don't want that to be like that for you. That doesn't happen to me. I wish I knew so I could say something before they got there faster than I've gotten there. Akuyea (47:13):But you know what? And I can say this, and this is not taking away back to where you came from. This ain't your country. And I'm like, how did we be an enslaved and brought here in chains? You be able to say, you need to go back to where you come from. I didn't come here , many came. But most of the Africans that are enslaved to these Americas, they come here on their own He knows, he knows. And we have to talk. I mean for us to sit here, whether we're black, white, Asian, Pacific Islanders or Dominicans or Puertoricans or we have a understanding of who we are, Where we come from, our ancestral history, history of our parents and their parents and their parents parents, . We carry all of that in our dna We understand in a way that we should be able to have some healthy conversations and not feel bad about who we are. But many of our children have been forced into force assimilation in this nation. , they got to lose who they are in assimilate to be accepted, which very unhealthy they made the native students, you either assimilate or exterminate And the same thing with a lot of the enslaved Africans that they brought here. I don't call myself a African American. I come from an enslaved people brought to a stolen land. An enslaved to this America. I'm African I'm an African woman who's ancestors were stolen and enslaved to these lands. They've gone over, What do you wanna call yourself? I call myself black. I'm black. Danielle (50:18):As we're wrapping up here, how do folks are at listening? It's voting day. We have all the charge of the events. I think people are gonna hear the passion in our voices today. I wonder in Kitsap County, how can folks connect to you? How can I think, I wanna encourage us to have more of these restorative circles. How can they get in touch with you? How can they support what we are trying to do in this community? Akuyea (50:52):Yes. Well, you can always get in contact with the work with Kitsap Erase coalition, with the work that we do in our schools with our multicultural advisory council, with Living life leadership, with the Living Arts Cultural Heritage Project. I mean, I'm accessible in our community. I try to make myself available for our parents, for our students, for community members. We like to work in coalition . We understand that we can work in silos and we can work alone in our agencies and our stuff. But I'm more concerned about the collective collaborative work that it will take all of us to do to transform our communities . We have to be able to learn how to work together with one another as human beings. So yes, if you go on Kitsap e Race coalition, you'll be able to connect with the coalition because we want us to be able to cultivate working together. On. No, you ok girl. . No, we wanna be able to work together and if we got is let's talk about our issues and together and see how we can have a healthy relationship with one another. Danielle (52:35):We are one place, but this is the work we need to be doing across in small conversations like this across our country, which can lead. Akuyea (53:11):That's right, that's right. And hear me say this, we have a unique opportunity to model something not just for our children, our families, our community members, our schools. We have the unique opportunity to model for a nation how to do the work in your own community to bring about change. Danielle (53:37):We do have that opportunity. Akuyea (53:40):And to me, that's inspiring to me. That's what gets my juices up and flowing in the morning. 

In Hour Tua we reflect on last night's HEAT victory as we continue to monitor Bam's progress this season. We spend the next segment debating whether or not a Kicker should be able to do his job with a Broken Arm. We close the hour out attempting to Tickle Leroy's fancy with this week's slate of NFL games.   

Darius Mirshahzadeh is a serial bootstrapper, podcaster, bestselling author, and the Founder of The Real Darius. While he has started, scaled, and sold multiple 7 and 8-figure businesses, his largest company to date, was as CEO and Co-Founder of The Money Source—a mortgage lending business that he grew from 30 to 1,000 employees and $209M in annual revenue. He exited the company in 2020. Throughout his years as an entrepreneur, Darius has ranked #9 on Glassdoor's list of Top CEOs of Small and Medium Companies in the US, was named "#3 Best Place to Work" by San Francisco Business Times, and landed #40 on the Inc. 500 list of fastest-growing companies. He's the host of The Greatness Machine podcast and author of The Core Value Equation: A Framework to Drive Results, Create Limitless Scale and Win the War for Talent. In today's episode, Darius shares stories, strategies, and insights from building companies and hiring 5,000+ people over his lifetime as an entrepreneur. You'll learn how he filters for top talent when hiring, the systems he uses at different stages of company growth, and how he leverages core values to increase ROI and scale 7, 8, and 9-figure businesses. Key Takeaways from Darius Mirshahzadeh Growing from 30 to 1,000 employees and $209M in annual revenue in 3 years. Managing the ups and downs of the super volatile mortgage industry and why Darius sees himself as the Lebron James of scale. How to build the scaffolding to support different levels of company growth. Designing an environment to scale and using systems to measure and manage performance. 3 important responsibilities of a high-performing CEO. Intentionally filtering for core values when hiring. Why "good" is not good enough when hiring for higher level roles. Hiring and grooming from within versus hiring externally. At what point in your business do you need to build core values? Darius's 3-step framework for designing core values that people actually follow. Who needs to be part of the process of designing a company's core values? Can the core values change over time? Subscribe to the Podcast We hope you enjoy this episode and that you find some golden nuggets within this interview. Trust us, it's there! If you want episodes delivered straight to your inbox, consider subscribing to the show and we'll email you each time a new episode is released! Thanks for tuning it & keep being awesome. BAM!

One of the biggest problems writers deal with when taking an idea from their head and putting it on the page is writing themselves into a corner. You know the feeling. You're working on a story, the characters are interesting, the setting is on point, and every word seems to just be working. Then...BAM! It all comes undone and the work stops.Matt used to be the same way...then he decided to give the outline thing a shot again...And that has made all the difference.Join us for another Confession of a Working WriterIntro and Outro music courtesy of Georgia Moon (https://www.thegeorgiamoon.com/)Logo courtesy of Bear Paw Creative (https://bearpawcreative.com/)You can find more from Matt at https://medium.com/@matthewrhamptonSupport the show

This is an episode full of some pretty deep conversations. Jeni lost her dad when she was in the fourth grade. Today, Nicole asks her to share some memories of her father and to talk about how losing him at such a young age shaped her growing up. Jeni and Nicole talk about how important it is to put the work in building relationships with the people you care about, whether you're related to them or not. Nicole discusses how she went 29 years without cavities and BAM. What's changed? (Hint: being a mom can really change your priorities.) Do you have FOMO? 69% of the millennial population does. Nicole doesn't, and it stresses her a bit. Jeni doesn't now, but she talks about how moving around a lot as a kid led to her experiencing it back then. We've got a question for you. How much do you tip at restaurants?! What's expected? Nicole noticed that the new amounts are 20%, 25% and 30% oh my! Is 20% still okay? What about if you're just picking up a to-go order? It's complicated stuff. We want to know what you think! Coco Caliente IG: https://www.instagram.com/cococalientepodcast More podcasts at WAVE: https://podcasts.apple.com/us/artist/wave-podcast-network/1437831426

The Phoenix Suns have started off the year hot. At 8-3, this is a much better start than the Suns had experienced in their last two (playoff contending) seasons. The early fight for the WestAs you can see in the title of the episode, this start has not come easy. The Suns are currently working over some massive speed bumps, mainly in the form of injury. Cam Johnson knee injury, timetable for returnChris Paul minor heel injuryThe Suns have played 4 games over the past week, starting with a back - to - back on Friday and Saturday vs the Trail Blazers, before starting a large road trip toward Philadelphia and Minnesota. Two different stories in two different games versus Trail BlazersDeandre Ayton returnsFirst games without Cam JohnsonLong distance road trip, losing to PhiladelphiaGeorges NiangAyton vs EmbiidNo CP3, not so much of a problem vs TimberwolvesMIKAL BRIDGESSSSSSSThe Suns will play 3 more exciting games before the next time we meet on Suns mode. The long road trip will be ending in Florida over the weekend, with games against the Magic on Friday, and the Heat on Monday before returning home for a HUGE game versus the Warriors on Wednesday night.Book, DA, Cam Payne and Mikal Bridges return to Orlando, home of the bubble. Ayton vs. BAM, and the rest of what should make Heat vs Suns funARIZONA TURQUOISE BAYBEEEEERemember to spread love and #ValleyExcellence, and come back for more Suns Mode podcast as soon as next Thursday, November 17.FREE BRITTNEY GRINER WE ARE BGLETS GO SUNS LETS GO SUNS LETS GO SUNS LET GO SUNSMIIIIIIIIGHTY MERCURY@ValleySunna

We kick off today with the return of Marcos, while Tobin and Leroy give us their Hurricane review thus far as they are bunkered down in their Home Studio today. Leroy lashes out on Tobin for his shirt selection before we touch on Evander Kane's scary situation last night as he gets cut with an Ice Skate. This jogs our memory of another scary experience where a Skate nearly turned into a murder weapon. Tobin is enjoying the fact that Lebron is being called out for the many unnecessary lies he tells. We then focus on the Phins vs Browns matchup scheduled for this weekend at Hard Rock Stadium. The guys discuss Steph Curry's crazy shot routine before games and Tobin demands some 3pt shots from Bam during tomorrows matchup. We reflect on Zach Sieler joining us yesterday and more investigation on Tobin's mysteriously changing shirt. We close the hour out begging for a Healthy line up for the HEAT.  

P Dubbs has been to Disneyland and he wants to tell you all about it. Nic and Craig occasionally chime in. Join our official FB Group - The Official After Dark Podcast Network Mail us at disafterdark@gmail.com. Patreons you can email us at thatpodcastshows@gmail.com https://www.patreon.com/thatpodcasts if you want to support That Disney Parks Podcast, That Disneyland Paris Podcast and That Universal Podcast and get access to early episode releases and exclusive shows you cannot get anywhere else! This is a That Production, a Founding Podcast of The After Dark Podcast Network Check out some of the other shows on The After Dark Podcast Network such as; Dis Is Your Life, That Disney Parks Podcast, That Universal Podcast, Everybody's Got One, Bif! Pow! Bam!, Mickey Waffles - An Irish Disney Podcast, That Disneyland Paris Podcast, Alice's Magical Podcast, Pop After Dark, Better Call Paul, The Imagine Ears, Simon Says, My Bench, Pits and Gigs, Brits Guide to Disney Vacation Club and The Half and Half Scarves Podcast. We have podcasts about Theme Parks, Movies, Pop Culture, Comic Books, Orlando, Football and Comedy. Something for everyone!

Sam tries her best (still somehow hungover?) to recap the bachelorette weekend for Bill, describes having her first edible, and attempts to theorize what kind of penis she'd have. Bill presents 3 mini-moon locations he's narrowed down, and they have some hot takes on what eloping actually is vs. isn't! One of their friends is doing it and it's sure as hell stirring up some feelings!

This. This is what happens when Bill is left alone to record an episode without Sam. Anime, climbing, strippers, sex kung fu. Sam only claims responsibly to this caption, and nothing more.

Intro  Carissa Getscher is CEO and Founder of Sunflower Music lessons where she provides a plethora of music education resources like music history, appreciation, lesson helps, and actual music lessons.   At Sunflower Music lessons the belief is that any parent can teach music education. Carissa's lesson plans are supplements to curriculum parents are already using, how you ask?  Maybe you are studying the Civil War or the Industrial Revolution in Europe. You can put a soundtrack to the history you are learning and BAM now it's music history.   Check out their Harriet Tubman resources, or the composers of Europe as supplemental resources. You can also use Sunflower Music, music appreciation worksheets to analyze music from any era, download a simplified piece of sheet music so your young musician can play a page of Beethoven. and so many more resources for your naturally curious child!  Top Three Takeaways  The myth as to "Why most people homeschool?" It used to be common for people to think it was for religious reasons and now people might think homeschooling is a political choice. But most parents who pull their kids now have reasons like bullying or accommodations  There is definitely a status division between those who can put their kids in lessons and those who can't...but I believe in this information age, parents can teach anything a kid wants to learn.  Homeschooling is so important to her that as a single working mom she's dedicated to finding a way to provide for my three sons  without having to put them in public school. She loves watching her boys as they grow into the best versions of themselves and how  they know their value. Homeschooling allows her the opportunity to be there daily speaking love into them as they bloom into men.   Carissa knows that a good home is the key to that dream- so she will work and sacrifice to make sure that it goes from dream to reality, Carissa has a powerful story of loss in one area and gain in another and then the birth of sunflower music  Call to Action  Mention the Homeschool podcast when you call to get 50% OFF  Sunflower Music Lessons Website Page  Sunflower Music Lessons Instagram Page  Sunflower Music Lessons Facebook Page  Sunflower Music Lessons Pinterest Page  What is Next!  Thank you for supporting this show by listening and sharing with friends! If you like this podcast please rate and write a review of how this show has impacted or helped you!   Great ratings will accelerate the show's visibility to the nation so others can learn more about homeschool and find quality curriculum and the potentially join the homeschool community thus change the face of education forever!!   Who would have thought that we could change the education world with a click and a share!  Also if you would like to hear more about any specific educational topic please email me at realedtalk@gmail.com I would love to support your families educational needs in all areas!!   Bex Buzzie  The Homeschool Advantage Podcast      

She thought it was the perfect job. A live-in nanny position in a remote mansion, a generous salary, and the picture perfect family. What was there to be scared of? Well, maybe the fact that the past 4 nannies quit immediately saying that the house was haunted.  But she knew that she couldn't pass up the chance. It wasn't about the money, or the job for her; she wanted to be part of this perfect family. She wanted to live with them. Use their kitchen. She wanted to get close to them.  But her first week on the job, everything fall apart. One of the children ends up dead, she's covered in her blood, being blackmailed by a family member, and framed for murder. It seems like everyone in the house has a dark secret - even the kids.  Book: https://ruthware.com/books/the-turn-of-the-key/#open-overlay Audiobook: https://www.amazon.com/The-Turn-of-Key-Ruth-Ware-audiobook/dp/B07NJ7X6F5/ref=tmm_aud_swatch_0?_encoding=UTF8&qid=1667862260&sr=1-1 E-Book: https://www.amazon.com/Turn-Key-Ruth-Ware-ebook/dp/B07HPCRC7Q/ref=tmm_kin_swatch_0?_encoding=UTF8&qid=1667862260&sr=1-1 Vessis early Black Friday sale is on now! Vessi is giving away a pair of socks of your choice to the first 100 shoes sold using my code SOCKSBAM. Get your style and size you want now before they sell out! Check out their Early Black Friday sale at https://vessi.com/BAM. Free shipping to CA, US, AU,JP, TW, KR, SGP.    Go to https://JULIECARE.CO to learn more or find Julie at your nearest Walmart today   Go to https://GreenChef.com/baking599 and use code baking599 to get $5.99 per meal on your 1st box, and your 1st box ships free! Go to https://www.chime.com/baking to sign up for a Chime Checking Account today! Thanks to Chime for supporting the show To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

We've all been there. Your day is humming along nicely and predicatably. And then Bam! You open up your email and there it is. A huge mistake you made staring right back at you. A bad call. An oversight. An undeniable eff up. Maybe it was as simple as a typo on a presentation. Or you shut down a plant prematurely and 200 people are out of work. Or something in between. The higher up you go, the costlier your mistakes. Certainly staying at the same level and never growing isn't the answer. The key is to get better at navigating mistakes. So how do you handle them? In this episode, I share with you my own costly mistakes as well as a framework for navigating mistakes successfully. Take a listen and share your thoughts. - Stella

Just when you think you can't take much more, along comes the Uranus-driven Taurus lunar eclipse and BAM! Anything can happen. Except remaining stuck. Trust your gut.; trust your intuition.  Astro-Insight for November 7-13, 2022. Please do not forward w/o copyright notice intact, which is: Text & recording © ℗ Kathy Biehl 2022. Image by Enrique Meseguer from Pixabay. Transcription of this episode First Aid for Freak Out Support this podcast   Listen to Celestial Compass on OM Times Radio Find out what this means for you! Bonus content at Patreon Instagram: @kabiehl Facebook: Empowerment Unlimited The Astro-Insight Lounge  Read my Uranus in Taurus guide Watch my talk about Saturn in Aquarius Listen to this podcast on your iPhone, iPad, Android, and Windows Phone. My podcast app host uses an app called The Podcast Source. You can download that app (and from it, my Astro-Insight app) from the Apple App Store  and from Google Play. You can also subscribe to my podcasts through Apple Podcasts (which have replaced iTunes) and get them delivered straight to your email box! Visit the astroinsight page to sign up. And please give them lots of stars!

Recorded on October 31st, Sohrab Movahedi and Etienne Ricard join our IN Tune podcast to discuss their recent report "Spin Mechanics", covering Brookfield Asset Management and the anticipated transaction to spin out a 25% interest in its asset management franchise as a 'pure-play', as well as the drivers of value at BAM and BN, and the value proposition of alternative investment strategies in a higher interest rate environment. BMO clients can view our report, “Spin Mechanics”, by visiting: https://researchglobal0.bmocapitalmarkets.com/research/84eef555-31d0-4c99-b081-6ef194889177/ Episode transcript: xxx To access our full disclosures, please visit: https://researchglobal0.bmocapitalmarkets.com/public-disclosure/

Today in the room we have David, Amy & Bam and on this episode we play a game by answering a series of questions. Questions on life, love, spiritual intellect, etc.Email: Room1710podcast@gmail.comIG & Twitter: @jarvvee

Ryan Pineda is a serial entrepreneur and real estate investor who started flipping houses in 2015. In the span of 2 years, he built a social media following of over 1.5 million people, teaching others how to build wealth and freedom. He now owns 500+ rental properties and has bootstrapped 9 different businesses, each generating 7 to 8-figures per year in revenue. In today's episode, I join Ryan in his Las Vegas studio, where he shares how he went from flipping couches on Craigslist to building a growing ecosystem of multiple 8-figure brands. You'll learn that the consistent throughline to Ryan's success is his unwavering belief in what he sets out to accomplish. In this episode, we dive into a number of topics around how he starts, scales, and structures his companies, along with how each venture builds and feeds off one another.  We also talk about his expertise as a content creator and how he leverages social media to funnel leads into businesses to generate more sales. Key Takeaways with Ryan Pineda How Ryan hired 100+ people and leveraged technology to bootstrap and scale 9 different businesses generating multiple 8-figures. Creating an ecosystem of businesses that support and uplevel one another. Hear how Ryan structures his leadership team across his various companies. How to start new ventures without getting distracted. The high-margin, low-risk industry that Ryan is doubling down on. Owning versus partnering. Profit sharing, perks, and incentivizing employees. The advantages of a holding company. Long-term vision versus playing day-to-day. Ryan's outlook on meeting and connecting with the most influential entrepreneurs and celebrities. The #1 trait that Ryan believes you need to win as an entrepreneur. The content creation playbook Ryan uses to warm up his audience, generate leads, and make more sales. A breakdown of Ryan's entire content team and social media strategy The trend toward unscripted and authentic content. Evergreen content versus trending topics. Hear about Ryan's early years as an entrepreneur, from barely scraping by as a realtor to flipping 50 homes in a single year. Subscribe to the Podcast We hope you enjoy this episode and that you find some golden nuggets within this interview. Trust us, it's there! If you want episodes delivered straight to your inbox, consider subscribing to the show and we'll email you each time a new episode is released! Thanks for tuning it & keep being awesome. BAM!

Heat win two in a row. Giancarlo Navas is joined by Siobhan Beslow and Tiffany Meeks to discuss: • Tyler Herro game winner  • Kyle Lowry vindication  • Bam's' passing last few games • Heat without Jimmy And more!  TICKPICK.COM/HEATBEAT today and use the promo code HEATBEAT to save $10 on your first order of NBA tickets! Join our discord to be able to ask guests questions CLICK FOR THE DISCORD CHAT INVITE https://discord.gg/Ctk9h4SGaB STREAMS ON Twitch.Tv/MiamiHeatBeat BUY OUR NEW MERCH! shop.miamiheatbeat.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

BAM!   A brand new episode of The East Side Dave and Son Wrestling Show has entered the arena and it's bringing the pain!   Listen in as the Mac Boyz discuss Bray Wyatt's incredible return to the WWE at Extreme Rules!   Plus, Davey and Stanley talk about AEW bringing in Jeff Jarrett and how the Macs felt about Chris Jericho's match against Colt Cabana!   Watch out for their blistering hot takes!   Finally, Dave and Stan give their predictions on Saturday's WWE pay-per-view Crown Jewel!   It's a massive, no-holds-barred episode that you need to hear right now!   SLAM!

A space fairing adventure for delicious fruits! Cam and BAM haven't seen a more beautiful thing. It's got the juice! Our Flipped Script: What if "Pikmin 3" was a shoot-em-up Suggested Topics: Dunk All Over "Bit-O-Honey", Hand Gesticulations, N64 Controller was Always Sticky, The Juice, Milleniopia  

Heralded as "[one] of the most powerful voices of our time" by the Los Angeles Times, bass-baritone Davóne Tines has come to international attention as a path-breaking artist whose work not only encompasses a diverse repertoire but also explores the social issues of today. As a Black, gay, classically trained performer at the intersection of many histories, cultures, and aesthetics, Tines is engaged in work that blends opera, art song, contemporary classical music, spirituals, gospel, and songs of protest, as a means to tell a deeply personal story of perseverance that connects to all of humanity. Davóne Tines is Musical America's 2022 Vocalist of the Year. During the 2022-23 season, he continues his role as the Philharmonia Baroque Orchestra & Chorale's first-ever Creative Partner and, beginning in January 2023, he will serve as Brooklyn Academy of Music's first Artist in Residence in more than a decade. In addition to strategic planning, programming, and working within the community, this season Tines curates the “Artist as Human” program, exploring how each artist's subjectivity—be it their race, gender, sexuality, etc.—informs performance, and how these perspectives develop throughout their repertoire. In the fall of 2022, Tines makes a number of important debuts at prominent New York institutions, including the Park Avenue Armory, New York Philharmonic, BAM, and Carnegie Hall, continuing to establish a strong presence in the city's classical scene. He opens his season with the New York premiere of Tyshawn Sorey's Monochromatic Light (Afterlife) at the Park Avenue Armory, also doubling as Tines' Armory debut. Inspired by one of Sorey's most important influences, Morton Feldman and his work Rothko Chapel, Monochromatic Light (Afterlife) takes after Feldman's focus on expansive textures and enveloping sounds, aiming to create an all-immersive experience. Tine's solo part was written specifically for him by Sorey, marking a third collaboration between the pair; Sorey previously created arrangements for Tines' Recital No. 1: MASS and Concerto No. 2: ANTHEM. Peter Sellars directs, with whom Davóne collaborated in John Adam's opera Girls of the Golden West and Kaija Saariaho's Only the Sound Remains. Tines' engagements continue with Everything Rises, an original, evening length staged musical work he created with violinist Jennifer Koh, premiering in New York as part of the Brooklyn Academy of Music's Next Wave Festival. Everything Rises tells the story of Tines' and Koh's artistic journeys and family histories through music, projections, and recorded interviews. As a platform, it also centers the need for artists of color to be seen and heard. Everything Rises premiered in Santa Barbara and Los Angeles in April 2022, with the LA Times commenting, “Koh and Tines' stories have made them what they are, but their art needs to be—and is—great enough to tell us who they are.” This season also has Tines making his New York Philharmonic debut performing in Beethoven's Symphony No. 9, led by Jaap van Zweden. Tines returns to the New York Philharmonic in the spring to sing the Vox Christi in Bach's St. Matthew Passion, also under van Zweden. Tines is a musician who takes full agency of his work, devising performances from conception to performance. His Recital No. 1: MASS program reflects this ethos, combining traditional music with pieces by J.S. Bach, Margaret Bonds, Moses Hogan, Julius Eastman, Caroline Shaw, Tyshawn Sorey, and Tines. This season, he makes his Carnegie Hall recital debut performing MASS at Weill Hall, and later brings the program to the McCarter Theatre in Princeton, Baltimore's Shriver Hall, for the Philadelphia Chamber Music Society, and as part of Boston's Celebrity Series. Concerto No. 1: SERMON is a similar artistic endeavor, combining pieces including John Adams' El Niño; Vigil, written by Tines and Igée Dieudonné with orchestration by Matthew Aucoin; “You Want the Truth, but You Don't Want to Know,” from Anthony Davis' X: The Life and Times of Malcolm X; and poems from Langston Hughes, James Baldwin, and Maya Angelou into a concert performance. In May 2021, Tines performed Concerto No. 1: SERMON with Yannick Nézet-Séguin and the Philadelphia Orchestra, and with the BBC Symphony Orchestra. He recently premiered Concerto No. 2: ANTHEM—created by Tines with music by Michael Schachter, Caroline Shaw, Tyshawn Sorey, and text by Mahogany L. Browne—with the Los Angeles Philharmonic at the Hollywood Bowl. Also this season, Tines performs in El Niño with the Cleveland Orchestra, conducted by composer John Adams; a concert performance of Adams' Girls of the Golden West with the Los Angeles Philharmonic also led by Adams; and a chamber music recital with the New World Symphony.Going beyond the concert hall, Davóne Tines also creates short music films that use powerful visuals to accentuate the social and poetic dimensions of the music. In September 2020, Lincoln Center presented his music film VIGIL, which pays tribute to Breonna Taylor, the EMT and aspiring nurse who was shot and killed by police in her Louisville home, and whose tragic death has fueled an international outcry. Created in collaboration with Igée Dieudonné, and Conor Hanick, the work was subsequently arranged for orchestra by Matthew Aucoin and premiered in a live-stream by Tines and the Louisville Orchestra, conducted by Teddy Abrams. Aucoin's orchestration is also currently part of Tines' Concerto No. 1: SERMON. He also co-created Strange Fruit with Jennifer Koh, a film juxtaposing violence against Asian Americans with Ken Ueno's arrangement of “Strange Fruit” — which the duo perform in Everything Rises — directed by dramaturg Kee-Yoon Nahm. The work premiered virtually as part of Carnegie Hall's “Voices of Hope Series.” Additional music films include FREUDE, an acapella “mashup” of Beethoven with African-American hymns that was shot, produced, and edited by Davóne Tines at his hometown church in Warrenton, Virginia and presented virtually by the Philharmonia Baroque Orchestra & Chorale; EASTMAN, a micro-biographical film highlighting the life and work of composer Julius Eastman; and NATIVE SON, in which Tines sings the Black national anthem, “Lift Ev'ry Voice and Sing,” and pays homage to the '60s Civil Rights-era motto “I am a man.” The latter film was created for the fourth annual Native Son Awards, which celebrate Black, gay excellence. Further online highlights include appearances as part of Boston Lyric Opera's new miniseries, desert in, marking his company debut; LA Opera at Home's Living Room Recitals; and the 2020 NEA Human and Civil Rights Awards.Notable performances on the opera stage the world premiere performances of Kaija Saariaho's Only the Sound Remains directed by Peter Sellars at Dutch National Opera, Finnish National Opera, Opéra national de Paris, and Teatro Real (Madrid); the world and European premieres of John Adams and Peter Sellars' Girls of the Golden West at San Francisco Opera and Dutch National Opera, respectively; the title role in a new production of Anthony Davis' X: The Life and Times of Malcolm X with the Detroit Opera (where he was Artist in Residence during the 2021-22 season) and the Boston Modern Opera Project with Odyssey Opera in Boston where it was recorded for future release; the world premiere of Terence Blanchard and Kasi Lemmons' Fire Shut Up In My Bones at Opera Theatre of Saint Louis; the world premiere of Matthew Aucoin's Crossing, directed by Diane Paulus at the Brooklyn Academy of Music; a new production of Stravinsky's Oedipus Rex at Lisbon's Teatro Nacional de São Carlos led by Leo Hussain; and Handel's rarely staged Aci, Galatea, e Polifemo at National Sawdust, presented in a new production by Christopher Alden. As a member of the American Modern Opera Company (AMOC), Tines served as a co-music director of the 2022 Ojai Music Festival, and has performed in Hans Werner Henze's El Cimarrón, John Adams' Nativity Reconsidered, and Were You There in collaboration with composers Matthew Aucoin and Michael Schachter.Davóne Tines is co-creator and co-librettist of The Black Clown, a music theater experience inspired by Langston Hughes' poem of the same name. The work, which was created in collaboration with director Zack Winokur and composer Michael Schachter, expresses a Black man's resilience against America's legacy of oppression—fusing vaudeville, opera, jazz, and spirituals to bring Hughes' verse to life onstage. The world premiere was given by the American Repertory Theater in 2018, and The Black Clown was presented by Lincoln Center in summer 2019.Concert appearances have included John Adams' El Niño with the Rundfunk-Sinfonieorchester Berlin under Vladimir Jurowski, Schumann's Das Paradies und die Peri with Louis Langrée and the Cincinnati Symphony, Kaija Saariaho's True Fire with the Orchestre national de France conducted by Olari Elts, Beethoven's Ninth Symphony with Michael Tilson Thomas leading the San Francisco Symphony, Stravinsky's Oedipus Rex with Esa-Pekka Salonen and the Royal Swedish Orchestra, and a program spotlighting music of resistance by George Crumb, Julius Eastman, Dmitri Shostakovich, and Caroline Shaw with conductor Christian Reif and members of the San Francisco Symphony at SoundBox. He also sang works by Caroline Shaw and Kaija Saariaho alongside the Calder Quartet and International Contemporary Ensemble at the Ojai Music Festival. In May 2021, Tines sang in Tulsa Opera's concert Greenwood Overcomes, which honored the resilience of Black Tulsans and Black America one hundred years after the Tulsa Race Massacre. That event featured Tines premiering “There are Many Trails of Tears,” an aria from Anthony Davis' opera-in-progress Fire Across the Tracks: Tulsa 1921.Davóne Tines is a winner of the 2020 Sphinx Medal of Excellence, recognizing extraordinary classical musicians of color who, early in their career, demonstrate artistic excellence, outstanding work ethic, a spirit of determination, and an ongoing commitment to leadership and their communities. In 2019 he was named as one of Time Magazine's Next Generation Leaders. He is also the recipient of the 2018 Emerging Artists Award given by Lincoln Center for the Performing Arts and is a graduate of The Juilliard School and Harvard University, where he teaches a semester-length course “How to be a Tool: Storytelling Across Disciplines” in collaboration with director Zack Winokur.The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture. To find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory. Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode ★ Support this podcast ★

Bill finds a note from Sam's ex boyfriend in her old room, and decides to do a dramatic reading of it, while they read it for the first time. YIKES. It might be the first time Sam is embarrassed on this whole damn podcast. They also vent about their current wedding bull crap, and Bill pulls out quite the beef.

I sometimes coach clients who've mustered the courage to do something big--quit their jobs, start dating, get a degree, and then BAM! It all ends and they're back to square 1. This is such a hard place to be--they experience loneliness, sadness, and feelings of shame. Listen to this episode or share with a friend who's going through it. Tip: Don't tell them about a similar situation you or a friend has had. Bite your tongue! If you want to meet up over zoom while you're in your office parking lot, on your bathroom floor, or in your closet while the kids go nuts, click here to schedule a complimentary discovery call. Want free resources, book recommendations, and to see pics of my crazy crew? Click here.

Intro: Emceeing a memorial serviceLet Me Run This By You: Fear and the paranormalInterview: We talk to Tina Parker aka Francesca Liddy about SMU, Blake Hackler, Andre DeShields, Maria Irene Fornes' Mud, Kitchen Dog Theatre, Breaking Bad, Better Call Saul, Robert Altman's Dr. T & the Women, Birdbath play, Perpetual Grace. FULL TRANSCRIPT (unedited):1 (8s):I'm Jen Bosworth Ramirez2 (10s):This, and I'm Gina Pulice1 (11s):We went to theater3 (12s):School together. We survived it, but we didn't quite understand it.4 (15s):20 years later, we're digging deep talking to our guests about their experiences and trying to make sense of3 (20s):It all. We survive theater school and you will too. Are we famous yet?2 (34s):So what does mean, What does it mean to mc a memorial?1 (40s):Yeah. I mean, I don't know what to call it. I I people keep it host. I'm not hosting cuz the family's hosting. So what it means is that I'm trusted, I think to not, Well one, I've done this twice, you know, I've lost both my parents. So I like know the drill about how memorials go, but also I think I'm kind of a safe person in that I will step in if someone goes kaka cuckoo at the memorial and I also have some, you know, able like, presenting skills. Yes. Right. And I'm entrusted to like guide the ship if it, and if it goes off kilter, I will say to somebody, Hey, why don't you have a seat?1 (1m 23s):This is like, we'll have time for this later if you really wanna get crazy or whatever. But that's, and I think it's just sort of steering, steering the grief ship maybe. I don't know. Yeah, look, I don't know. I like that. It's gonna be2 (1m 34s):Interesting, dude, people, Oh, honestly, they should have that for, you know, in other cultures where they have like professional grievers and professional mourners, it, it sounds a little silly, but at the same time it's like, no, this is right. Because no, we don't, we never know how to do it. Unless you've lived in a really communal environment where you, you, you, you know, you attend the rights, the ceremonies or rituals of everybody in your village, then you really don't know until, usually until it's thrust upon you. And then it's like, well, you're supposed to be grieving and then like hosting a memorial service. It's such a weird thing. So this could be another career path for you. You could be a professional, you know, funeral mc, I actually, honestly, I hate, I don't hate it.2 (2m 21s):I love it. Well,1 (2m 22s):And also could be my thank you, my rap name funeral Mc instead of like young mc funeral mc, but no. Yeah, I, I have no, and it's so interesting when it's not my own family, right? Like these are family friends, but they're not, it's not my mother who died. I don't have the attachment to I people doing and saying certain things. I don't feel triggered. Like being, I grew up a lot in this house that I'm sitting in right now, but it's not my, it was not my house. So I don't have any attachment emotionally like appendages to the items in the house where the girls do.1 (3m 2s):So I'm able to be here and, and, and be like, this is, this is, I'm okay here. I don't feel overwhelmed. And I think that is a sign that I'm doing the right thing in terms of helping out in this way if I got here and I was like, Oh my God, it's too much. But I don't feel that. And I also think that like, one of the things that I did with Nancy and Dave over the last couple years is like, they were literally the only adults. Well, I'm an adult, only older adults my parents age who are like, Yes, go to California, you need to get out of here, get away from this. They were the, so I that made me trust them. And then we stayed, we had like weekly phone conversations, just like they would each be on a line.1 (3m 46s):It was hilarious. And we would talk for hours like maybe once every two weeks, a couple hours. And it was really like a parenting experience. So I feel very close to them and I, what I'm learning is that like, even if other people have different relationships with people, you can have your own. So I know that no one's perfect, but these were allowed, like, you're allowed Gina to have your own relationship with your mom and with your even dead people than other people have.2 (4m 17s):Yeah. Yeah. I agree with that. Back to the plane for a minute. In these situations, what do the flight attendants do, if anything?1 (4m 28s):Oh, well I always talked to them before because I, so what I say, I always like to, because Dave, who's, who's a hypnotherapist and a psychologist, he said, Listen, you know, he used to be afraid. And he said his thing was talking to the flight attendants before and just saying like, Hey, I have a phobia. I'm a therapist. I'm working through it. Like just to make contact, right. I don't, I didn't say that exactly, but what I said was, Listen, I say, Hi, how are you? We struck up a strike up, a teeny conversation in that moment where I'm going to my seat and I say, Listen, I'm going to Chicago to like mc a memorial for like someone who's like my mom. So if you see me, so if you see me crying like it's normal. And they're like, Oh, thanks for telling me. And they're, they usually don't get freaked out.1 (5m 11s):I'm also not like intense about it. They do nothing. And you know what they, I think and, and she said, Thanks for telling me. I really appreciate it. Because I think they'd rather know what the fuck is going on with someone than thinking someone's about to hijack the goddamn plane.2 (5m 29s):Exactly. I was thinking that exact same thing. I was thinking like, especially right now, all they know is it's heightened emotion or it's not, you know, like they, they, they have no, they would have no way of differentiating, you know, what's, what's safe and what's dangerous. So I can't believe nobody's ever done this before. But we, another project that we could do is like airplane stories. I mean there is such, this is one of the few points of connection that humanity still has people that is who can afford to you fly a plane anywhere. But this thing of like, it sucks and it's dirty and it's growth and people, people's, you know, hygiene comes into question and if they're sitting next to you and it's uncomfortable and it's not the glamorous thing that it used to be even when we were kids.2 (6m 21s):So it's, it's one of those moments unless you have a private plane where you're sort of forced to reckon with like the same thing that everybody else in humanity has to reckon with. But even on a private plane, and I would argue even especially on a private plane, there is the fear of your imminent death. Like the, the, it doesn't matter if you're afraid of flying or not, it crosses your mind.1 (6m 42s):Well, yeah. And I, my whole thing is like, I, I don't know what would happen if we all started talking about that on a plane. So like what would that be like? So, okay, when I was traveling last with home from San Francisco with Miles, I sat next to this woman, Miles was in the middle and the woman on the aisle was this woman. We were both afraid. And we had this idea for a fricking television show, right? Which was two, it's called the Fearful Flyers and then two people on each side and a famous person in the middle seat. And we would interview them as we, we flew to one, take our mind off it, but two really delve into our own fear and did the person of any fear and get to know a celebrity at the same time.1 (7m 27s):Now she never texted me back. So she's clear, clearly she's not that interested. Cause I was like into it. I was like, what if we get, I know, I know. And she's not even in the industry. She's like, so, but I was like, hey fearful flyer friend, I think we should talk about our idea. Crickets radio silence. So whatever. She's moved on. Like she just used me for the, for the Yeah. No entertainment, which is fine,2 (7m 53s):Heightened emotional space. She, she bonded with you, but now she's back to like all of her armor and all of her gear and she doesn't wanna think about flying until she has1 (7m 60s):To. No. Right, right. Exactly. It's not something that she wants to delve into on her free time, you know, So, which I don't blame her. But anyway, so yeah, it's an interesting thing. Like I literally ha I sit out the window, I sit by the window and I have to look out the window. And this guy next to me who I met, who's like a vet and who is like, was self-medicating with alcohol and who is a gay vet was really interesting. But he, everyone copes differently. But it was in, at one point I thought, oh, I actually don't wanna be distracted by him because I'm really doing some deep work with myself as I look out the window and also your version of like getting through this experience, I, it does not feel safe to me, which is drinking and like just, I cannot distract myself.1 (8m 52s):People are like, Oh, read a book. I'm like, are you fucking kidding me? That's like telling someone I don't know who's having a seizure to read a book. Like you, you, it's not gonna work. Right. I look out the window and, and do therapy with myself. That is what I2 (9m 7s):Do. I love it. That's great. I think everybody who is listening to this, who has any kind of fear or intimidation around flying should, should do that. I don't know if you were getting to this, but I thought you were gonna say something about like how, Oh, you said, you said what if we all talked about it now? Every positive communal experience with the exception of theater that I've ever had, I've gone into unwillingly at the beginning and you know, sort of rejecting it and then come out the other side. Like that was amazing. You know, the thing that you experience, the communal thing, the thing of like, we're all in this together, which we are all like so actually parched for, but we, people like me would never really kind of actively sort of approach.2 (9m 48s):It has to be thrust upon me these like healing group experiences, but amen. In fact, they could make a whole airline that is sort of about that. Like this is, you know, this is the emotional express. Like this is where we're gonna talk about our fear of flying. Cuz everybody's crying in airplanes too. Being in the actual airplane does something to you that makes everybody much more vulnerable than there are otherwise.1 (10m 13s):It's so crazy. I agree. It could be emotional express and you could deal with it, but you would know getting on this plane, like people are gonna talk about their feelings and you shouldn't get on it. So the guy on the aisle2 (10m 26s):Yesterday, No,1 (10m 28s):No alcohol. Oh yeah, no alcohol. The guy on the aisle like hated everything about the flight, Right? He was like shaking his head. He was annoyed. But then he had a Harvard sweatshirt on. I was like, oh my god. But he was like middle aged guy, like coating or I don't know what he was doing, but he like hated everything. He shook his head when they told him to like put his bag under the seat. I'm like, listen, you know what's going on here. This is not your first time in an airplane, Why are you shaking your head? But okay. But then he said something that was hilarious and I said, I'm gonna put that in a script. Which, which was, I don't even know what he was responding to. It was probably my seat mate saying something. But he said, Listen, it's not ideal, but nobody asked me.2 (11m 13s):And1 (11m 13s):I, I'm gonna, and I said to him, I said, Listen, I am gonna put that in a script. Like the mother-in-law is meeting her future daughter-in-law and, and says, Listen, she's not ideal, but nobody asked me. And he laughed and then he said, it's true. And I said, Yeah, I know it's true. That's why. And so then he was like, then he was like free to talk about his disgruntledness, which was fine cuz then it was like he was more human. But at, he was hilarious. He was like the, like he's one of those people that like during and it was really turbulent at one point. And I was like, Okay, here we go. It's turbulence part of the deal. It's okay, fine. And he was like, just like angry at the turbulence.2 (11m 57s):I love1 (11m 58s):It. Which I thought was brilliant. Yeah, I'm like, but like, who are you angry at? Just like the turbulence. And he was like, ugh. And like angry at air flow. I don't know if2 (12m 7s):At air current1 (12m 8s):He was like pissed off. I was laughing. I was like, this guy's awesome. He just hates everything. It's, it is not ideal, but nobody asks me.2 (12m 17s):So what's so great about that? And so what's so great about you is like, you enga that's how you always engage people from this perspective of like, yeah, whatever is going on with you that you think is like nobody else wants to hear about, I want to hear about it. Because that's because that's what you spend your time doing. You know, bravely engaging with yourself. They, we need a person like you in all of these sort of like high stress situations that people have to do. Usually at some point in your life you have to get on an airplane. Usually at some point in your life you you have to speak, you know, in front of a group of people. You have to have the funeral. We need these sherpa's, these guides to kind of give us, basically just give us permission to have our own human experience that we have somehow talked ourselves out of having, even though it's completely unavoidable.1 (13m 3s):Yeah. And I also really respect people who now who have to just, I mean I, it's not my way, but like, shut down and they're like, Nope, I'm just gonna, they can do it. They're like, either it's drinking or whatever it is to distract themselves. They're like in it, whether it's the disgruntledness or other people, they like just go to sleep immediately. They like sit down and they're like out. And I don't think it's relaxation. I think they're just like checked. They're like,2 (13m 30s):I have, Oh yeah, no, they're, I cannot be conscious right now. I wonder what makes the difference between people who are afraid of flying and not, I have never once felt afraid of flying, even during turbulence. I've never once had the thought like, this plane is going down. I mean, maybe that changed a little bit when I had kids and I was always the one in the aisle, like holding, I had to hold my babies the entire flight because, because it must be a natural thing to be freaked the fuck out to be on an airplane. Even a baby freaks out to be on an airplane. So there's something to it. But what makes a difference between people who just, I've never had that fear.1 (14m 8s):I I know it is a foreign, it is like it is. I don't know either. And I, I I, there's other people like that have, What was the fear someone was talking about the other day? Oh, I have a friend who like literally cannot have their blood drawn. They have to go under almost. Wow. They almost have to be sedated to have their blood drawn. Me. I I stick out my arm. I don't give a, it's just not my thing. Yeah. I don't have any charge at it at all.2 (14m 37s):Well,1 (14m 38s):You could take my blood right now.2 (14m 40s):I used to have this theory that you grew up afraid of the things that your parents basically were afraid of so that they therefore communicated to be afraid of. But that I now think that that's completely untrue. My daughter is scared to death of spiders. She, she's haunted by this fear that when she goes into the bathroom at night, there's gonna be a spider. If there's the tiniest and we live in the woods, there's sp there's all kinds of insects that make that their way into our house. I have, there's not a spider I've ever encountered that I've been afraid of now. Mice and rats. That's what I'm afraid of. My mom was afraid of snakes. She did not transfer when I was younger.2 (15m 20s):I felt afraid of them too. And then one day I was like, eh, it's fine. Yeah. I don't think I have any coral with these snakes actually. I think it's completely fine. Right. So I, I don't, So it's something inherent in us that identifies an ob I think it's maybe like we've, I for whatever reason, this becomes the object of all of your fears. And it could be a spider, it could be a plane, it could be, you know, clowns. Like it's for a lot, for a lot of people. It's1 (15m 47s):Fun. Oh remember, Okay, Larry Bates, who we went to school with, and he's open, I think about this. Yeah, he is cuz he's, he's talked about it. I, he had a fear of muppets, like an intense Muppet fear. And I was like, Wait, are you, I thought it was a joke. I was like, Wait, Muppets, Like, okay, they're a little weird, but like, but like a phobia of a Muppet. And I was like, what the actual fuck. I couldn't like,2 (16m 14s):I just, that's it's not, dude, my version of that is I was afraid of mariachi bands.1 (16m 22s):Wait, mariachi bands?2 (16m 24s):Yes.1 (16m 25s):Like bands. Yeah.2 (16m 26s):Well, so growing up, growing up in, well, we love Mexican boots, so we were always going out for Mexican food. And back then, I don't know why every time you went to have Mexican food, you know, dinner, there was a mariachi band. Like, I, I, it doesn't, I haven't seen a mariachi band in such a long time, but it used to be that you could not go out for a Mexican restaurant dinner without a mariachi band. And I, it got to a point where they couldn't, first it was like, we can't go to have Mexican food anymore. It was like, we can't go to a restaurant. I just, I didn't want these mariachis and, and it must have just, I think it was the bigness of the hat and the loudness of the music right next to your table when you think about it, it's actually, so it's strange, right?2 (17m 9s):Yeah. That you're sitting at your table, like with your family looking, you know, whether you're gonna order the chalupa or the enchilada. And then it's just like, extremely loud, very good, but extremely loud and, and in huge presence. People sitting, you know, right next to your table.1 (17m 24s):Yeah. I mean it doesn't really make a lot of sense as a business move either. Like what, why it would like, it would like make people, unless you're drunk again, if there's alcohol involved, it changes everything. But you can't really drink as a toddler. So, but I think that like, maybe there's something, I wonder if there's something about that of like all the attention being on you. Like, listen, when there's, like, there are kids I know at restaurants when they, when it's their birthday and they come over to sing that they fucking hate it. It's too much attention on them. And adults too. And I can kinda understand that. It's like too much pressure, right? There's like a2 (17m 59s):Pressure. Well, you just unlocked it for me now I know exactly what it is. You said something about being drunk and I think at that age, I have always equated loud and raucous with drunk. You know, as a kid, I knew when anybody in my family was being loud raus. And, and actually, I'm sorry to say even especially when they were having fun. When I'm in a room, when I'm in a house and everybody's laughing, you know, my, it's like, I I I I just get that fear. I just get that fear sort of rise up. It's different now that I'm older and I've, you know, been in more situations where that hasn't been scary to me. But that's what it was with the mariachis, The loud and the festive and the music meant like, somebody's going to say something that they really regret.2 (18m 44s):Somebody's gonna get a dui, somebody's going to jail.1 (18m 50s):Hey, let me run this by you.2 (18m 58s):So imperfectly into the thing I wanted to run by you today, given that it is Halloween season and this episode will air the day after Halloween. But so I, you know, Well, actually no. Okay, I'll, I'll start with this. I am one of those people that desperately seeks paranormal experiences. And I'm almost always disappointed when I'm, when I'm actively seeking it, going to a psychic, going to a medium, going to, it's, oh, you know, it's, I'm never the one in the crowd where the medium goes. Like, I've got a message for you.2 (19m 40s):And I've, I've gotten to the point where I'm like, my family's like just not that into me. They don't wanna, you know, the people have passed over, like, don't wanna, don't wanna come talk to me, don't wanna give me messages. But I I, if you're out there, if you're listening, ancestors drop a line. I'd love to know what the deal is. I'd love to know what messages you might have from me because I actually really do believe that that can happen. Maybe it just needs to happen with people who are on a higher spiritual plane than any of,1 (20m 9s):I mean, I don't, I don't believe that for a sec. I mean, it could be true. What do I know? But I think, look, I do believe right, that most shit happens when you're not expecting it paranormal or not. Like all this shit that has happened to me, most of it has been not at all when I would've planned or thought or, and so I have one ghost story. I don't know if you know, it happened in Great Barrington, Do you know this story?2 (20m 42s):Yes. But tell it again. It's a great story.1 (20m 44s):Okay. Okay. I could care. I was like 21. All I wanted was to be skinny and have boys like me. I didn't give a fuck about ghosts, I didn't care about anything. So I'm in Great Barrington in edits, Wharton's the old Lady author's house, and I'm the stage manager. And this guy I was in love with was in this play that took place. The monkeys paw took place in the, they were doing an adaptation of the Monkeys Paw in Edith Wharton's parlor on Halloween. It was like the creepiest thing, but I didn't give a fuck because I was in love with the guy who was seriously haunted. Yes, yes, yes. Super, super Berkshire's, whatever. I didn't care.1 (21m 24s):I was like, ah, I wanna, I want this guy to like me. I don't give a fuck about any of that. Okay. So I, my job was to literally move the furniture after the rehearsal to the storage room. Okay. In this big mansion. Okay, fine. They're getting notes and I'm just probably daydreaming about how I can make this guy like me. And I'm moving furniture and I go into this little storage room and of course people talk about the house is so big and haunted, I could care less. So I'm in there and down the road from the house is a barn where they're doing the play Ethan from and Okay, Ethan from, there's like a sledding accident in the play. So he's on a sled and they start screaming and the guy is hurt.1 (22m 4s):So another show was going on at the, in the barn. And I'm like, ah, okay. So I'm moving the furniture and I hear this sled yelling and okay, I'm like, Oh, should they, I wish they would shut up. I was like, this is loud yelling. So then I, we finish our rehearsal and we're walking up back, me and the cute guy and some other people, and all I'm thinking about is how can I get this guy like me? And like, literally, and also now I see pictures of him and I'm like, Dear God. Anyway, so, so, oh my God, why didn't someone, I mean, you should, someone should have just slapped me like 10 times and been like, No. But anyway, but that's what I was, I was all about him. I had a thing for Canadians. Anyway, so, so like, I just loved the guys that was like international to me, Canadians.1 (22m 48s):Anyway, okay. So it was like all the Canadians. So we're walking in the dark to our cars and, and I say, and we walk by the barn and I'm like, Oh my gosh, you guys, they were so loud tonight when I was moving the furniture. Like they should shut up. Like, I, I wonder how it's gonna be when we're doing the Monkeys Past show. We're gonna hear Ethan from, and like every, there's like four of us. Everyone stopped and I'm like, What, what's wrong with you? Two or three or whatever. And they were like, like turned white. I've never seen this happen in human beings. And I was like, What is happening? I thought I said something wrong or like, of course, like I was bad. And I'm like, What?1 (23m 28s):And they're like, Oh God. And I was like, What? What are you punk me? What's happening? And they're like, There was no show tonight.2 (23m 37s):Ooh. Even though I knew that was coming the story, it still gave me a chill. Today on the podcast we are talking to Tina Parker. Yes. Tina Parker, the one and only Francesca Litty from the Smash Hit series, critically acclaimed and me acclaimed Better Call Saul and Breaking Bad Tina's a delight. She's a director, she directs for theater. She's got a theater company in Dallas, Texas called Kitchen Dog. And she was so much fun to talk to and I just know you are going to love our conversation with Tina Parker.2 (24m 33s):Oh, nice. Okay. Well I wanna get all into Kitchen Dog, but I've gotta start first by saying congratulations Tina Parker. You survived theater school5 (24m 44s):So long ago. My Lord, so2 (24m 46s):Long ago. Yeah. I I have no doubt that, you know, the ripple we, we've learned, it doesn't matter how long ago you graduated, the, the feeling of survival persists and the ripple effects of it persists.5 (24m 59s):Absolutely.1 (25m 1s):When I had longer hair, people used to always ask if I played Bob Oden Kirk's assistant on better. And I would say no. But I adore the human that plays her. It's brilliant performance and I love it. So2 (25m 17s):There you go. It really is. And I, and I wanna talk a lot about Better Call Saul, but you went to smu, which I did. You interviewed the current dean, I think he's the dean. Blake Hackler.5 (25m 30s):Yeah. Chair of Acting I think.2 (25m 31s):Chair of Acting. Okay, fantastic. I'm I'm assuming you guys weren't there. No, you never crossed5 (25m 36s):Path. But we've actually, he and I have crossed paths a bit professionally nowadays. Yes. Because we've, we, Kitchen Dog has done a few of his new play readings cuz he's a playwright also. So he's, he had at least two or three plays read in our New Works festival and he's always helped me out when I need recommendations for young people to come in and read. Cause you know, we're all old at Kitchen Dog.2 (25m 56s):Fantastic. Shout out to Blake. So SMU is a fantastic school. Did you always wanna go there? Did you apply to a bunch of different places? How did you pick smu?5 (26m 9s):Well, it's kind of a ridiculous story. I, my senior year of high school, you know, of course like a lot of people went to theater school. You're all like, I'm the superstar. My high school. Like, all right, I get all the leads. I'm Auntie Mame and Mame. You know what? Ridiculous.1 (26m 25s):I just have to say I was Agnes Gooch and I, I was the Gooch. Were you5 (26m 30s):Agnes? I was ma I was anti Mame in the stage play version. Oh yes.1 (26m 35s):I wa yeah, yeah, me too. I was Agnes Gooch. I wanted to be anti Mame, but so anyway, always a goo, always a Gooch. Never a Mame over here. But anyway, So tell us, So you were the start.5 (26m 46s):Yeah, you know, like everybody who went to theater school, everybody was the start at their high school. But I, my dad unfortunately had a stroke when I was a, and he was only, my parents are super young and so he was 40, I don't know. So it was very unusual. It happened like at the beginning of my senior year. And so my family was, it was all kind of chaotic. My senior year was very chaotic and I was also like the president of the drama club and, and we, you know, and all the people, you know, all the competitions every weekend. And so it was just a, there was a lot going on and my family stuff got into disarray because my dad ended up losing his job because he was sick for so long. And, and it was so I screwed up.5 (27m 28s):Like I missed a lot of applications. I never, I didn't really, it was one of those where it just kind of snuck up on me and I didn't really know the places I wanted to go. I had missed like certain deadlines because of the fall. And so I, SME was still one of the ones that was open. And so I did, was able to schedule an audition cuz you had to get into the school, but also, you know, get into the theater program. Like you could get into the school, not get into the theater program, you know, it is what it is. Luckily I still had time to do the audition, so I did that and then my grandmother literally walked my application through the admin, through the academic part because something I had missed, I think.5 (28m 13s):And my grandmother is very like, I don't know, it's hard to say no to my grandmother. So she went and they took this great care of her and she just kind of walked through and she's like, told the whole situation. And I mean, I had good grades. Like it wasn't, you know, like I did get in, I got scholarships and all this shit. Like I had, I had good grades, so it wasn't like I was like, my grandmother did it, you know, But she did walk it through. She's a thousand percent charmer. And then the, as far as the audition goes, I was an hour late because I got lost. And then there's this weird horseshoe at SMU cuz you know, go ponies or whatever bullshit that is, there was no parking.5 (28m 55s):And so I was like, got, was super late and I was just like, just like so sweaty and like, you know, you, everything's high drama when you're in high school, right? So you're like, this is is my last chance to be a doctor. I'm gonna have to work at the, you know, fucking shoe store that I was working at or whatever. It was forever. And so1 (29m 15s):I would, I, after I became an actor, I was still working at the cheese store after I went to, But the other thing I wanna say is like, also your grandma sounds like charming, but also like, she might be in the mob.5 (29m 25s):Well, yeah, she's totally like, yeah, I mean, I don't know. She's, she's she, she can get it done. She's the wife of a Methodist minister too. So she, she, she knows how she can, she can read a person and figure out like, this is what you need, you know, And she's just sweet, like, you know, she's charmer. But I ran into someone else's audition, like that's what I, I ran and they then the school, the school is all built, the school is all built crazy. So if you don't know the school, you get lost. And I was like, went and I going in the wrong places and I was an hour late and I was like, and like, I literally like, this is it not open the door. And they're like, somebody's in there like, like doing the thing. And I'm like, oh my god. And they're like, you know, and I was like that.5 (30m 7s):And I was just like, Oh God. And so I go and sit in the room and I just remember them coming in. I was like, I'm really sorry, you know, like the kid was like, whoever, I don't think they got in. And they, I just remember them looking at me like, you know, and they left and I was like, great, this is awesome. And then I go into my audition, which I chose the worst pieces, like the worst of course. Like, I think it was like, I can't even remember the name of the playwright, but it's like a really, really dramatic monologue from like bird bath, you know, My head is not a hammer, like something ridiculous. And then I also chose to sing, which I'm not the greatest. I mean, I can sing, I can sing karaoke, but not like seeing like I'm a musical theater actor. I, I, that's not me.5 (30m 47s):I think I chose seeing like the something that Nights on Broadway or some bullshit, like, you know, the Neon Lights On? No, No. On Broadway. Like ridiculous. Oh yeah, yeah, yeah. And they were like, luckily, luckily I did get in the interview part and then they're like, turn your, they're like, turn your monologue into standup comedy.2 (31m 6s):Oh wow. I never heard of that in audition. What a cool tactic.5 (31m 10s):Well, and it was also, I think they could tell that I was so freaked out and so nervous, but then that like, the interview portion went great. And so they're like, you know, then they were like, Hey, try like play around with this. And then like, the bad song that I had selected that I had practiced with my cousin who could play guitar or something, they're like, do some dance moves with it. So I was just like, I don't dance, but I started doing these ridiculous things and they're like, Yeah, good. They laughed and you know, I, I think it also let me relax. They're2 (31m 38s):Like, you are crazy enough to be in theater school. Wait, you guys, should we have a documentary series about people who are auditioning for theater school? Because honestly like the stakes are so high for so many people. I bet there's 1 billion stories. Yeah, I mean, some of which we've heard on, on, on the podcast, right? Boz? Yeah,1 (31m 58s):I think we do. I think we do. And all the, I just remembered that in my monologue was from the play about the woman who traps the rapist in her house and puts him in a fireplace.5 (32m 10s):Oh, the burning bed or whatever. Not the burning bed, but the, Yeah,1 (32m 14s):Yeah. And it's, it's, it's William Masterson.5 (32m 17s):Yes,1 (32m 18s):Yes, yes. And, and she has a fire poker and she's poking the rapist and I am 16 at the time. Oh, and I what? And a virgin, not that that really matters, but like the whole thing is not good. And why, why did I do that? But yet I got, But5 (32m 35s):That's what this piece was the same thing. It was so dark. And so like, this person is mentally ill and she's like, I get, there's not a hammer.1 (32m 41s):Don't hit me bear.5 (32m 42s):And you're just like, What?1 (32m 44s):I'm like it would've been, I mean I know this is terrible to say, but what if they told me to turn that into standup? Like that would be dark, dark, dark humor. But any, Okay, so you, you clearly like, what I love is that smu like knew how to take a teenagers anxiety and like shift it and so good on them, those auditioners like good on them. So you did that, you did you walk out of there feeling like, okay, like it started off really wonky, like me being late, but like I have a chance. Or did they tell you, when did they tell you5 (33m 15s):I felt good like that? When I, after I left I was like, okay, you know, like I wasn't sure like, cuz I was like, it was weird that they told me to change it to comedy, but I think it was good, you know, And like I felt like the interview part went good and they were, at the time, my class, this was the first year that they, they eliminated the cuts program. So what happened is they instead they had the BFA acting track and then they had, well what was proposed anyways, they changed our, what our degree was, but it was supposed to be ba in theater studies. And so if you were interested in directing, you know, playwriting, whatever, stage management, tech, whatever, and then acting you could also have, so you kind of chose focuses, but that was it.5 (34m 2s):And it had more of a little more academic focus. And so cuz before me, the classes, everybody went in as an actor. You did first two years and then they kind of just cut you basically. And were like, you're in this free fall of like a program that wasn't really planned.1 (34m 18s):Yeah. I mean like, that's how our school was too. And like half the people didn't end up graduating and it was a racket and now they don't do it anymore. But that5 (34m 27s):Was a huge, yeah, they stopped my year.1 (34m 30s):Okay. So, so was it that the people that maybe weren't get getting into the acting program went to theater studies? Is that how it was proposed?5 (34m 37s):I think that's what they were trying to do. I think they were also trying to figure out a way, or they were try some people left. I think they were also trying to keep their numbers up. And I think they also had people who were like, Hey we're, I'm an actor but I'm also a director. Why can't you make, get me some classes here? You know, like, I wanna have the class. If you're gonna cut me, that's fine. But like, I'm interested in these things too. Can there be a program? And so they kind of were building that program, like they had it out there, you know, and that when they took our class, we had very set paths of like, and we had the same two years together as a group. So freshman and sophomore year. And then we split into our kind of disciplines and they kind of still, like when I was, when we were juniors, kind of like, here's some things and we're like, okay, but our class was kind of a hard ass and we're like, where's our, where's our, where's this class?5 (35m 24s):Where's that? So we were always in the office saying, no, this, this like afterthought of a class, this should then fly and you know, I'm gonna direct a main stage or I wanna direct a studio. And they're like, Oh. And they're like, No, this is how it's gonna work or whatever. So like, yeah, me and Tim and Tim, who actually is one of my coworkers, a kitchen dog and then a couple other folks were pr I think we turned the, the chair at the Times hair white because we would go in there and be like, No, this isn't gonna work.2 (35m 53s):You just, you just made me realize that our, this, all the schools who had cut programs who didn't have another track to go into after were missing out on such a revenue stream. Right? Like our, at our school. Yeah. All the people who got cut like went to this other college and I'm thinking, what, what, When was the meeting where somebody goes, Oh my god, you guys, we should just have something here for them to do instead of sending them to another school. That's hilarious. Well,5 (36m 17s):And I think too, they find like, you know, like that there's kids that truly have talent for, you know, like a playwright or director, but then they're also really good actors. Which I think, you know, I think it's really good for people who are like, I am primarily like, I'm a mix Tim I would say who my coworker is is primarily a director, but, but it's great for both of us to go through acting, you know, like that's been, that's, but1 (36m 38s):I'm noticing is there's no, like our school had no foresight into anything, so it was like they didn't, So that's a problem in a, in a university.5 (36m 49s):Yeah. It, here's problem. Right.1 (36m 50s):So okay, so at your school, what was your experience like on stage the star? Were you And then, Oh, okay. And then, and then my other follow up question is, man, the follow up question is you're launching into the professional world. What did your school do or not do to prepare you? And what was your departure like into like, okay, now you're 22, live your life.5 (37m 11s):Bye. I would say for, I was kind of a mix. Like I had a lot of opportunities while I was there and some self created as far as directing opportunities. And we had an interesting system of like, there was a studio theater and we were able to have, we had this studio system, which a lot of non-majors would come and see plays because they were required, blah, blah blah. But so we got to direct a lot, you know, And, and Tim really fought and he got directed main stage and I was, I was, my senior year I was a lead in a play, you know, like just all sorts of things. Like I had a lot of great opportunities at smu. I think I had some also, I had some good teachers and directors while I was there.5 (37m 53s):So when I was a junior, you know, they had Andre De Shields in to, to as a guest artist, which really stirred the pot because he was not about like, let's talk about your objectives, let's talk, let's really do some table work. Like, he was like, Why aren't you funny? I don't get that shit. Like, go, go out. Why aren't you funny like this? Or come up with some, some dancing or whatever, you know. He was awesome. Like, I loved it. Like cuz we were doing funny thing happen on the way to the forum. I was one of the, you know, concubines or whatever the dance, I was Tinton Nebula, the bell, the supposed to be a, like a bell ringer, you know, like sexy dancer. And he said, I reminded him of some lady he lived with in Amsterdam. So instead I was a clogger and had bells and had giant hair that went out to here.5 (38m 37s):And yeah. And so he was like, he was great. Like, and but it really gave you the experience, it makes a lot of people crazy because he was like not interested in their process. What he was interested in was like results and like hitting your marks and like, you know, like he had sent me away and he was like, come up with 16 beats to that end I'm gonna see something funny. And so I came back in and did it and he was like, yes. You know, like it was, it was awesome. Like he would, he would really was a real collaborator.2 (39m 3s):That's fantastic. And, and actually I'm so glad you told that story because, and I, I won't, I wanted you to get back to launching and everything, but the thing about the Andre Des Shield story that you just told, I can see why you like that because that seems like you a person who has the training and the gravitas and whatever to like take their craft very seriously, but at the end of the day, you're there to entertain and get the job done, right? Like you don't, you're not so precious about your own self. Yeah. Which is really interesting.5 (39m 30s):No, and I mean it was, it was so important I think just because, you know, like everywhere you, everywhere you go like, you know, you don't always work at the same place and everybody's process and everybody's way of rehearsal or whatever's wildly, wildly different. And so I thought it was great because you know, you're not going to go always walk into some place where they're gonna coddle you or, or, or take the time or whatever, you know, like it's different.1 (39m 56s):The other thing is that like we, what I just hit me is that we've interviewed a ton of people and I'm trying to like think about like what does a conservatory do wrong is I think they forget that it's about entertainment. Like there becomes such a focus on process and inner work. What about the fucking entertainment value of like entertaining the audience? Like that goes out the window, which is why the shit is not funny most of the time. Cause it's like so serious, you're like, no, this is a fucking farse. Like make people laugh. Yeah. And it's like, I love that, that you're, you remind me of like an entertainer and I, I feel like I needed entertainment Conservatory.5 (40m 35s):Not, well I would say that, I mean I still use a lot of the training that I used at SMU like, like at Kitchen Dog. I mean this was founded by SMU grads. So you know, a lot of the doing table work and talking about what you want and all that kinda stuff like that is definitely part of what we do. But what was cool about Andre and I love and Des Shields with all my heart like was that you found a way to make your process work in his framework and, and he got results. Like the, our show was funny as hell, like in the singing was great, the dancing was great and it looked great cuz the Eckhart's did the costumes and all the sets and it felt like we were in a professional show.5 (41m 15s):Like it was, it was exciting and fun to do. So I thought it was a great way to kind of get ready for what it was gonna be like. Cuz I remember auditioning for the show and he was like, Where's your headshot? And we're like, nobody told us. And he's like, This is an audition, why don't you have, I don't understand why you don't have a headshot. And you're just, just like, oh God. Like, and it was embarrassing, you know? And then he was like, All right, I wanna do the, he's doing some improvy things in that in the thing and people couldn't get like, people were like, and he is like, just jump in man. And he was like fantastic. And you know, you get a call back and you're like, okay, I see how this works. So that was great. And we also had a lady named Eve Roberts, same thing. She was pretty brutal too in that, you know, if you weren't ready to go, she wasn't gonna baby you.5 (42m 1s):So she would just basically like you're oh, so you don't know your lines. Sit the fuck down, Sit down, who's ready to work? Cuz it was an audition class and she was a film actor with a lot of experience and it was auditions for both film and and stage. But she, if you weren't ready, but if you were ready, she would work you out. Like you would get a great workout, you'd leave with a great monologue. And so I was like, always be prepared for that, you know, cuz she will, she will, she will get you if you're not,2 (42m 27s):Honestly it really sounds like SMU did a much better job than most, most of what we hear about in terms of like getting real working actors and, and it's a tough thing. I I, you know, I don't really blame any school that doesn't, It's a tough thing if it's a working actor, then they're working, they don't have time to like commit to the, the, the school teaching schedule. But at the same time, like if you don't have any of that, then you are really, you're experiencing all that on the job. Which, you know, which is fine too. But it sounds like SMU did a better job of preparing for you, preparing you for a career.5 (42m 57s):I would say somewhat. Yeah. I mean there are things that I, you know, as, as I entered life because I was of the mind when I, when I graduated, I was really torn about whether or not to go to grad school or not. And I really didn't know cuz I really, I, and I still to this day have a split focus. Like I act and direct both in the, you know, in the theater. Like I do both. So I wasn't sure which way I wanted to go and you really had to decide to go to grad school. So I was like, you know, I'm gonna take a year off is what I decided. And I waited tables, lived life, you know, whatever, didn't even really do any theater or stuff.5 (43m 39s):But I tended to like work back at smu. So like they would have me come back and like I would sub in and cover like Del Moffitt who was the man who was the auditioner who auditioned me originally and his improv class. Like I'd come in and do cover him for a month if he went on sabbatical, you know, stuff like that. Or like, and I directed a couple main stages there. That was it. So I just decided end up, I started working more in Dallas and ended up just staying in Dallas. Dallas was not what I plan where I planned to stay. Like I kept in my mind, you know, thinking like I'm gonna move to Chicago. Like that was my dream was living in Chicago and because I guess I'm a tourist and stubborn and lazy, I don't know, sometimes you just start working and you're like, nah, just stay here.5 (44m 26s):I'm working and I can kind of do what I want. And then I got an agent and I was like, oh there's this part of the, you know, like I think in 95 or whatever, you know, cause I graduated in 91, so you just start working and then it's like, why do I want to go and start over? And it was just kind of a hard thing to do. Do I have regrets sometime about not doing Absolutely. Like sometimes I look back and I'm like, oh man. But as far as just preparing, I think it's just hard to get prepared. Cuz I think, like, I wish I left with like, and they're doing this now, which is great, but like left with more of like what's, you know, good, what's a good headshot? What's what, what, you know, how do you walking into a room, how do you handle it?5 (45m 7s):You know, like there's certain things that I feel like they could train and give you a little bit more experience, life experience in it. But I think they have some new, I know they have, I know they have film acting now, a little bit of film acting stuff there, which is always good just cuz that's how a lot of people make money.2 (45m 26s):I, I am, I'm happy to say because we've had, we've had this conversation so many times with people about the way that schools didn't prepare you. Somebody's been getting the message about this. My son is in high school and he goes to this like auxiliary performing arts program. It's like half day his regular high school and half day this and he does a seminar once a week on the business of music. And you know, what, what kind of jobs you're gonna have to do to keep, you know, to pay the rent while you're waiting between gigs, like is very brass tack. So, so the message has gotten through, thankfully.5 (45m 58s):Yeah, the business is important, man. That's how you survive. I mean, let's be real. I mean like that's, and it's not easy. Like if you're, like, if you're going to, I mean there's, sure there's two or three unicorns every so often, but for the most part you're gonna have to wait tables or cobble together bunch of odd jobs or cobble you know, like all these little, like, I'm a, I'm gonna do the Asop Fs in the, in the elementary schools for three weeks or whatever, you know, like, and how do you make rent? You know, like that's, it's not glamorous for sure.2 (46m 27s):So what was the journey from graduating to founding Kitchen Dog with your classmates?5 (46m 33s):I actually am not a founder. So Kitchen Dog was founded by five SMU MFA students who were in the MFA program when I was an undergrad. So I, so I ate that old, thank God, but they founded it in 90, did their first show in 91, which I saw it was above a, it was above a pawn shop in deep with no air conditioner in May. It was very hot and fantastic, you know, Maria Ford has his mud, it was great. And so I did my first show with them in 93. So a few years after I graduated, which Tim, my classmate directed, he had come back, he was in Minnesota at the time and then I've just worked with Kitchen Dog ever since.5 (47m 15s):So I became a company member in 96, started working for the company as like an admin producer type person in 99 and then became co-artistic director when the founding ad left in 2005. So I've been here forever. I do not have children. I say that Kitchen dog is my grown mean child. You're1 (47m 36s):Grown mean, did you say mean?5 (47m 38s):Yeah, I did say mean sometimes. Yeah, sometimes it's very, you know, temperamental.1 (47m 42s):Yeah, that's fine. That's, I mean, yeah, it's probably still better than kids, I'm just saying. Anyway. I mean, I don't have any, so, but okay, so what do you, this is what I always wanna ask people who have longstanding careers in theater and especially when they are co-artistic director or artistic director, why do you do it and why do you love it?5 (48m 6s):That's a really good question. I mean, it varies from time to time. I mean, I think that I, you know, Kitchen Dog has one of its tenants has always been about asking, you know, we do, we do, I hate the word edgy, but we do edgier plays, we do plays that are very much talking about the world around us. Challenging, you know, and we're in Texas, it's, you know, sort of purple state now, kind of exciting purple parts. At least Dallas is hopefully this election goes that way. So, you know, it's, we, I feel like our place in the Dallas Zeki is important because, you know, we're not doing, there are a lot of people that do traditional plays and do them well, you know, like straight ahead, you know, musicals or you know, the odd couple or whatever.5 (48m 53s):Notice this gesture, the odd couple and doing great. But we do new, we do newer plays. We're a founding member of the National New Play Network. And so that's kind of kept it relevant and kept it exciting. The work exciting to me. I love working with new plays and new ideas and we have a company of artists, some of which went to smu and I, I think I've stayed here this long because, you know, I feel like I can, I, I do, I am able to do the kind of work I wanna do. I'm able to choose the plays I wanna be in or direct and I feel like they're important for my community. And when it becomes that, it's not that then I need to leave or step downs is my feeling.5 (49m 37s):I mean, you know. Yeah, yeah. I dunno.2 (49m 40s):Yeah. So many people say that, that they, that they, they keep their allegiances to theater companies because it's, it's often the work that they really, you know, f feel moves them is very, you know, is very inspiring. But then you also got the opportunity to do a very good part in something that was commercial, which is breaking bad. So could you tell us anything about your, how you were born into that project?5 (50m 8s):Sure, sure. The, I, you know, I got an agent, did you know, I had no experience, no resume. So you did the couple of walk on, you know, like, I'm in the back of a bank commercial, fantastic. Or whatever, $50. I love it. Did that and Lucked into Robert Altman. Came to town and did a very terrible movie called Dr. T and the Women. But it was a fantastic experience and I was one of the nurses and I was on set every day pretty much. So he's told me, he told us, he's like, I'll make you a lot of money. You're not gonna be seen a lot. You'll be here every day. And we got out by five and I was able to do plays at night. Like it was, it was Chef's kiss the best, like you just kind of learned from the master.5 (50m 52s):Like he is a, he truly was a master god rest his soul. Anyway, so I started auditioning more, did some walkers cuz everybody does did Walker back in the time Walker, Texas Ranger. It's like1 (51m 2s):The er we'd all did the ER and the early ion in Chicago. That was my so walker, same thing. I love a good walker by the way, Texas Ranger.5 (51m 13s):So ridiculous. Yeah, I think one of my lines in one of the episodes I was in was like, you won't put this on your lighty friends tabs. Like it was so country. Anyway, it terrible. But so with the breaking bad thing, I, I read the sides. It actually was the, the person who was casting locals or whatever, not locals cuz it was shooting in New Mexico, but it was a woman in Tony Cobb Brock who was casting in Dallas. And so we got the sides, I got the call to come in and audition for it. I read it and I was like, you know, and this is the story I've told a lot, but it's the truth, which is I read it and I was like, It's gonna be a blonde, big boobs woman. Like that's what I thought when I read it, I was like, it's gonna be this.5 (51m 54s):That's what it's gonna be. Cuz there were a lot of jokes about boobs and you're killing me with that booty. Like there was a lot more to that scene. My first scene there was a lot more. So I was like, whatever. I was like, it's not, I'm, you know, I'm a plus size lady, I have brown hair, I have a, you know, deep voice. Like, oh well. So I was like, why do I feel good in, So I just wore, I remember I wore this Betsy Johnson dress that, cause I was kind of into Rocky Billy Swing at the time. This Betsy Johnson little dress with apples was real sexy and this little shrug and had my hair kind of fancy. And I was like, I'm wearing this. I don't give a shit. So I, I was like, I feel good in this, Who cares? So I walked in and there were a bunch of ladies that were blonde and had professional lady outfits on and I was like, Oh shit, I should have dressed like a secretary.5 (52m 38s):Why did I dress like this? Oh damn. And I was like, Okay, well whatever. It's, you're not, you're not gonna book this so who cares? Went in, I had a great audition, made Tony laugh and you know, it was what it was. And so I went away and I didn't hear anything for a while. So I was like, oh, I didn't book that. Oh well. And I was sitting in an audition for some commercial and I never booked commercials. I just don't, cuz I look one way and then my voice comes out and they're like, Oh, you can't play the young mom because you seem like Jeanine Garofalo or something. So your bite and smile is scary, ma'am. So I was waiting in the, waiting in the waiting room and my agent calls, or I got paged or, you know, cause it was that so long ago.5 (53m 23s):And she was like, Can you be on a plane in three hours? And luckily I wasn't doing a play at the time. And I said, Yeah, I can. And she's like, Well you booked it. You, you should go and so you should go home and pack and go to Southwests. And that was the story. And so I get there and you know, whatever found out that, you know, it's Bob and Kirk and start losing my mind and all this stuff. But what's crazy is, it's a crazy story. And then on when in season four finale, breaking bad spoiler alert, if you haven't watched it, but you're,2 (53m 52s):You're late if you haven't watched it. Like5 (53m 54s):It's, that's2 (53m 55s):On you.5 (53m 56s):Please watch it cuz I need, Mama needs to keep getting residuals. Cause she's, you know, not Yeah. But that final episode where I have a great scene with Brian Cranston. There's a, there was a podcast, Insider podcast, which I wasn't aware of, but they talked to Vince about, you know, Oh, who's she and how did you cast her? You know, cause this was my first like, actual scene, you know, like, boy, I don't, I have more than two lines. And he tells the story of like, and this, I just love this story, which is like, basically he had seen a lot of people that he didn't think was right. He wanted something. They kept showing him the same type and he was like, no, I I it needs to be something different. He's a different kind of guy. I wanted somebody who'd challenge him, you know, different looking. And the casting woman who had Kira, I can't remember her last name, but she had, you know, I'd auditioned for her a few times, been put on tape.5 (54m 43s):I don't know that it necessarily booked anything. She's like, Well there is this one girl, I think she's great. She's probably not right. I physically, she's prob I don't think she's right, but do you wanna see? And so he showed her and he was like, That's exactly what I want. And then I booked it. And so it's crazy. So you just never know. I mean I think that's the, I think that's the walkaway.1 (55m 2s):Okay. This is the,5 (55m 3s):This1 (55m 4s):Is the craziest thing. This is crazy. So I booked a show in New Mexico called Perpetual Grace. Kira cast it and Kira showed me to Steve Conrad, who's the showrunner in James Whitaker who was directing the episode. I looked nothing like the other people. My agent Casey called me and said, Can you get on a plane in three hours? You5 (55m 29s):Gonna1 (55m 29s):New Mexico? Same casting director, St. Kira,2 (55m 34s):The Kira, all these people, Kira,1 (55m 38s):Kira talk5 (55m 39s):Me. Well, and it's like that thing, you know, like you, you know, I think that's always the big takeaway, right? Is, is, and you know, and I, I think I read this not to feel like I'm fucking namedropping I'm not. But like, I read this I think in Brian's book too. But like, the thing is, is like all you can do is just like, just, they're calling you in for a reason. So you just have to say like, what is it in me? What's unique about me? That's this role? And lean into it and go for it in that regard because that's all you got. Like as soon as you start and I find myself doing this, I have to keep reminding myself, you know, to do this. Which is I'll read something like, oh it's this and try to play to what I think it is. Versus like, no, what is it in me?5 (56m 19s):That's this. And that's the thing I book when I do that, when I try to do the other other thing, you know? Totally. And start getting your own head.2 (56m 28s):The time5 (56m 28s):On here, God,2 (56m 30s):By the way, regarding name dropping, I never understand why anybody gets upset about that. I, it's like, well they're people that, you know, the people that you work with, they're people in your life. I mean, you're just saying their name. It's, it's not like you're cloud chasing. But anyway, that, that's insight. Girl. Walk me back to this day where you take three hours to get on the airplane. I wanna know how fast did you have to rush home to pack? What did you do? Did you have enough stuff? What was it like when you were on the airplane? Did you order a drink because you felt so fancy? Tell us everything.5 (56m 57s):Well, all I know is I had a bag and I got, I ran home, I had a roommate at the time, thank God. And I just said, Can you feed my cat? Cause I, I had a cat at the time. I was like, Please feed Loretta. And so I got this bag and just threw, it was really like, just stuff thrown in and I was like, do I need to bring the dress and shoes that I wore that, So I brought the whole outfit cuz I was like, cuz the jobs, some of the jobs I'd been on, I had to bring my own shit or whatever, you know, you have to bring your whole wardrobe and be like, Oh you want none of this? Great, I'll put it all back in my car. So I just threw that in there and then I just threw some random, I don't even know what I packed and, you know, ran to the airport, got on the plane, I think I did have a jack and coat cuz I was just like, I'm so freaked out in the plane.5 (57m 43s):Of course you know, you're going to New Mexico, so you're going over those mountains and you're just like, okay, I'm gonna die also great, but I don't wanna die. I just booked a big job or whatever. And then I remember the landing and getting in the van thing and they took me straight to the hotel and I, I remember opening cuz they, back then they, you know, you would get like your sides in an envelope like that in the, in the later years. That shit never, you never got printed stuff ever because people would steal it and whatever else. So I remember pulling it out and seeing Bob's name and freaking, oh, cause I was a huge Mr.5 (58m 23s):Show fan and I was just like, oh my god, oh my god. And I just remember calling my fr I have a friend Aaron Ginsburg, who's kind of an LA Hollywood dude or whatever. And I was like, Oh my god, oh my god. And he was like, Thanks for this spoiler. And I was like, Oh shit, I'm not supposed to tell people. And I was like, but I'm freaking out. And he was like, No, no, it's okay. I will tell no one. I was like, don't tell anyone I don't wanna get fired. But yeah, so I just remember sitting there and freaking out and trying to look at my lines and, you know, what am I, oh God. And then going there with my clo my little bag of dresses or whatever and they're like, we don't want any of this crap.2 (58m 57s):They're like, this is a high budget show. We got, we got costumes covered5 (59m 1s):Back then. I don't, I know back then, I don't know if they were that high budget, but it was interesting to me. The one thing is, is just how involved the showrunners of that show Peter and or Vince at the time, and then later Peter and Vince. But like, they have a color palette they have where they want the characters to go. Like I had, you know, that it got really paired down. I ended up having like, you know, just a few lines. But they took so many pictures, different outfits, different setups and like different color tones, like just setting what they wanted for my character. And I was like, holy shit or whatever. And they were, everybody was so, and everybody was so nice and friendly.5 (59m 43s):It's really remember your name to hear1 (59m 45s):And I'm glad you talked about it. Oh, I'm gonna, I'm, I'm in the rainstorm. So sorry. But like, it's so weird to be, I'm in the Midwest right now and I live in la so coming back here, I'm like, what is that noise? It's fucking fucked up and it's the fucking rain. Anyway, so what is so beautiful about this story to me is that even if we feel small, right? Like whatever, these people who are creating these iconic shows have such vision. There is literally no small character. Like these are their children and they have arcs they have. So it just makes me appreciate as creators, as artists, how much time love, energy goes into characters and storylines.1 (1h 0m 31s):And then we see maybe, maybe if we're lucky one eighth of it, but just know like the shit matters. Right? Like a5 (1h 0m 39s):Thousand percent. And that's the same thing with like, the same thing with Robert Altman. I mean like we were, you know, he, you know, I got to be part of one of those ma his signature long tracking shots, right? He, he would walk in the room and be like, Okay, what's going on in here? So what are you guys doing? What are you, what's happening? And I was like, Well where this, that? And he's like, Great, keep that. And when I come across I want you to be in this moment. You know? So like, and he's like, Teen are things like where he's following on my shoulder and Tina, I need you to do this and this is what's happening. And I've tried, I want, I'm just gonna think about some lines, just throw these out. You know? It was just, I don't know. And that's the same thing with Vince and with Peter. Like, they were really like, what is she wearing? Why is she wearing this? Where are you? Like, you know, what's going on?5 (1h 1m 19s):And like they were like, the scripts were so good. It was like you had to be letter perfect. Barry's like, oh it's a lot of improv. And I'm like, no,1 (1h 1m 26s):No. But2 (1h 1m 26s):Also it sounded like theater, the attention to, to detail and the, and the sort of like the vision and the way that, and you, that just comes through in the best series. The A tours you, you know, that they've thought about and5 (1h 1m 38s):They all love2 (1h 1m 38s):Theater, right? Yeah, right.5 (1h 1m 39s):They all love theater. They all do.2 (1h 1m 41s):So a bit ago you said something about how the, like lustiness that Saul, you know, Jimmy feels for Francesca didn't, you know, necessarily a lot of that didn't necessarily make it into at least your first episode, but it got revisited and Better Call Saul. And I really appreciated that because I was like, Oh yeah, I, I would've wanted to see more of that. You know, I, I wanted to see more of that like lush stage dynamic. But you had,5

Josh Starmer is the founder and creator of StatQuest which is a YouTube channel designed to help people learn statistics and machine learning. I have been following his channel for 5+ years now and have learned a lot from him.In our chat we learn about his background (including some biology), why he started the YouTube channel, his passion for music, and most importantly where the "BAM!" came from.I highly recommend his new book and I will eventually do a book review. If you are interested in purchasing it, you can buy it at my affiliate link below."The StatQuest Illustrated Guide to Machine Learning!!!"https://amzn.to/3zbnwkWThe StatQuest channel:https://www.youtube.com/c/joshstarmer/aboutVideo Version of Podcast:https://youtu.be/N9O_oI5MwKUDev InterruptedWhat the smartest minds in engineering are thinking about, working on and investing in.Listen on: Apple Podcasts SpotifySupport the show

Meet the Wild boys—literally. These 4 amazing young men were raised on the mission field, in a totally unreached area. Their parents originally captured their lives on video (my grandkids love it!) and now, the sons are expanding their BAM company and video offerings. Follow Hudson, Morgan, Asher and Kian on these sites: http://wild brothers.com or The Wild Way on YouTube.

En este episodio, celebramos Halloween aterran las cosas que más nos aterran de este comienzo de temporada y de qué jugador nos disfrazaríamos. Reaccionamos a la situación de Josh Primo en San Antonio, nos vamos a fondo con el Heat y el Magic, barremos el piso con Kyrie y cerramos con Fantasy. Redes sociales: Facebook, Twitter, Instagram: @losnbafreaks Marcos Brenes- Twitter: @MarcosJBrenes- Instagram: @marcosjbrenes Gerard Clemente- Twitter: @gerardclemente- Instagram: @gerard_clemente Josue Brenes- Twitter: @JRBrenes Website: losnbafreaks.comEmail: losnbafreaks@gmail.com

Hey Folks!   We were treated to a surprise yesterday as Cartoonito dropped a brand new Halloween short just before the end of spooky season and it's filled with Easter Eggs to the larger Looniverse! The bite-sized short is only 3 minutes long and unlike the usual fair from this series, non of the character create any conflict that prevents them getting the job done so this is just for fun!  It starts with a Transylvania 6-5000 reference with the backdrop design appearing visually similar to that of Count Bloodcount! Then we get those magic words by Lola, "AbraCadabra" and BAM, a bat with a top hat drops down! This is a direct visual homage to what Count Bloodcount looks like in Bat form. When Tweety flies in dressed as a ghost, he spooks Sylvester and I took this to be a reference to Boo Appetweet! The Looney Tunes Cartoons short released in the first batch of shorts way back in 2020.  Then the jobs are dished out and the rest of the costumes are revealed. Porky is dressed as a pumpkin; this is for a gag later on that made me laugh out loud. Wile E. is dressed as the scarecrow, "If I only had a brain." Lola is a magician, making the Halloween magic happen. Bugs Bunny is dressed as Witch Hazel and later in the episode appears with the mask he wore in Broomstick Bunny; the "Ugliest" Witch of all! Petunia is dressed as a Astronaut and that's just silly. AND DAFFY IS BATMAN! During his candy check, he has the line, "Taste Tested and Bat-Duck Approved!" The utterance of BatDuck is a verbal reference to when Plucky Duck dressed as Batman in Tiny Toon Adventures! What a callback! The citizens of Looniburg show up as their costumes are equally as adorable. Pussyfoot is dressed as dracula, Hippity is dressed as a pirate AND EGGHEAD IS DRESSED AS A GREMLIN FROM FALLING HARE!!! SO COOL! Unlike the other entries, the Looney Builders have no problem getting these trick or treaters their tasty candy making it just a sugar filled outing and a ultra cute one at that. Bugs wearing this mask from Broomstick Bunny is just an excellent homage and truly inspired me to make this blog for those that might miss it this holiday season!  You can watch this one right now on Youtube at the link here: https://www.youtube.com/watch?v=RuhjE982oLE   Be sure to watch the shorts mentioned as well or introduce them to the kids for additional cartoon treats this Halloween! Comment with your favorite homage in this and what's your favorite Looney Tunes Halloween short?!

Matthew Bertulli is the CEO of Pela—a green tech company founded by Jeremy Lang that creates consumer products from environmentally sustainable materials. The company was ranked #9 on the list of fastest-growing companies in Canada and earned a valuation of $100M in 2020. Matthew and Jeremy carved out a new market category when they launched Pela Case, the world's first 100% compostable, eco-friendly phone case; now a multiple 8-figure brand. They continued to expand their product line and more recently launched Lomi, their electric kitchen composter that turns food waste into dirt.  According to their website, Pela's customers have prevented the equivalent of 48,433,866 plastic bags from entering our oceans. In this episode, I talk with Matthew about his experience starting and scaling companies. Interestingly, his first business was steadily bootstrapped over 10 years, eventually selling to a