Podcasts about bfa

Josie Moore grew up in the valley town of Westfield, Massachusetts with a voice that wouldn't work and a brain filled to bursting. Paranoid by the world and abandoned by those around her, she turned to art in her time of hiding. When she was scared, she wrote about it. When she cried, she drew comforting pictures. With the inability to pinpoint and process her own emotions, she used art and storytelling as her communication, turning her fear into something beautiful. Nowadays, she can finally leave her bedroom, but never without a sketchbook by her side. She attends the University of Massachusetts Dartmouth in hopes of getting her BFA in Illustration. She spends her days doodling elves, bears, and silly little faeries and nights writing, planning, and…hopefully writing some more. Finally having an outlet to put all her obsessive, creative energy, she dreams of one day showing even the deepest crevices of her mind with her odd love stories and twisted mysteries. The Contest, one of the most prestigious writing and illustrating competitions in the world, is currently in its 43rd year and is judged by some of the premier names in speculative fiction. The Writers of the Future Contest judges include, Tim Powers (author of On Stranger Tides), Kevin J. Anderson and Brian Herbert (Dune prequel series), Robert J. Sawyer (The Oppenheimer Alternative), Brandon Sanderson (Mistborn series, The Stormlight Archive), Larry Niven (Ringworld), Orson Scott Card (Ender's Game), Nnedi Okorafor (Who Fears Death), Hugh Howey (Wool), and Katherine Kurtz (Deryni series) to name a few. Nathan Deiwert, an illustrator led by a desire to craft worlds, creates imaginative creatures and characters that coincide with one another. Deiwert is driven to come up with new ways to develop familiar concepts in the form of paintings, digital illustrations, and visual development. From fear-inducing entities to happy moments, he creates work with thought and explores new ideas. For Deiwert, active research is a considerable portion of the process of the creation of his art; be it artistic influences past and present, anatomy or cultures. His favorite influences are presently Frank Frazetta, Norman Rockwell, N.C. Wyeth and Maxfield Parrish. The Writers of the Future Contest judges include Tim Powers (author of On Stranger Tides), Kevin J. Anderson and Brian Herbert (Dune prequel series), Robert J. Sawyer (The Oppenheimer Alternative), Brandon Sanderson (Mistborn series, The Stormlight Archive), Larry Niven (Ringworld), Orson Scott Card (Ender's Game), Nnedi Okorafor (Who Fears Death), Hugh Howey (Wool), and Katherine Kurtz (Deryni series) to name a few.

June Crespo's sculptural assemblages, which the artist understands as communicating vessels, resonate within our bodies. At times delicate, at others forceful, they always emanate a vital, living quality. Listen to the artist talk about her inspirations and working process. This episode was recorded on 12 September 2025, the day after the opening of the exhibition: June Crespo Danzante 12.9. – 16.11.2025 Most of the works in the exhibition Danzante take their formal vocabulary from the iris and the strelitzia (bird of paradise). Yet the artist is not concerned with representing these plants. Instead of proposing a classificatory symbolic order, they serve as starting points for a deeper engagement with materiality and the evocative potential of surfaces and textures, which take precedence over the pictorial dimension. Crespo treats her materials as agents, understanding herself an assistant to her work rather than an authority figure. In this way, she offers us a visceral experience – an encounter with objects that touch us in our corporeality and heighten our awareness of our own presence and its fragmented condition. More June Crespo (Pamplona1982) lives and works in Bilbao. Obtained her BFA from the Basque Country university (Bilbao) in 2005 and completed a two years residency at De Ateliers (Amsterdam) in 2017. Her solo shows include: Solar (2025), at Ehrhardt Flórez gallery, Madrid. Their weft, the grass (2024) at 1646.nl, The Hague; Vascular (2024) at Guggenheim Bilbao Museum; they saw their house turn into fields (2023) at CA2M, Madrid; Acts of Pulse (2022) at P420, Bologna; entre alguien y algo (2022) at CarrerasMugica, Bilbao; Am I an Object (2021) PA///KT (Amsterdam); Helmets (2020) Artium, Vitoria-Gasteiz. Recently her work has also been shown in group such as: L´écorce (2023) at CRAC-Alsace; The Milk of Dreams (2022) at Venice Biennale; Fata Morgana (2022) Jeu de Paume (Paris) and The point of Sculpture (2021) at Fundación Miró (Barcelona). Since 2008, Bettina Spörr is a curator at the Secession, where she engages in close collaboration with artists to conceptualise and realise exhibitions that explore the profound impact of contemporary art on society. Throughout her career, she has worked with numerous artists on solo exhibitions and, in 2010, curated the group show where do we go from here? at the Secession. Secession Podcast: Artists features artists exhibiting at the Secession. The Dorotheum is the exclusive sponsor of the Secession Podcast. Programmed by the board of the Secession. Jingle: Hui Ye with an excerpt from Combat of dreams for string quartet and audio feed (2016, Christine Lavant Quartett) by Alexander J. Eberhard Audio Editor: Paul Macheck Executive Producer: Bettina Spörr

In this College Deep Dive, Michael Campayno — Carnegie Mellon grad, former MTCA coach, and now Director of Musical Theatre at Point Park University — joins MTCA Director Charlie Murphy to discuss: How Point Park is shifting its focus and leaning more into acting while honoring its strong dance roots Don't try to get into every school:Be your authentic self so you get into the right school  Connection matters: Both your connection to the material and the program's connection to the professional world. If you have any questions about the college audition process, feel free to reach out at mailbag@mappingthecollegeaudition.com. If you're interested in working with MTCA for help with your individualized preparation for your College Audition journey, please check us out at mtca.com, or on Instagram or Facebook.  Follow Us!  Instagram: @mappingthecollegeaudition YouTube: @MTCA (Musical Theater College Auditions)  TikTok: @mtcollegeauditions  Charlie Murphy:@charmur7  About MTCA:  Musical Theater College Auditions (MTCA) is the leader in coaching acting and musical theater students through the college audition process and beyond with superlative results. MTCA has assembled a roster of expert artist-educators who can guide students artistically, organizationally, strategically, and psychologically through the competitive college audition process. MTCA provides the tools, resources, and expertise along with a vast and strong support system. They train the unique individual, empowering the artist to bring their true, authentic self to their work. MTCA believes that by helping students reveal their potential it allows each school to connect with those who are truly right for their programs, which in turn guides each student toward their best college fit.  About Charlie Murphy:  Charlie is a proud graduate of Carnegie Mellon University's BFA program. As an Actor he has performed with theaters such as: NY Public Theatre's “Shakespeare in the Park”, The Pearl Theatre Company, Hudson Valley Shakespeare Festival, Chautauqua Theatre Company, Kinetic Theatre Company, and the Shakespeare Theatre of DC. With MTCA [Musical Theater College Auditions -- mtca.com], he has been helping prospective theatre students through the college process for over 15 years. As a Teacher and Director, he is able to do a few of his favorite things in life: help students to find their authentic selves as artists, and then help them find their best fit for their collegiate journey. Through this podcast, he hopes to continue that work as well as help demystify this intricate process. This episode was produced by Meghan Cordier, Kelly Prendergast and Socials by Jordan Rice. Episode theme music is created by Will Reynolds with Additional Vocals from Elizabeth Stanley Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of Stuff About Money They Didn't Teach You in School, hosts ⁠Erik Garcia⁠, CFP®, ChFC®, BFA™, and ⁠Xavier Angel⁠, CFP®, ChFC®, CLTC®, tackle a hard truth — sometimes, the biggest threat to our financial health isn't the economy, it's the lies we tell ourselves. From “I'll save when I make more” to “I deserve this purchase” and “I can time the market,” Erik and Xavier break down how these self-deceptions quietly shape our spending, saving, and investing habits. They'll also reveal how these internal narratives may be fueling the stress behind alarming stats showing that 58% of Americans feel their finances are in crisis and 47% say money negatively affects their mental health. Digging deeper, they unpack the psychology and emotion behind each lie and how believing them keeps us stuck — overspending, under-saving, and second-guessing our investments. You'll hear relatable stories, practical tips, and a few laughs along the way as Erik and Xavier guide listeners toward replacing financial fiction with truth. Whether you're guilty of lifestyle creep, emotional spending, or chasing market timing, this conversation will challenge you to confront your money myths and live the Plan Wisely Way. Be sure to follow the show, share it with a friend, and leave a review if you enjoy the episode. Episode Highlights: Erik connects Xavier's story to financial behaviors that can lead to crisis and introduces “three money lies” people tell themselves. (08:00) Together, Erik and Xavier unpack the first lie: “I'll save more when I make more,” discussing paycheck-to-paycheck realities and intentional saving habits. (11:00) Xavier challenges excuses around spending, encouraging listeners to align money use with what truly matters. (14:00) Erik emphasizes starting small, automating savings, and prioritizing goals that match personal values. (18:00) Erik and Xavier move to the second lie, “I deserve this,” exploring emotional spending, debt, and budgeting for wants versus needs. (20:00) Erik shares strategies to manage impulse buys and highlights the power of financial planning rooted in discipline and purpose. (24:00) Xavier discusses intentional spending on meaningful experiences and maintaining balance between enjoyment and prudence. (26:00) The third lie, “I can time the market,” introduces a conversation on emotional investing and long-term financial discipline. (28:00) Erik and Xavier reminds listeners that honest reflection, planning, and value-based choices lead to stronger financial wellbeing. (31:00) Key Quotes: “There's lies that we tell ourselves about money. We're all guilty of this. Just some are guilty of it at different levels. Levels that are more material than others.” -  Erik Garcia, CFP®, ChFC®, BFA™ “Create that strategy, take a look at what your finances are, know what's important to you, and then make those decisions.” - Xavier Angel, CFP®, ChFC®, CLTC® “Saving is like a muscle. And the more you use it, the stronger it gets. The more you save, the easier it gets to save. And I think people just need to start.” -  Erik Garcia, CFP®, ChFC®, BFA™ Resources Mentioned: ⁠Erik Garcia, CFP®, BFA⁠ ⁠Xavier Angel, CFP®, ChFC, CLTC⁠ ⁠Plan Wisely Wealth Advisors⁠

What happens when a kid with a dream steps onto a Broadway stage for the first time? It's pure magic. Wesley Wray is a an actor, musical artist, and BFA student at the University of Michigan, who is making his broadway debut this season in the Tony award winning show Buena Vista Social Club, and he joined the studio this month!His career path has already spanned ballet, Afro-Caribbean movement, modern dance, music, theatre, film, and beyond. He shared his experiences in Buena Vista Social Club, backstage stories, and the audition process! And in a beautiful full circle moment, he talked about the Broadway dance workshop he recently taught at Ailey Extension, which invited dancers of all ages and levels to learn choreography from the show and experience the power of dance as community.Wesley has roots with Alvin Ailey, studying at The Ailey School's professional division summer intensives and AileyCamp Miami. He shared what his time studying at Alvin Ailey taught him about establishing safe dance spaces to explore multi-disciplinary training, and how that can shape you as an artist.We also talked about his experience working with Tony winning choreographers Patricia Delgado and Justin Peck on Buena Vista Social Club and how ballet technique supports hybrid movement styles in the show. And he gives his best advice for adult dancers, emerging artists, and anyone who has the courage to try something new. Check it out!Follow Wesley on Instagram: @wesleywwrayLearn more about Buena Vista Social Club: buenavistamusical.comLearn about Alvin Ailey: ailey.orgSubscribe to The Adult Ballet Studio on YouTube: @adultballetstudioMusic in this episode:Waltz of the Flowers - TchaikovskyBarroom Ballet - Silent Film Light - Kevin MacLeodBarroom Ballet - Silent Film Light by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/Source: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100310Artist: http://incompetech.com/@eblosfield | theadultballetstudio@gmail.comSupport this podcast on Patreon! https://patreon.com/TheAdultBalletStudio?utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=creatorshare_creator&utm_content=join_link Hosted on Acast. See acast.com/privacy for more information.

Having Ralf Jean-Pierre aka PRECIOUS GORGEOUS on today was great. He's a very talented Actor, Rapper-Songwriter, Comedian, Podcaster, + Professor. He is a great Radio Free Brooklyn Host as well—his completely original improv show, No Suggestions is HILARIOUS. LISTEN HERE I know from listening to this episode where he says he hasn't been in a relationship for three years and he's getting ready to be in one, so I thought this was something we could work on. Ralf generously shares why the realtionship was great, how he was taken by surprise when it ended and all the hard work and changes and BIG GROWTH he's gone through as a result. I felt super optimistic about him by the end—I hope he did too! Instagram: @presciousgorgeousralf @nosuggestionpod https://preciousgorgeous.com/ No Suggestion Podcast HERE Ralf Jean-Pierre BIO: Ralf Jean-Pierre aka Precious Gorgeous, is a first generation Haitian-American rapper-songwriter, actor, and comedian from Brooklyn, NY. He earned a BFA in Performing Arts from the Savannah College of Art and Design. He has studied improv comedy at the People's Improv Theater, and has studied clown with Christopher Bayes, Virginia Scott, and Eric Davis. In 2012, Ralf and his collaborator Jolie Tong developed a one-man musical chronicling the true account of how Ralf spent all of 2012 riding his bicycle around the United States, performing a one-man Shakespeare on the streets called WHAT SHOULD BE THE FEAR, which debuted at Gamba Forest in 2017. Precious Gorgeous released the self-produced record Tryna Get My Live Together, the mixtapes TRIP and Brooklyn Petting Zoo, and Everyone Dies From a Bullet vol 1, a secret, underground covers record, all of which you can find on Precious Gorgeous' music page.  From 2018-2023 Ralf was a member of North Coast, NYC's premier and hip-hop improv comedy team. Previously Ralf held a number of prestigious teaching artist positions, like teaching improv comedy to incarcerated youth for Drama Club, as well for working as teacher-performer Puppetry in Practice, and the NYU-Creative Arts Team. Since 2022 Ralf has hosted the weekly improv comedy podcast No Suggestion, where has deep, thoughtful, meandering conversations with the funniest comedians in NYC, and creates improv comedy with them, live, based on those conversations. Ralf currently teaches as an adjunct professor for the Brooklyn College BFA and BA, NYU Tisch BFA, and Columbia University MFA acting programs.

In this episode of Stuff About Money They Didn't Teach You in School, hosts Erik Garcia, CFP®, ChFC®, BFA™, and Xavier Angel, CFP®, ChFC®, CLTC®, tackle a hard truth — sometimes, the biggest threat to our financial health isn't the economy, it's the lies we tell ourselves. From “I'll save when I make more” to “I deserve this purchase” and “I can time the market,” Erik and Xavier break down how these self-deceptions quietly shape our spending, saving, and investing habits. They'll also reveal how these internal narratives may be fueling the stress behind alarming stats showing that 58% of Americans feel their finances are in crisis and 47% say money negatively affects their mental health. Digging deeper, they unpack the psychology and emotion behind each lie and how believing them keeps us stuck — overspending, under-saving, and second-guessing our investments. You'll hear relatable stories, practical tips, and a few laughs along the way as Erik and Xavier guide listeners toward replacing financial fiction with truth. Whether you're guilty of lifestyle creep, emotional spending, or chasing market timing, this conversation will challenge you to confront your money myths and live the Plan Wisely Way. Be sure to follow the show, share it with a friend, and leave a review if you enjoy the episode. Episode Highlights: Erik connects Xavier's story to financial behaviors that can lead to crisis and introduces “three money lies” people tell themselves. (08:00) Together, Erik and Xavier unpack the first lie: “I'll save more when I make more,” discussing paycheck-to-paycheck realities and intentional saving habits. (11:00) Xavier challenges excuses around spending, encouraging listeners to align money use with what truly matters. (14:00) Erik emphasizes starting small, automating savings, and prioritizing goals that match personal values. (18:00) Erik and Xavier move to the second lie, “I deserve this,” exploring emotional spending, debt, and budgeting for wants versus needs. (20:00) Erik shares strategies to manage impulse buys and highlights the power of financial planning rooted in discipline and purpose. (24:00) Xavier discusses intentional spending on meaningful experiences and maintaining balance between enjoyment and prudence. (26:00) The third lie, “I can time the market,” introduces a conversation on emotional investing and long-term financial discipline. (28:00) Erik and Xavier reminds listeners that honest reflection, planning, and value-based choices lead to stronger financial wellbeing. (31:00) Key Quotes: “There's lies that we tell ourselves about money. We're all guilty of this. Just some are guilty of it at different levels. Levels that are more material than others.” -  Erik Garcia, CFP®, ChFC®, BFA™ “Create that strategy, take a look at what your finances are, know what's important to you, and then make those decisions.” - Xavier Angel, CFP®, ChFC®, CLTC® “Saving is like a muscle. And the more you use it, the stronger it gets. The more you save, the easier it gets to save. And I think people just need to start.” -  Erik Garcia, CFP®, ChFC®, BFA™ Resources Mentioned: Erik Garcia, CFP®, BFA Xavier Angel, CFP®, ChFC, CLTC Plan Wisely Wealth Advisors

McKenna Batterson is the vibrant heart behind Fiona in Deerfield Theater's Shrek The Musical. From her early days in voice lessons and a BFA at Syracuse, to braving New York's theater scene before returning to her Chicago roots, McKenna's journey is one of rediscovery and passion. She shares how stepping away from the relentless hustle of professional acting led her back to community theater, where she found joy, camaraderie, and a renewed love for performing. McKenna's deep connection to Fiona—a dream role—shines as she describes the thrill of working with both seasoned friends and inspiring young castmates, and the magic of bringing a beloved character to life. Her story is a testament to the power of theater to build community, foster self-acceptance, and remind us that what makes us different is what makes us strong.Performances at Caruso Auditorium, 1801 Montgomery Rd., Deerfield on:* Fridays, November 14 and 21 at 7:30pm* Saturdays, November 15, 22 at 1:00pm and 7:30pm* Sundays, November 16 and 23 at 1:00pmDeerfield TheaterPurchase Tickets This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit deerfieldtheater.substack.com

My Pet Ram is pleased to present Towards the Sun, a solo exhibition of new paintings by Heather Drayzen, on view through November 9, 2025. This marks the artist's second solo exhibition with the gallery. The gallery is located at 48 Hester Street on the Lower East Side. Gallery hours are Thursday–Sunday, 12–6 PM, and by appointment. Heather Drayzen (b. 1985, San Antonio, Texas) is a painter known for her intimate, small-scale depictions of quiet domestic life, often featuring herself and her loved ones. She currently lives and works in Brooklyn, New York. Drayzen received her BFA from the School of Visual Arts, New York, in 2007, and earned an MAT from the Rhode Island School of Design in 2008. Winter Bath, 2025, 14 x 18 inches, Oil on linen Winnie Rainbow, 2024, Oil on Linen, 20 x 16 inches Giverny, 2025, Oil on Linen 18 x 14 inches

Episode 498 / Elena RedmondElena Redmond (b. 1998, Pittsburgh, PA) lives and works in New York City. Redmond presented her first solo exhibition at DIMIN titiled "Sitting Ducks" spring of  2025. Redmond exhibited in DIMIN's three-person exhibition “Unfeigned Mysteries” in 2024, featured in “A Women's Thing”. She has mounted solo exhibitions with Long Story Short, Los Angeles (2022); and Tchotchke Gallery, New York (2022). Redmond has participated in group shows at Moosey Gallery, London; Orlando Museum of Art, Orlando; Blouin Division and Arsenal Contemporary, Montreal; Hashimoto Contemporary, Los Angeles; Andrea Festa Fine Art, Rome; and Eve Leibe Gallery, London. Redmond holds a BFA from Rhode Island School of Design, Providence, RI.

Watch the video version of this podcast here on YouTube: https://www.youtube.com/watch?v=9OyRBa9lcUk Our two new books... STORY QUESTIONS is currently 10% off! - https://payhip.com/b/ZTvq9 and 17 Steps To Writing A Great Main Character - https://payhip.com/b/kCZGd 0:00 - Story Of A Real Life Puppeteer 9:41 - 7 Lessons Learned From Making A 17 Million View Video 20:47 - How A Short Viral Video Became A Full Length Documentary 36:03 - The Best Movies Are The Ones You Make From The Heart 48:54 - 3 Questions Every Character Must Answer For Every Scene 1:02:09 - Number One Tip For Directing Actors 1:10:42 - If You Submit To 100 Film Festivals... What Can You Expect? Paola Baldion is an award-winning actress, director, and producer of Colombian and European heritage. Born in Paris and raised in Italy and Colombia, Paola is a multilingual Latina artist fluent in Spanish, English, Italian, and French. She began performing at age four in her parents' marionette theater and later trained under renowned masters Edgardo Román and Paco Barrero in Bogotá, followed by HB Studios in New York and Stephanie Feury Studio in Los Angeles. She holds a BFA in Theater and Film Studies from Concordia University in Montreal. Paola made her feature film debut in the lead role of Marina in Retratos en un Mar de Mentiras (Portraits in a Sea of Lies), which premiered at the Berlin and Guadalajara film festivals. Her performance earned her the Colombian Academy Award for Best Actress, along with Best Actress honors at the Guadalajara and Amiens International Film Festivals. As co-founder of Dos Almas Films, she has directed impactful short films and documentaries, including For Alma and I Am Migration-a documentary where she and partner Jamie Toll travel across the U.S., offering free DNA tests to explore ancestry and identity. Her latest fiction film, Abrazo, tells the emotional story of a pregnant Central American woman crossing the U.S. border. The film has received 29 festival awards, including Best Film, Best Director, Best Writer, and Best Actress. Through her body of work, Paola continues to champion stories about identity, migration, and social justice-bringing visibility to underrepresented voices in both dramatic and comedic roles. WATCH 'I AM MIGRATION' https://www.facebook.com/iammigration/videos/611347859214872 WATCH 'ABRAZO' - NEW SHORT FILM BY PAOLA • ABRAZO - World Premiere (Official Film) CONNECT WITH PAOLA BALDION https://www.paolabaldion.com https://www.imdb.com/name/nm3672989 https://www.instagram.com/paolabaldion

In this Artist Exploration, MTCA Alum and Carnegie Mellon graduate Molly Griggs (John Proctor Is The Villain) joins MTCA Director Charlie Murphy for a conversation about: Does the ease of Zoom make us more connected — or more naive as artists? The power of “I see you” — and learning to say it to ourselves. Be willing to be embarrassed — that's where authenticity begins. Be bold enough to be ugly, and brave enough to be real. If you have any questions about the college audition process, feel free to reach out at mailbag@mappingthecollegeaudition.com. If you're interested in working with MTCA for help with your individualized preparation for your College Audition journey, please check us out at mtca.com, or on Instagram or Facebook.  Follow Us!  Instagram: @mappingthecollegeaudition YouTube: @MTCA (Musical Theater College Auditions)  TikTok: @mtcollegeauditions  Charlie Murphy:@charmur7  About MTCA:  Musical Theater College Auditions (MTCA) is the leader in coaching acting and musical theater students through the college audition process and beyond with superlative results. MTCA has assembled a roster of expert artist-educators who can guide students artistically, organizationally, strategically, and psychologically through the competitive college audition process. MTCA provides the tools, resources, and expertise along with a vast and strong support system. They train the unique individual, empowering the artist to bring their true, authentic self to their work. MTCA believes that by helping students reveal their potential it allows each school to connect with those who are truly right for their programs, which in turn guides each student toward their best college fit.  About Charlie Murphy:  Charlie is a proud graduate of Carnegie Mellon University's BFA program. As an Actor he has performed with theaters such as: NY Public Theatre's “Shakespeare in the Park”, The Pearl Theatre Company, Hudson Valley Shakespeare Festival, Chautauqua Theatre Company, Kinetic Theatre Company, and the Shakespeare Theatre of DC. With MTCA [Musical Theater College Auditions -- mtca.com], he has been helping prospective theatre students through the college process for over 15 years. As a Teacher and Director, he is able to do a few of his favorite things in life: help students to find their authentic selves as artists, and then help them find their best fit for their collegiate journey. Through this podcast, he hopes to continue that work as well as help demystify this intricate process. This episode was produced by Meghan Cordier, Kelly Prendergast and Socials by Jordan Rice. Episode theme music is created by Will Reynolds with Additional Vocals from Elizabeth Stanley Learn more about your ad choices. Visit megaphone.fm/adchoices

Many MBA applicants see business school as a chance to pivot—to shift industries, roles, or even entire careers. But how realistic is your pivot story, and how can you make it resonate with admissions committees and recruiters? In this episode of Inside the GMAT, GMAC Zach is joined by Pamela Jaffe and Laura Nelson, founders of MBA Pathfinders, who have over 30 years of combined experience guiding applicants through successful career transitions. Together, they break down the realities of the modern job market, why the MBA remains a powerful bridge for change, and how to craft an application that's authentic, credible, and ready for the career you want. If you're planning to use business school as a launchpad for change, this conversation will help you map your bridge from where you are to where you want to be. About MBA Pathfinders: https://www.mbapathfinders.com Pamela Jaffe has helped hundreds of applicants achieve entry into the top U.S. and European business schools. Pamela began her MBA consulting career in 2010 as a part-time consultant at mbaMission while concurrently working full-time as an internal strategist for companies including IBM, MetLife, Weight Watchers, Pfizer, and Dow Jones. She found her passion as a coach and an advisor; in 2019, she left corporate America to launch The Jaffe Advantage. Pamela leverages her MBA admissions consulting experience with her global business knowledge to advise her clients in the pursuit of their ideal MBA educational experience. She has lived and worked in both Paris and Singapore, focusing on the Asian, Middle Eastern and European markets. Pamela currently resides in New York City, but continues to travel extensively for work and fun. She holds a BA from Smith College and an MBA from Columbia Business School. Laura Nelson has served as a Senior Consultant with mbaMission, Stacy Blackman Consulting, and as the founder of LE Nelson Consulting to help hundreds of candidates earn admissions to top MBA programs. Laura's industry experience includes entertainment, media & publishing, and tech, with established companies and startup organizations. Most recently, she served as VP of Marketing with a SaaS startup. Laura's non-traditional career path and MBA admissions consulting experience enables her to help clients from less traditional backgrounds gain credibility with top programs, while helping those with traditional career paths stand out. Laura lived and worked in California for a decade prior to relocating to Colorado. She holds a BFA from Carnegie Mellon University and earned an MBA from University of Michigan's Ross School of Business. Takeaways: Many MBA applicants seek to pivot their careers through business school. The MBA application process is crucial for defining career goals. Common pivots include banking, consulting, tech, and entrepreneurship. Misconceptions exist about the ease of career changes with an MBA. Candidates must demonstrate realistic and evidence-based career goals. Networking and experiential learning are vital for successful pivots. The recruiting cycle is urgent; preparation should start early. Candidates should avoid vague or trendy goals in their applications. Building a compelling narrative is essential for admissions success. Researching and validating career goals can lead to more authentic applications. Chapters: 00:00 Introduction to Career Pivots and the MBA Journey 02:51 Common Career Pivots for MBA Applicants 05:44 The Power of an MBA for Career Changes 08:48 The MBA Application as a Career Exploration Tool 11:53 Evaluating Realistic Career Pivots 14:01 Navigating the MBA Recruiting Cycle 17:19 Advice for Uncertain Career Paths 19:28 Crafting a Compelling Career Pivot Story 20:14 Understanding the MBA as a Bridge 22:07 Connecting Past Experiences to Future Goals 23:11 Real-Life Career Pivot Examples 26:24 Common Mistakes in Career Pivots 28:19 Building Credibility in Applications 29:28 Strategies for Non-Traditional Candidates 31:30 Advice for MBA Candidates Considering a Pivot 32:22 Leveraging Advisors for Application Success

JOIN THE NICHE COMMUNITY → Mark your calendar for Rep Rundown - Happening Oct. 29th & 30th! If you've ever walked into a room full of successful peers and thought, “What am I even doing here?”, this episode is for you! Kerry Dyer,  Chief Development Officer at Brownell Travel, has built a career leading, mentoring, and inspiring advisors to grow thriving businesses with confidence. After delivering a powerful presentation on imposter syndrome at Virtuoso Travel Week, Jennifer and Robin knew it was essential to bring that conversation to the podcast. In this episode, Kerry unpacks what imposter syndrome really looks like, the most common triggers advisors face, and how to reframe self-doubt before it takes over. From perfectionism and comparison traps to boundaries and self-belief, she shares strategies you can start using today. You'll walk away with tools to build confidence, celebrate your wins, and finally feel comfortable owning your expertise, because you do belong in the room! About Kerry Dyer: What began as a “happy accident” turned into a 30-year career in luxury travel. After earning a BFA in Art History, she joined Maritz Travel, where her passion for sales quickly emerged. She went on to spend 14 years with Four Seasons Hotels and Resorts, ultimately serving as Director of Leisure Sales for the Americas, followed by a successful tenure as Director of Sales and Marketing at Mandarin Oriental, Atlanta. Now, as Chief Development Officer at Brownell, she leads Marketing, Partners, and Advisor Development, bringing her deep industry expertise and leadership full circle. brownelltravel.com/hosting/team/kerry-dyer Today we will cover: (03:35) Meet Kerry Dyer; her early lessons in confidence (11:15) What is imposter syndrome, really? (15:55) How lack of formal credentials, comparison, and entrepreneurship amplify self-doubt in the travel industry (23:50) The 5 types of imposter syndrome; identifying your patterns and reframing them (31:45) Progress over perfection; why letting go of control can change everything (40:35) How community and collaboration silence self-doubt faster than working alone (44:15) Setting boundaries and showing up intentionally for your clients and family VISIT THE TEMPLATE SHOP EXPLORE THE PROGRAMS FOLLOW ALONG ON INSTAGRAM @TiqueHQ Thanks to Our Tique Talks Sponsors: Moxie & Fourth - Register Now for Route To Results Cozy Earth - Use code COZYTIQUE for 20% off

This week I'm joined by New York based photographer and director Tiana Michele, whose creative journey perfectly blends art, risk-taking, and reinvention.We met at Nikon's Creator Camp in Utah, and I was instantly drawn to her work and the way she tells stories through both photo and film. In this episode, we dive into how she transitioned from weddings to directing short films, the beauty of collaboration, and what it really looks like to keep evolving as an artist.Meet TianaTiana is a Sierra Leonean-American photographer, director, and writer based in New York City. She has a BFA in Dance Performance & Choreography. She began taking photos in 2020, during the pandemic after taking a break from dance immediately after graduating. She works with film and digital format and much of her personal work is inspired by things happening in the world around us with an emphasis in feminism, fashion, movement, and things she has dealt with personally as a third culture woman of color. Her most recent notable work in film is her directorial debut Manspread.Connect with Tiana:Website: tianamichelephoto.comInstagram and TikTok: @bytianamichele Connect with Me:Subscribe to our emails for updates on all things Summer School!SUBSCRIBE HEREShow Notes: the-summerschool.comInstagram: @summergrace.photo  @the_summerschool Shop My Products:Become a Member of Summer SchoolMy Summer Grace x G-Presets (discount code: SUMMERSCHOOL)My Pricing Guide

Matanel Roitman plays Shrek in Deerfield Theater's upcoming production of Shrek The Musical. Matanel shares his journey from high school theater to earning a BFA in acting, and how performing is both his passion and his therapy. He reflects on the thrill of playing both villains and heroes, the unique challenges of bringing Shrek to life (including nailing his version of that famous Scottish accent), and the camaraderie of the Deerfield Theater community. Matanel also opens up about adapting to the pandemic as a performer and director, and how his love for storytelling—on stage, in Dungeons & Dragons, or as an audience member—fuels his creativity. With humor and heart, he invites everyone to experience the magic, spectacle, and fun of Shrek The Musical, promising a show that's as unforgettable as its leading ogre.Performances at Caruso Auditorium, 1801 Montgomery Rd., Deerfield on:* Fridays, November 14 and 21 at 7:30pm* Saturdays, November 15, 22 at 1:00pm and 7:30pm* Sundays, November 16 and 23 at 1:00pmDeerfield TheaterPurchase Tickets This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit deerfieldtheater.substack.com

Welcome (back), Rebecca! The freshly minted BFA from the University of Cincinnati returns to the studio a fully made employee, and she talks about her journey from ballet to clay. Also, best wishes to Hannah and Luke as they prepare to marry on Halloween.

We sit down with veteran comics artist Howard Simpson (who also works under the pen name Poppy) to explore his diverse career that began after earning his BFA from Tyler School of Arts and working as a commercial artist during the 1980s for major clients including Action News, Bantam Books, Sony, and various Fortune 500 companies. Howard shares his transition from commercial work and fanzine contributions to breaking into professional comics with DC, working on titles like Green Lantern, The Outsiders, Secret Origins, and Young All-Stars, as well as inking Dark Horse's Captain Crusader. We dive into his prolific 1990s work across multiple publishers including First Publishing's Grimjack and Munden's Bar, Heroic Comics' Captain Thunder and Blue Bolt, Icicle, and League of Champions, Topps' Ray Bradbury Comics: Martian Chronicles, and his extensive contributions as penciller, inker, and background artist for Acclaim's Valiant imprint series like Turok, plus his work illustrating Timon and Pumbaa stories for Disney Adventures. Howard discusses the differences between commercial art and comics, working across so many different publishers and genres, the craft of inking versus pencilling, and how the comics industry evolved from the 80s through the 90s. | Support the show___________________Check out video versions of this and other episodes on YouTube: youtube.com/dollarbinbandits!If you like this podcast, please rate, review, and subscribe on Apple Podcasts or wherever you found this episode. And if you really like this podcast, become a member of the Dollar Bin Boosters on Patreon: patreon.com/DollarBinBoosters.You can follow us @dollarbinbandits on Facebook, Instagram, and Bluesky, or @DBBandits on X. You can email us at dollarbinbandits@gmail.com.___________________Dollar Bin Bandits is the official podcast of TwoMorrows Publishing. Check out their fine publications at twomorrows.com. ___________________ Thank you to Sam Fonseca for our theme music, Sean McMillan for our graphics, and Pat McGrath for our logo.

What does it mean to truly use your voice—to tell stories, bring words to life, and inspire others even when life throws challenge's your way? My guest this week, Amber Ba'th, embodies that Unstoppable spirit. Amber is a professional voice actor, a Bible narrator for the Dwell app, and a functional nutritionist who turned a life-changing diagnosis into a deeper calling. Amber opens up about performing on stage, finding her place in the booth, and learning resilience after being diagnosed with transverse myelitis. Her story reminds us that creativity and courage don't fade—they evolve. I think you'll be moved by her honesty, her strength, and her Unstoppable commitment to sharing her voice with the world.   Highlights:   00:10 – Hear how early curiosity in theater grew into a lifelong love for performance. 03:21 – Learn how family roots in the arts shaped a career in acting and voice. 07:21 – Discover why live theater creates a unique audience experience you can't get in film. 14:03 – See how studying Theater Arts Administration opened doors beyond the stage. 17:24 – Find out what moving to LA taught her about auditions, hustle, and opportunity. 25:37 – Get the real entry point into voiceover and why COVID pushed her to record at home. 27:26 – Understand the scope and process of narrating the entire CSB Bible for the Dwell app. 32:07 – Learn how leaning into “villain” characters can expand your VO range. 35:06 – Take why acting classes matter for believable, persuasive voiceover reads. 38:05 – Hear her journey with transverse myelitis and how she reframed ability. 43:47 – See how diet changes and self-advocacy supported healing and daily function. 54:14 – Learn practical nutrition tips VO pros use to protect tone and clarity.   About the Guest:   Hi, I'm Amber Ba'th—pronounced By-ee-th! I'm a Philadelphia native with roots in Los Angeles and Washington, D.C. I earned my BFA in Theatre Arts Administration from the legendary Howard University, and from the very beginning, storytelling and performance have been a huge part of my life. Whether through stage, screen, or sound, I believe creative expression has the ability to inspire, uplift, and connect people. That belief and my faith in Christ, has guided every step of my journey in the entertainment industry.   With over 20 years of experience in theater and film, I've worn many hats—actor, voice actor, producer, company manager, and coach. My early days at Philadelphia's Freedom Theatre gave me the foundation to work on national tours and major productions, such as The Fabric of a Man (national stage and film), and the national tour of If This Hat Could Talk under Tony Award-winning director George Faison. I've also stepped in front of the camera, appearing in Ice Cube's Friday After Next and national print campaigns for McDonald's that landed me in Essence, O Magazine, and Woman's World.   Voice acting has become one of my deepest passions. I've had the privilege of lending my voice to projects for Delorean, Holler Studios, Amazon, Make Originals, and most notably, narrating the greatest story ever told for the Dwell Bible App; just to name a few. I'm known for being versatile—able to bring warmth, humor, authority, and charisma into every read. Whether a character needs to feel animated, compassionate, bold, or simply relatable, I approach every project with creative precision and care.   I've been fortunate to learn from incredible mentors like Nick Omana, Art Evans, Queen Noveen, Linda Bearman, Al Woodley, Joyce Castellanos, JD Lawrence, and Rolonda Watts, and to collaborate with talent across every corner of this industry. I'm always growing, always listening, and always grateful. My goal is not only to entertain but also to reflect God's grace through my work. Faith is my anchor—it's the reason I'm able to keep showing up in this ever-changing field with joy and purpose.   Outside of my career, I'm a mother of two, and I live with a “different ability” that has only strengthened my walk and testimony. I believe that what God has for me is for me, and I want other artists to feel empowered to claim that same truth for themselves. As someone in the faith, You are royalty—act like it, speak like it, know it. I'm here to tell stories, give voice to vision, and ultimately to help others feel seen, heard, and deeply valued in this industry.   Ways to connect with Amber:   LinkedIn- https://www.linkedin.com/in/iamamberbath/   IG- https://www.instagram.com/iamamberbath/   YouTube- YouTube.com/@iamamberbath   Website- www.iamamberbath.com     About the Host:   Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog.   Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards.   https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/   accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/       Thanks for listening!   Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below!   Subscribe to the podcast   If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can subscribe in your favorite podcast app. You can also support our podcast through our tip jar https://tips.pinecast.com/jar/unstoppable-mindset .   Leave us an Apple Podcasts review   Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts.       Transcription Notes: Michael Hingson ** 00:00 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us.   Michael Hingson ** 01:21 Well, hello everyone. Wherever you happen to be, I am Michael Hingson, and this is unstoppable mindset. We are really excited that you're here with us today. And we have a fascinating guest who was referred to us by another fascinating guest who is coming on unstoppable mindset, and we'll get to all that, I am sure. But Amber bath is how she pronounces her last name by eth. I'm saying that right. I assume that is correct. Oh, good. Never want to get it too wrong, you know. Anyway, Amber is a voice actor and does a lot of different things. And we learned about Amber from someone who we were referred to by Walden Hughes, that reps in yesterday USA, and Walden has been on unstoppable mindset a couple of times. Amber, do you know Walden? I know I don't. Well, then we can spread all sorts of rumors and you'll believe everyone, right, absolutely. Anyway. So anyway, what Linda Berryman, you know, so that works. Anyway, I want to welcome you to unstoppable mindset. It's really a joy and a pleasure to have you, and thank you for being here.   Amber Ba'th ** 02:42 Thank you for having me. This is such an exciting moment. Well,   Michael Hingson ** 02:46 I'm anxious to learn all about voice acting and some of those things. But why don't we start by maybe you telling us a little bit about kind of the early Amber growing up and all that sort of stuff. Well, always a good place to start. You know, a   Amber Ba'th ** 03:02 long time ago   Michael Hingson ** 03:03 in a galaxy, far, far away, yes,   Amber Ba'th ** 03:07 oh my gosh. Well, I I'm a suburbian girl here. I'm from the suburbs, actually Philadelphia. I was actually born in DC, raised in Philly, went back to DC, then moved all the way across country to La La Land. Is that where you are now, I'm not. I'm actually back in DC.   Michael Hingson ** 03:33 Go figure. Right now I'm, I'm really curious to hear the history of all these moves. But anyway, so you were raised in Philadelphia. Did you ever meet Rocky Balboa? Just checking,   Amber Ba'th ** 03:45 no, just ran the steps. You did run the steps. I did run the steps. Yeah, actually got a heat stroke. But I did. I was, I was young at the time, and it was super hot. And you know, it's like, yeah, you know, I'm gonna run the steps. Ran the steps, and just shouldn't have   Michael Hingson ** 04:04 done that, not in the middle of the day. No, when did he run them? It was in the morning, wasn't it?   Amber Ba'th ** 04:11 Yeah, he always ran in the morning. So no, I was this was in the heat of the day.   Michael Hingson ** 04:16 So huh, we all have our growth issues that we have to deal with so so you but you were raised in Philadelphia, and you went to school there and so on, and what kind of were your interests and so on, growing up   Amber Ba'th ** 04:32 theater, I was really, I mean, I come from A family who has always been in the spotlight. I had two aunts who actually had a touring show titled The sisters, the Stuart sisters. And, you know, I've always been wanting either to dance, to sing, to act. That was just. Just my thing.   Michael Hingson ** 05:02 So they you came by, it pretty honestly. Then exactly anything else. They were actors in the show.   Amber Ba'th ** 05:10 They were, yeah, one was a singer and one was an actress.   Michael Hingson ** 05:12 Yes, oh, cool, yeah. Well, and what was the show about?   Amber Ba'th ** 05:18 Actually, it was about Harriet Tubman, Sojourner, Sojourner, truth. And it was it they actually toured different toward the country and talked about the Underground Railroad and and and how they were able to escape and free other, other slaves.   Michael Hingson ** 05:42 Now that show isn't whether it's your parents or not, but that show is not on now. It's not running.   Amber Ba'th ** 05:50 This was a stage play. This was many, many years   Michael Hingson ** 05:52 ago, right, right, yeah, but they but no one has continued. I would think it would be a very valuable thing to keep around you.   Amber Ba'th ** 05:59 Would think it would be that, you know, the traditional way, but we kind of moved in different directions, you know. So   Michael Hingson ** 06:06 everything closes eventually. The fantastics eventually closed, and that was on for the longest time, yeah? Well, even cats was on for a long time. Oh, yeah. I, I think, although I don't know, but the producers, I think, has closed,   Amber Ba'th ** 06:22 yeah. And I really wanted to see that. I saw the film, but I wanted to see the stage play.   Michael Hingson ** 06:28 Oh, the stage play was much better than the film, I'm sure. You know, I don't know what it is about Matthew Broderick, but he just doesn't sound natural in films. But we went to see it. It was in August of 2001 and we were living in New Jersey, and I was in New York, because that's where we had our offices, on the 78th floor of Tower One of the World Trade Center. And on a Tuesday in 2001 in August, I went over to the theater where the producers was, and I figured, I'll see if I can get tickets. Because my wife, Karen, who was now she's my late wife. She and I were married for 40 years, and then she passed away. But anyway, we I decided that we would try to see it, and I went over to the theater, and I said, so I want to see if I can get two tickets to the producers. And I knew that the media had said all the news media said, you can't get a ticket before March of 2002 and I said, well, but the deal is that my wife is in a wheelchair. Can we by any chance get a matinee to to go see it? And the guy said, I'm sorry, there's just nothing until at least no December. And I said, Well, okay, is there any chance of any other time other than the weekend, or anything that we could get? And he said, Well, just wait a minute. And he goes away, and he comes back and he goes, What are you doing Saturday night? I went, I guess I'll go see the producers, right? And we did. We got to see the original cast, of course, Matthew Broderick, Nathan Lane and Katie Huffman, who played Ulla. And was so wonderful to see that show. We had seen Matthew Broderick and Sarah Jessica Parker in How to Succeed in Business Without Really Trying. And then we saw Nathan Lane, and A Funny Thing Happened on the Way to the Forum. So we had seen them all perform before, but that was so fun to see.   Amber Ba'th ** 08:27 That's awesome, yeah, yeah.   Michael Hingson ** 08:29 And I think that the film wasn't nearly as good as the play, but   Amber Ba'th ** 08:34 I'm sure it wasn't. So my theater is so dear to me. I I don't know, it's something about the willingness, suspension of disbelief, of breaking out of reality and just, you know, getting away from it all, and just sitting and enjoying yourself, laughing at just sometimes it can be nonsensical. Sometimes it can be sort of reality, you know, whatever, whatever genre you like, and it's nothing like being in the audience when you're when you're having when you're in there as live theater. So it's always a great opportunity to go and see a show, if you are able.   Michael Hingson ** 09:18 Why is it so much more fun, and so many people feel as you do about that, as opposed to going to a movie,   Amber Ba'th ** 09:29 it's, it's a it's a cultural thing for me, and it's immersing yourself in the culture of theater, seeing the different nuances. There's sometimes there's interaction, like, they'll break the fourth wall. Sometimes in that, in every show, is not the same. That's the great thing about theater, because you could go to a show on a Monday and then you go back to see it on a Friday, and it's like, totally different. Yeah, you.   Michael Hingson ** 10:00 It was 93 or 94 whenever they had the big baseball strike. And I went to see Damn Yankees, which has always been one of my favorite movies, because I've always been a ray Walston fan anyway, but went to see it, and during the the and I don't remember who was, who was in it, but at one point, Mr. Applegate, the devil, said, we've got to do something to to disrupt this whole baseball thing and get Joe Hardy back in line with what we want. He said, I got it. Let's organize a baseball strike right there in the middle of the theater. I mean, you know that that had to be ad libbed and just done, but it was so funny to see.   Amber Ba'th ** 10:44 Yeah, you never know what you're gonna get. You know, it's always exciting to see. And   Michael Hingson ** 10:49 I think that the reason that I like theater over over movies is, in part, you're hearing a lot more. Even though there's still audio and electronics, you're still hearing the PA system. You're not hearing the PA system as much. You're really hearing voices exactly you're hearing and seeing so many things. We did go to see Damn Yankees again a few years later, we had moved to New Jersey by that time, and Jerry Lewis was playing Mr. Applegate. Wow. It was the only time he ever did anything on Broadway and and did such a wonderful job. It was incredible, really.   Amber Ba'th ** 11:26 You know, it's the last show that I actually saw. Was Daniel at the sight and sound Oh and oh my goodness, I'm gonna go back. I'm gonna go see Noah. But I was literally sitting on the floor at the end aisle, and when the animals came out, I could actually reach out and touch them if I wanted to. But it was just so beautifully done. It was so amazing. It I can't, I can't even there are words that can't describe the the acting, the set, set design, the sound, everything about that show was amazing.   Michael Hingson ** 12:12 We went to see the Lion King. Karen's brother got us tickets. He was a certified ski guide in France, and he was coming back for the summer with his family, and got all of us tickets. So we went to see Lion King. It was a matinee on a Wednesday, and we got into the theater and the show started. And I knew kind of how it started, with the music and so on, but there's still nothing like hearing it live. But we it live. But we, we, we were listening. And then at one point, of course, the hyenas come in, and they meet with scar but in the play, in the in the musical, they come in from the back of the theater, down the stairs, and Karen, of course, being in a wheelchair, sitting in her chair on the aisle, and the hyenas are growling and they're coming by, and one of them gets right up next to her and goes, you've never seen a lady in a wheelchair jump out of her chair. Oh, it was so funny, but we were talking about it later, and she said, It wasn't long before you got completely used to all these animals, these puppets, and you didn't think of them as anything but the actual animals, wow, which, you know, you you you get in a theater, which you don't get the same in the movies at all. But it was, it was a lot of fun. We actually did get to go backstage afterward and meet some of the actors, and I actually got a chance to look at one of the animals, which was kind of fun.   Amber Ba'th ** 13:47 That's awesome, you know, I'm sorry. The other thing is that when you are in live theater, there's an intermission, and you get to actually mix and mingle with other people, other theater goers. So that's always another thing. I mean, you know, going to the movies. Yeah, you see other people walking back and forth, but they're, you know, rushing for their seat, going to the restroom, getting, you know, and going to the concessions. But there are moments where they're either taking pictures. Sometimes the cast members may come out during intermission, take pictures, and it's more of an interaction with everybody.   Michael Hingson ** 14:24 We went to see God spell once in San Diego, and what we didn't know was there was a guy out there who was coming up to people and wanting to clean their windshields and so on. And what we didn't know until later was that was the actor who played John. He was in character. He was being a servant. It was, it was great. That was so clever. That's awesome. So what did you do for college? Well, I went, as if we don't know,   Amber Ba'th ** 14:55 and I know, right? I went to Howard University. Yeah, and I majored in theater arts administration, uh huh, yeah. So it's the funny thing about that was I always, you know, was in the theater, and my mother told me, I am not paying for you to be an actor. I'm like, Well, I don't know anything else. And this particular year, when I came in, they had just started the theater arts administration program, and I said, Well, I can't do acting. I don't know anything else. This is it. And I really didn't know what that entailed until I got in and I said, Hmm, let's see I get to know the behind the scenes aspects. I can also be a producer to director. I could, you know, basically tell people what to do. That is for me,   Michael Hingson ** 15:50 there you go. So you so you got your degree in that. How come your mother wouldn't pay for you to be an actor?   Amber Ba'th ** 15:59 Because, I mean, back then it was just like, you know, that's something that that's not a real job, no. And even though she did it, they think like that, you know, that's not a real job. You know, it'll never amount to anything. You won't you get, you won't get where you want to be, you know. So I said, you know, I don't know anything else but, but this so, you know, so thank God that that was something that was there when I did come in there.   Michael Hingson ** 16:27 Well, so you, you got your degree in theater arts, production, administration, administration, and so you, you learned how to tell everybody what to do, which sounds a good thing to do, right? And so then what happened after college?   Amber Ba'th ** 16:47 Well, after college, I was I had always been one of those types that said, Oh no, I just got out of college, and maybe two days later I don't have a job, and I'm always worried about that, but I had someone, a classmate, say, You know what, I think you'd be a good fit for this. And what is she talking about? And I don't know if you recall HBO taxicab confessions, uh huh. Okay, so they actually came to DC, and, you know, they chose me. I was chosen to be their production assistant, and I was in the follow vehicle with the cab, you know, all that kind of stuff. And it was like, Okay, this is a lot. This is a lot. They never aired it because a little too risque. But, I mean, they could air it now, but, you know, and they asked me to come to LA, you know, as, and that was a funny thing, because when, before then, I said, oh gosh, I'll never go to LA. It's like Sodom and Gomorrah. And so I wound up going to LA they said, you know, I'll give you, you know, get you a round trip ticket, you know, you can either stay, you can go back, you know, giving me that option. And I took it. I took it, and it was the best thing that I've   Michael Hingson ** 18:14 ever done. What did you do when you got out here?   Amber Ba'th ** 18:17 When I got out there? I, of course, I was working with them for a little bit, and then I decided, You know what, I want to be an actress. This is what this is. I'm here. I am in Hollywood.   Michael Hingson ** 18:29 Mom, not withstanding.   Amber Ba'th ** 18:33 I said, Oh my gosh. And of course, what did I do? I got whatever most actors got was a waitress, a way a serving job, you know, just something enough that I could act flexible enough that I could actually go on auditions and things like that. And I did. I went on auditions. I met a lot of different celebrities. I was in McDonald's had their quote, unquote, adult happy meal that I actually was the poster girl for. I was like, Oh my goodness. And I was in magazines, you know, things like that. And then one day, a friend of mine who graduated with me in theater arts administration, she was actually doing a production, a touring play as the company manager, which is like a tour manager. And she she got another invite to be the company manager on TD Jason's TD Jakes show, and she really wanted to take that so the producer said, Well, you're gonna have to find a replacement. So she called me up and I started working on a show with David Talbert called the fabric of a man who had starred Shamar Moore, and we toured for. Oh, wow. This is interesting, because I didn't really think about this until I started talking. We toured until let's see 910 and I remember because something happened in Houston, Texas, and we had to refund money to all of the audience members, and we're leaving. And what I would do after each show is make sure that the hotel was was taken care of, everything was taken care of. And we went home. Everyone went to their destinations, and we went home. And that morning, I called the hotel, and he told me that different people were still there, and I'm and I just didn't understand why, you know, at the time, because it was really early in the morning in LA and so I'm calling, and I'm like, Well, what's happening? He said, You don't know what's going on. And I said, No. He said, planes are going down everywhere. And I'm like, What are you talking about? I turned on the TV, and that's when I saw the second plane going into the tower. And I just Oh my gosh, this is kind of bringing back some stuff, because I am a woman of faith, and I actually prior to us leaving for seven days, prior to us going to to to Houston. I kept having these dreams about a plane going down in a field, you know, but it would be continuous things. And then the next night, there were planes. There were planes. Looks like two planes colliding. Then there was, I saw people falling out of the sky, and I was like that, this is not making any sense. I didn't know anything. I mean, I was, I didn't know what was going on. And I just kept dreaming these dreams. This is what's happening. Then when we when we were leaving Houston, I had a dream prior to us leaving of the exact shape, color of this plane that went down in the field. And we were, I was at the airport, and I'm looking, and I'm like, okay, that's not the plane that I saw. And so I get on the I get on the plane, and as I'm about to settle in, about to, you know, leave Houston, go to LA, there's a man dressed in Arab garb with, you know, something on his head. And I don't know why I said this, but I just said, I hope he doesn't want to jack the plane. And I went to sleep, and i The dream that I had was that I really saw who was falling out of the sky, but they had on business suits. So when I called the hotel and he told me this, it, it just took over me. You know, I was in shambles. I was like, What? What did I just dream? What happened? Something is not right. I didn't know what was wrong with me at the time. I thought there was something actually wrong with me. Like, why am I dreaming this? What is happening? So that was just something that you happened to ask me the question, and that brought it back. And then I'm thinking about you, you know, so,   Michael Hingson ** 23:44 ah, you know, so many people, many people that I've talked to who didn't at first know what was happening, and they they either turn on their TV, or they were at an airport or something, and they saw the second plane hit the towers and they thought it was a movie. And I've heard so many people say that then, of course, they realized that it wasn't a movie. But you know, a lot of people just thought it was a movie at first, because nobody could imagine it. And you know, that is true. How who would have thought that somebody would deliberately crash airplanes like that into the towers and into the Pentagon? And, of course, now the the one falling out of the sky was that flight 93 in Pennsylvania, Yes, uh huh. And eventually, when you saw the plane, or whatever that was, the plane that you dreamed about, exactly, yeah, uh huh, and that's not surprising. Yeah, there are so many stories of of different things that people experienced that day. We didn't know anything about what was going on until actually we got out of the. Towers, and both towers had collapsed, and my wife was the first one who told us that aircraft had been hijacked and so on. And of course, people say to me all the time, well, of course, you didn't know because you couldn't see it. Excuse me, the last time I checked as I tell people Superman and X ray vision are fiction, and the reality is the airplane hit about 18 floors above us on the other side of the building, no one knew all the way down the stairs, the hundreds of people that I interacted with going down the stairs didn't know what happened. We figured, we figured an airplane hit the building because we were smelling burning jet fuel fumes as we were going down the stairs. So we figured an airplane hit the building. But we had no details. We had no information. Blindness. Didn't have anything to do with it at all. But yeah, it's, it's just one of those things. Well, so you were in, you were still in the business of telling people what to do, which was really good. And how did you eventually, then get into voice acting?   Amber Ba'th ** 26:04 Well, I had always first, it's funny because you people who get into voice acting, oh, I really want to get into voice acting, and they think it's just this one thing that was me. I i always like to do voices. I like to play around with different things. My favorite is the villain. I don't know what it is, but I like to play the villain. But what happened was,   Michael Hingson ** 26:30 you and Cruella de Vil, okay,   Amber Ba'th ** 26:34 it was actually covid. You know, it was. The thing was that I literally was a preschool teacher at the time. And, you know, because after I left, I left LA, I got married and I had kids, and, you know, that kind of thing. So I was back in DC, and so, you know, after that, I covid happened, and I don't want to say it forced me, but it forced me. Nudged me, you know? And I said, you know, this would be great, because different things were happening. Where I was meeting people on on an on an app called clubhouse, and I said, Oh, this is cool. And I've always loved audio dramas too. So I actually about a $40 mic. I bought an eye rig, and I just hooked it up, and I just started talking. And I was in some acting workshops, some improv workshops. I was cast in an audio drama on clubhouse, you know? So it was, I was like, Oh, this is fun, you know, I like talking to myself anyway, so why not? So I created space in my walk in closet, and there you have it.   Michael Hingson ** 28:00 And the rest, as they say, is history. That's right. So what kind of roles have you had, and what kinds of voices and so on, have you created and done?   Amber Ba'th ** 28:11 Well, I I actually, I did the Bible, you know. And whenever I tell the person I narrated the Bible, they're like, the whole Bible, yeah, the whole Bible, technically, that would be 66 books that I narrate, yeah, you know. But yeah, I did the whole Bible for a Bible app, the CSB version for the dwell app, and it was just amazing, because just a little story behind that, I was someone wanted me to narrate their book, and they said that, you know, we want you to narrate it, but we don't want to use your name. We want you to. We want to, we want to use your voice, but we want the narrow, the author to be the narrator. Is this like a ghost Narrator or something, really, that's a   Michael Hingson ** 29:10 little strange, you know? And, oh, we'll give you this   Amber Ba'th ** 29:13 amount of money. Like, okay? And then I actually was praying about it. And, you know, the Lord spoke to me, and he said, I gave you that voice. So I had to decline. And then someone else came to me to narrate a book, and they were taking forever. Oh, it's not ready yet. It's ready. It's not ready yet. And I said, look, okay, I can't do this. I had auditioned for the Bible. And normally it takes, it's like a 2448 hour turnaround time to really know if you if this is for you. Yeah, and I didn't hear anything for about maybe three weeks. And I was like, I guess they found their person. And. I get an email saying that we got good news. You just booked the CSV version. I think I dropped whatever I had in my hand and fell before and, you know, it was just, it was just amazing. So, you know, because what I what happened was I read the Bible every day, and this particular and I read it in a year. So this particular year, I decided to listen to it, and, you know? And I said, You know what, Lord, it would be cool if I could narrate this. And then I had this audition, and I was blessed to read the Bible, and I did it in less than a year.   Michael Hingson ** 30:41 Wow, yeah, it's clearly, you know, it's a long thing. Do you know who Carl Omari is? No. Carl Omari, well, he's probably most known for having recreated the Twilight Zone radio broadcasts. So he, years ago, he took all the Twilight Zone episodes. He got permission from Rod Serling estate, and he created radio broadcasts of them, but he also did the Living Bible, and he got people like Michael York to to be involved in other actors and so on. So I know having, and I own a copy, and I didn't even know about Carl doing it at the time, but it's 98 hours long. It's a long it's a big one.   Amber Ba'th ** 31:22 It's a long one. It is long. But, yeah, that was exciting. Also, I recently just narrated a book called heaven, not by Patricia Robinson, and it's very Orwellian. I should say, you know, I, as I was renarrating it, I'm like, this stuff is happening now. And she wrote it years ago. And I'm talking about, as my children would say, in the 1900s you know. So it was, it was amazing. It was amazing to do that and and I love it, but I do love animated characters. So one of the characters that I never actually thought that I was someone to do impersonations. You know, it's like I got my own voice. You don't need to do anybody else voice. But I was in a workshop for with a good friend, Chris Woodsworth, and he's over in the UK. And he said, Well, what do you like to do? And I said, I like villains. So he thought of a villain, and I never would have thought about Isma from the Emperor's New Groove, and when I was researching, when I was going over the lines, I had to stop myself, because it scared me, because I said, Wait a minute, I really sound like her.   Michael Hingson ** 32:56 All right, really creepy. We need to hear you sound like a villain.   Amber Ba'th ** 33:00 Oh, my goodness, Isma. Okay, so Isma is Cronk. Why did I think that you got this one simple thing? It's like you're a dude, a really, really big stupid monkey named Cronk. And do you want to know something else? I never licked your spinach puffs, never Oh, oh, gosh, oh, goodness. And then, you know, I love, it's the last the laugh that a villain does. I did that, you know, I, I did one. It's called a micro animation called house in the Outlands, and I played a character named sathagawa. And it was one of those, you know, one of those. It was so cool. You know,   Michael Hingson ** 33:49 I've, I've always been impressed with listening to voices and so on, and voice acting, to a large degree, one of the things that I that really made me appreciate a lot of it was, of course, James Earl Jones playing Darth Vader on Star Wars. And then I had the opportunity, while I was in New York once, to go see James Earl Jones and Christopher Plummer in Othello. What an amazing performance, because at the end, when Othello falls on his sword, you know, you know what's going to happen. People have read the play. It's not like Othello is a secret, right, right? The whole crowd just went when he did that. I mean, they were so drawn in by the power of both of their voices and the acting, which is, I've just always loved the fact that people can do that.   Amber Ba'th ** 34:48 Yeah, it's it's amazing. Sometimes I listen to myself and I'm like, That's me.   Michael Hingson ** 34:56 Well, your prejudice. So I. But still, it's just amazing how people can can do so much with with voice collecting old radio shows, as I do, it's really fascinating to to hear all the old shows and the different things that that people do, and the way they can sound so natural doing so many different kinds of voices and so on. And I think we've lost that art, to a degree, at least for a lot of people who try to go off and recreate radio shows, it sounds forced. And we've we've not been able to really train people, although I think one of the things that the radio enthusiast of Puget Sound wants to do is to actually start providing some acting classes to teach people how to use their voices in really doing radio shows, right.   Amber Ba'th ** 35:54 Yeah, yeah, you're so right. I mean, when I was I was actually a a moderator and assistant to a improv workshop coach. I always told students it is so imperative to take acting classes. I mean, I know with voiceovers, it's a lot of it's commercial and things like that, but you have to understand that when you are conveying a message, you know, I don't care how great your voice sounds, if the listener cannot feel, you cannot really get into what you're saying. Or even, let's just say it's a commercial for food. If they can't say, Okay, I gotta go and get some food. Now, you know, then you didn't do your job, right? You know? And I tried to let I said, Listen, it's not just people, you know. They will say, Oh, I'm selling burgers. No, you're not. You're not selling burgers. You know, it's people are hungry. You know, you're telling people this is what they should do because you're hungry, it's mouth watering, yeah, you know, describe what you're eating, and you have to do it in such a way, in such in such a short amount of time, that it just leaves people salivating, you know? And that's, that's what they want, that's what sells the food, the product, or or whatever, whatever it is that you are sharing. So I really tell students, please take acting classes. Yeah, you have to see it, envision it. Sometimes you got to get up and, you know, move around. Sometimes when you're doing auditions, or when you're actually doing a session or performances, you know, and nobody can see you.   Michael Hingson ** 37:50 And it's about the voice. I know that the again, reps the radio enthusiast at Puget Sound does a number of radio recreations. I participated in a couple, but one of the things that I do, and a few of the actors who have been around for a long time, Margaret O'Brien and Beverly Washburn and other people like that, before they will undertake one of the parts that they're they're asked to do in recreating a radio show, they go back and listen to the original show because they want to get into the character.   You have been listening to the Unstoppable Mindset podcast. Thanks for dropping by. I hope that you'll join us again next week, and in future weeks for upcoming episodes. To subscribe to our podcast and to learn about upcoming episodes, please visit www dot Michael hingson.com slash podcast. Michael Hingson is spelled m i c h a e l h i n g s o n. While you're on the site., please use the form there to recommend people who we ought to interview in upcoming editions of the show. And also, we ask you and urge you to invite your friends to join us in the future. If you know of any one or any organization needing a speaker for an event, please email me at speaker at Michael hingson.com. I appreciate it very much. To learn more about the concept of blinded by fear, please visit www dot Michael hingson.com forward slash blinded by fear and while you're there, feel free to pick up a copy of my free eBook entitled blinded by fear. The unstoppable mindset podcast is provided by access cast an initiative of accessiBe and is sponsored by accessiBe. Please visit www.accessibe.com . AccessiBe is spelled a c c e s s i b e. There you can learn all about how you can make your website inclusive for all persons with disabilities and how you can help make the internet fully inclusive by 2025. Thanks again for Listening. Please come back and visit us again next week.

Doug Jeppesen earned a BA in Art History and a BFA in Art with an emphasis in ceramics from the University of Tulsa, and MFA from Northern Illinois University. Specializing in wood firing, Doug's work has appeared in numerous national juried and invitational exhibitions across the United States and he was a panel member during the International Wood Firing Conference hosted by Northern Arizona University, and at the 2nd European Wood Fire Conference hosted by Guladagergaard International Ceramic Research Center in Skaelskor Denmark. https://ThePottersCast.com/1172

"Written in the Stars"Got writer's block? Want to unlock the art of storytelling? Grab you tarot deck and astrology chart, and let's get creative with Kacy Boccumini, a certified tarot reader, medium, and filmmaker. Afraid of Nothing podcast host Bob Heske took a workshop with Kacy at Lilydale over the summer, and revisits the experience with our listeners. Kacy also shares some paranormal encounters - including a personal ghost story that is unique and unsettling. Sometimes co-host Cuyle Carvin joins the discussion!ABOUT KACY BOCCUMINIKacy Boccumini is an award-winning writer, filmmaker, and medium from Los Angeles. He's the founder of My Best Guy, an independent film production company, and The Lighthouse, a spiritual hub offering classes, readings, and healing work. He holds a Master's degree from NYU's Tisch School of the Arts and a BFA in Film and Digital Media from UC Santa Cruz, where he graduated with honors and received a Dean's Award for his work on Scorsese's filmic evolution.Kacy spent 17 years at Sony Pictures leading innovation in physical and digital distribution, earning multiple service awards—including a DEG Award for cross-industry leadership on EMA TV avails. In his community, he became the first openly trans person elected to the Miracle Mile Neighborhood Council, where he served as Treasurer. As a filmmaker, his work has screened at major festivals like Slamdance, LA Shorts, Outfest, and NewFilmmakers Los Angeles. His debut short, Last First Kiss, was nominated for Best Dramatic Short of 2025. Most recently, he taught two classes at the renowned Lily Dale Assembly, including his original workshop “Written in the Stars,” which blends writing with tarot and astrology.You can see his films by visiting www.mybestguy.com or see his class and service offerings at www.lightwork.care. Creepy music accompanying Kacy's ghost story courtesy of Zapsplat.com.$10 Afraid of Nothing merch - and more - at the Afraid of Nothing Shopify store. Visit afraidofnothingpodcast.com or use this url:https://www.afraidofnothingpodcast.com/p/shopify-store/Never be afraid to look good and have cool merch! Support the showSUPPORT THE PODCAST NEW: SHOP OUR STORE ON SHOPIFY!Never Be Afraid to Look Good at https://383e86-d1.myshopify.com/.FOLLOW/SUBSCRIBE/REVIEW...On our website at afraidofnothingpodcast.com.SUBSCRIBE...Your gracious donation here helps defray production costs. Beyond my undying gratitude, you will also will be shouted out in an upcoming episode.WATCH ON YOUTUBE...We are uploading past episodes on our Youtube channel. WATCH THE DOC… VIMEO ON DEMAND: Rent the Afraid of Nothing documentary here: https://vimeo.com/ondemand/aondoc. TUBI: watch for free with ads on tubitv.com. REVIEW OUR FILM ON ROTTEN TOMATOES...Write your five-star review here.

Pre-Order my new book ADHD IS OVER! now on Amazon: tinyurl.com/532b2ck8 My guest today is Anne Kerry Ford. Anne has a BFA from Julliard School of Drama and has played leading roles in classical theatre and on Broadway. Anne has also been a practitioner of Vajrayana Tibetan Buddhism since she was 17. Her primary teachers were none other than Chögyam Trumpa Rinpoche. Anne is also a deer friend of plant medicine and studied Quantum Physics in retreats with Dr. Joe Dispense. I have studied Quantum Physics (and it's practical application) extensively in group retreats with Dr. Joe Dispenza. Anne is all about living art, dancing, singing and she's currently refining her own one woman show. For more information on this podcast, please visit www.adhdisover.com

In this College Deep Dive, Jennifer Hemphill, the new Music Theater Director at Baldwin Wallace University and Charlie Murphy, Director of MTCA chat about: How Jennifer's leadership is shaping a new chapter in the program's curriculum Faculty checking social media and your digital footprint  How BW is focusing on students who value process over product “Match or Beat” mindset — schools want to work with you, not against you. If you have any questions about the college audition process, feel free to reach out at mailbag@mappingthecollegeaudition.com. If you're interested in working with MTCA for help with your individualized preparation for your College Audition journey, please check us out at mtca.com, or on Instagram or Facebook.  Follow Us!  Instagram: @mappingthecollegeaudition YouTube: @MTCA (Musical Theater College Auditions)  TikTok: @mtcollegeauditions  Charlie Murphy:@charmur7  About MTCA:  Musical Theater College Auditions (MTCA) is the leader in coaching acting and musical theater students through the college audition process and beyond with superlative results. MTCA has assembled a roster of expert artist-educators who can guide students artistically, organizationally, strategically, and psychologically through the competitive college audition process. MTCA provides the tools, resources, and expertise along with a vast and strong support system. They train the unique individual, empowering the artist to bring their true, authentic self to their work. MTCA believes that by helping students reveal their potential it allows each school to connect with those who are truly right for their programs, which in turn guides each student toward their best college fit.  About Charlie Murphy:  Charlie is a proud graduate of Carnegie Mellon University's BFA program. As an Actor he has performed with theaters such as: NY Public Theatre's “Shakespeare in the Park”, The Pearl Theatre Company, Hudson Valley Shakespeare Festival, Chautauqua Theatre Company, Kinetic Theatre Company, and the Shakespeare Theatre of DC. With MTCA [Musical Theater College Auditions -- mtca.com], he has been helping prospective theatre students through the college process for over 15 years. As a Teacher and Director, he is able to do a few of his favorite things in life: help students to find their authentic selves as artists, and then help them find their best fit for their collegiate journey. Through this podcast, he hopes to continue that work as well as help demystify this intricate process. This episode was produced by Meghan Cordier, Kelly Prendergast and Socials by Jordan Rice. Episode theme music is created by Will Reynolds with Additional Vocals from Elizabeth Stanley Episode Website Link  Learn more about your ad choices. Visit megaphone.fm/adchoices

In this Halloween-themed episode of Stuff About Money They Didn't Teach You in School, host Erik Garcia, CFP®, ChFC®, BFA™ is joined by Dr. Matt Morris and first-time guest Stephanie Osborn for a fun and insightful conversation about fear, especially the fear of money. The trio starts by sharing their thoughts on scary movies (and why Erik can't stand them) and explores some New Orleans lingo about what it really means to call someone “scary.” From there, they draw parallels between the things that spook us on screen, and the real-life anxieties people feel around money. As the discussion unfolds, they unpack why money can be so intimidating and how fear often leads to poor, or no financial decisions at all. The group explores the antidote to financial fear: identifying what's truly important to you, Erik's first pillar of financial security. Matt shares personal stories about how that focus has helped him overcome financial stress, while Erik and Stephanie offer practical strategies like setting small goals, celebrating wins, and building fierce accountability. Tune in for a lighthearted, meaningful conversation that'll leave you a little less afraid of your finances—and maybe a little more ready to face your own money monsters. Episode Highlights: Erik kicks off the episode by sharing his fear of scary movies and how “scary” means something different in New Orleans. (03:38) Matt recalls childhood memories of terrifying films like Children of the Corn and Blair Witch Project, explaining why uncertainty makes horror so effective. (04:57) Stephanie admits she used to love scary movies but can't handle them anymore, naming Scream as her favorite from the '90s. (05:48) Erik transitions the conversation to the episode's main topic about how money can be just as scary as horror movies and introduces Stephanie as a first-time guest. (08:00) Matt explains how financial anxiety often stems from the unknown, similar to fear in horror films, and why some people hide from their finances. (09:00) Stephanie cites statistics about Americans feeling anxious and stressed about money, and Matt discusses how confidence and financial literacy help reduce fear. (10:00) Erik and Matt break down three major financial fears: not having enough, fear of debt, and fear of the unknown. (24:00) Matt shares how fear can lead to poor or avoidant financial decisions and explains the importance of awareness and communication in relationships. (27:00) Erik introduces “knowing what's important to you” as the antidote to financial fear and anxiety, connecting values to practical money habits. (36:00) Matt offers personal examples of aligning money with values, like saving for family travel and using insurance for peace of mind. (39:00) Stephanie adds that identifying where fear comes from and checking in regularly can help manage anxiety and prevent “fear paralysis.” (51:00) Erik concludes by encouraging listeners to identify what matters most, create action steps, and check in consistently to keep fear from controlling their finances. (56:00) Key Quotes: “None of us want to be fear driven. We don't want to make decisions just based out of fear. Our fears are frequently misaligned with reality.” - Dr. Matt Morris “I feel like people with money are always concerned about money, and people without money are always concerned about money. They always want to have more or they fear that they don't have enough.” - Stephanie Osborn “When you stop long enough to determine what's most important to you, you can start making conscious decisions to align your money with those things.” - Erik Garcia, CFP®, ChFC®, BFA™ Resources Mentioned: Dr. Matt Morris Matt Morris & Associates Stephanie Osborn Erik Garcia, CFP®, BFA Xavier Angel, CFP®, ChFC, CLTC Plan Wisely Wealth Advisors

In this episode I am welcomed by visual artist Terra Keck. Together we explored her initial interests in occult spirituality and how that began to evolve in her life and especially its influence over her art practice.  We discuss the nature of awareness and the importance of cultivating a space (both physical and mental) that allows for channeling and transmission to come through the creative process.  ———————————Terra Keck is an artist, curator, and writer based in Brooklyn, New York. She received her MFA from the University of Hawai'i at Mānoa and her BFA from Ball State University. She is a partner at Field Projects Gallery in the Chelsea Arts District of Manhattan and cohosts the comedy-educational podcast “Witch, Yes!” Her work has been published in Hyperallergic, The Art Newspaper, and Oxford American Arts and can be found in permanent institutional collections in Japan, Australia, New Zealand, Hawaii, and California. She is a regular contributing writer to Artspiel, Impulse Magazine, and Artefuse. www.terrakeck.com  Field Projects Gallery https://www.fieldprojectsgallery.com/ Terra's Podcast: Witch, Yes! https://open.spotify.com/show/1kWQXQEAkBUhLRFpvqP0EJ Follow Martin Benson for more insights:*To stay updated on the podcast and related content, check out ⁠⁠⁠⁠⁠⁠⁠my Instagram⁠⁠⁠⁠⁠⁠⁠*To support the show and access exclusive content, consider subscribing for $0.99/month on Instagram (link above).Credits: Special thanks to Matthew Blankenship of ⁠⁠⁠⁠⁠⁠⁠The Sometimes Island⁠⁠⁠⁠⁠⁠⁠ for our podcast theme music!Support this podcast: ⁠⁠⁠⁠⁠⁠⁠https://podcasters.spotify.com/pod/show/martin-l-benson/support

In this Halloween-themed episode of Stuff About Money They Didn't Teach You in School, host Erik Garcia, CFP®, ChFC®, BFA™ is joined by Dr. Matt Morris and first-time guest Stephanie Osborn for a fun and insightful conversation about fear, especially the fear of money. The trio starts by sharing their thoughts on scary movies (and why Erik can't stand them) and explores some New Orleans lingo about what it really means to call someone “scary.” From there, they draw parallels between the things that spook us on screen, and the real-life anxieties people feel around money. As the discussion unfolds, they unpack why money can be so intimidating and how fear often leads to poor, or no financial decisions at all. The group explores the antidote to financial fear: identifying what's truly important to you, Erik's first pillar of financial security. Matt shares personal stories about how that focus has helped him overcome financial stress, while Erik and Stephanie offer practical strategies like setting small goals, celebrating wins, and building fierce accountability. Tune in for a lighthearted, meaningful conversation that'll leave you a little less afraid of your finances—and maybe a little more ready to face your own money monsters. Episode Highlights: Erik kicks off the episode by sharing his fear of scary movies and how “scary” means something different in New Orleans. (03:38) Matt recalls childhood memories of terrifying films like Children of the Corn and Blair Witch Project, explaining why uncertainty makes horror so effective. (04:57) Stephanie admits she used to love scary movies but can't handle them anymore, naming Scream as her favorite from the '90s. (05:48) Erik transitions the conversation to the episode's main topic about how money can be just as scary as horror movies and introduces Stephanie as a first-time guest. (08:00) Matt explains how financial anxiety often stems from the unknown, similar to fear in horror films, and why some people hide from their finances. (09:00) Stephanie cites statistics about Americans feeling anxious and stressed about money, and Matt discusses how confidence and financial literacy help reduce fear. (10:00) Erik and Matt break down three major financial fears: not having enough, fear of debt, and fear of the unknown. (24:00) Matt shares how fear can lead to poor or avoidant financial decisions and explains the importance of awareness and communication in relationships. (27:00) Erik introduces “knowing what's important to you” as the antidote to financial fear and anxiety, connecting values to practical money habits. (36:00) Matt offers personal examples of aligning money with values, like saving for family travel and using insurance for peace of mind. (39:00) Stephanie adds that identifying where fear comes from and checking in regularly can help manage anxiety and prevent “fear paralysis.” (51:00) Erik concludes by encouraging listeners to identify what matters most, create action steps, and check in consistently to keep fear from controlling their finances. (56:00) Key Quotes: “None of us want to be fear driven. We don't want to make decisions just based out of fear. Our fears are frequently misaligned with reality.” - Dr. Matt Morris “I feel like people with money are always concerned about money, and people without money are always concerned about money. They always want to have more or they fear that they don't have enough.” - Stephanie Osborn “When you stop long enough to determine what's most important to you, you can start making conscious decisions to align your money with those things.” - Erik Garcia, CFP®, ChFC®, BFA™ Resources Mentioned: Dr. Matt Morris Matt Morris & Associates Stephanie Osborn Erik Garcia, CFP®, BFA Xavier Angel, CFP®, ChFC, CLTC Plan Wisely Wealth Advisors

Marisa Adesman (b. 1991, Roslyn, NY) received her MFA from the Rhode Island School of Design, Providence, RI in 2018 and her BFA from Washington University, St. Louis, MO in 2013. Adesman had her first museum solo exhibition, The Birth of Flowers, at KMAC Contemporary Art Museum, Louisville, KY in 2023. She has exhibited work widely including at the Contemporary Art Museum (CAM), St. Louis, MO; Black Mountain College Museum, Ashville, NC; Mead Art Museum, Amherst College; Amherst, MA; Anat Ebgi, Los Angeles / New York; and Mrs. Gallery, Queens, NY. Adesman's work is in public collections including Museum of Contemporary Art San Diego, San Diego, CA; Deji Museum, Nanjing, China; and Museo d'Arte Moderna di Bologna (MAMbo), Bologna, Italy. Adesman lives and works in Chicago, IL.  Marisa Adesman's surreal and thought-provoking paintings often depict ordinary objects in bizarre contexts and striking states of mystical transformation. She composes tableware, candles, houseplants, flowers, linens, kitchen utensils, and furniture into strange and unusual arrangements that destabilize our notions about the proper order of a house and home. These settings are often centered around the female form and are guided by Adesman's visionary poetics of interior space. She examines the art historical meaning of the female figure as a pliable body designed for amorous desire and protection, but also sinister and capable of deception and corruption. Adesman's compositions mingle ethereal and phantasmagoric imagery of the surrealist period with Dutch still life and vanitas paintings from 16th and 17th century Europe. Likewise, she retains all the attendant technical mastery which defined those artistic styles. Smooth and luminous surfaces combined with a masterful use of chiaroscuro, the skillful contrastingof extreme light and dark, reveals the hand of a remarkably detailed painter whose work demands to be viewed in person. Marisa Adesman: Tug of War, Courtesy the artists and Anat Ebgi, Los Angeles / New York. Photos by: Marisa Adesman Marisa Adesman: Deadheading, 2025, Courtesy the artists and Anat Ebgi, Los Angeles / New York. Photos by: Marisa Adesman Marisa Adesman: The Turn, 2025, Courtesy the artists and Anat Ebgi, Los Angeles / New York. Photos by: Marisa Adesman

In this week's episode, we interview narrator Hollis McCarthy, who has narrated over 300 audiobooks, including many of THE GHOSTS and CLOAK MAGES. She is also co-author with her mother Dee Maltby of the MAGIC OF LARLION series, which you can learn more about at https://deemaltbyauthor.com/. This coupon code will get you 25% off the ebooks in the Dragonskull series at my Payhip store: DRAGONSKULL25 The coupon code is valid through October 27, 2025. So if you need a new ebook this fall, we've got you covered! TRANSCRIPT Introduction and Writing Updates (00:00): Hello, everyone. Welcome to Episode 273 of The Pulp Writer Show. My name is Jonathan Moller. Today is October 17th, 2025, and today we have an interview with audiobook narrator Hollis McCarthy. Hollis has narrated many audiobooks, including numerous books from the Ghost and Cloak Mage series, so we'll talk with her about that. Before we get to our main topic, we'll have Coupon of the Week and then a progress update on my current writing projects. This week's coupon code will get you 25% off the ebooks in the Dragonskull series at my Payhip store, and that coupon code is DRAGONSKULL25. The coupon code is valid through October 27th, 2025. So if you need some new ebooks to read for this fall, we've got you covered. And as always, the coupon code and the links to my store will be available in the show notes. Now for an update on my current writing projects. As of this recording, I am 80% of the way through the first round of edits in Cloak of Worlds, so making good progress and if all goes well, the book should be out before the end of the month. I'm also 14,000 words into Blade of Shadows, which will be my next main project after Cloak of Worlds is published, which means I also have to write the outline for Elven-Assassin soon, and that will be the fifth book in the Rivah series. In audiobook news, recording will be underway next week for Blade of Flames. That will be narrated excellently by Brad Wills. Ghost in Siege is now out. It should be available at of all the audiobook stories (except Spotify) and it should be available there in a few days. And that is the final book in my Ghost Armor series that is excellently narrated by Hollis McCarthy. So that is where I'm at with my current writing and audiobook and publishing projects, which makes for a good segue into our main topic, our interview with Hollis McCarthy, which begins now. 00:03:56 Interview With Hollis McCarthy Hi everyone. I'm here today with Hollis McCarthy, who is a classically trained actor. Hollis has played leads in regional and off-Broadway theater, specializing in Shakespeare. On CBS. she's been a recurring guest star judge on Bull, the president of Ireland on Bluebloods, and a senator on Netflix's House of Cards. She's narrated more than 300 books for a variety of publishers and is the proud co-author of her mom Dee Maltby's epic fantasy series, The Magic of Larlion. Hollis, thanks for coming on the show today. Hollis: My pleasure. Jonathan: So to start, can you tell us a little bit about yourself and how you got into acting and performing? Hollis: That's a great question. I think it all started with doing my little brother's Sesame Street finger puppets. He's 10 years younger than me, so I mean, I got to reread all my favorite books with him and I started voicing the finger puppets to Burt, Ernie and Cookie Monster and all those guys in the backseat of the car and playing all the characters. And then my brother went into theater. My other brother's seven years older than me, and I used to go see his shows up at the college when I was in high school and kind of fell in love with it there. I absolutely meant to be an aeronautical engineer/physicist like my dad, but it didn't end up working out. I fell in love with theater and went to Stratford. I had a dual major because I was in an honors program, so I didn't have to declare a major until my fifth year of undergrad. But then I went to Stratford up in Canada and I saw two Shakespeare shows in one day and that was it. I had to do that. That was what I loved. Jonathan: Well, since we've had many audiobooks together, I'm glad it worked out that way. Hollis: Me too. Yeah, so I got my BFA in acting, and then I got my MFA from the University of Missouri-Kansas City in performance, and I was lucky enough to have some great coaches from the RSC and did a bunch more Shakespeare, and I've done that regionally a lot. And then I fell into audiobooks because I got tired of traveling, and I love to work from my home in my jammies. Jonathan: That is the dream. Speaking of that, could you tell us a bit more about how you sort of got into audiobooks or ended up doing a lot of that? Hollis: Yeah. Well, again, it starts with my childhood. My mom, who was a writer and an artist, she had, there were five of us kids and she would read out loud to us in the kitchen to keep us from fighting when we were cleaning up. So she started with Tolkien and Watership Down and Narnia and all of that. And then I got to, like I said, read to my little brother all my favorite books. And so I started doing all different voices for the characters and I always thought that was normal until, of course I volunteered to read in class in high school and people thought I was some sort of freak, but I always loved playing all the characters. And so when I started looking at staying home more and what could I do to work from home instead of being on the road for work, which was great for a long time, but then at some point you want to stay home and have a life as an actor as well as doing what you love. And audiobooks seemed a good fit. So my husband, who's also an actor, took a class from Paul Rubin here in the city in New York. We live in the New York area now. And he got a bunch of good tips from that that he passed on to me. And then my agent got me an audition with Audible and Mike Charzuk there. I came in and read a couple of pieces for him and he came back to the booth with a book he wanted me to start on. And from there I just kept building and got a lot of great indie authors through ACX like you. I don't know how many books we've done together now. Jonathan: It's over 30, I think. Yeah, 30 over the last seven years. So it's been a while. Hollis: And you're seriously, I mean, I'm not saying this because I'm on your blog, but your series are absolutely my favorites, especially because, yeah, the two series that I do, one is Nadia from the Midwest like me and then the other one with Caina, the epic fantasy world, which uses all my British and Irish bits and I absolutely love them. So yeah, I've just kept building up, getting in with a few more publishers now, which is harder to do and I just love it. Our first booth, when the pandemic hit, we had to build a booth at home and I had been going to studios in the city up until that point, but it hit pretty suddenly. It was obvious on St. Patrick's Day when it was like us going to the studio and people who were absolutely desperate folks were the only other ones on the street. We had to stay home. So my husband took our rapier blade (we fight with swords. We're actor combatants, like you said). He took two broadsword blades and a rapier blade, and he's handy with carpentry, fortunately. That's how he worked his way through school. He bracketed those to the wall and we ordered through Amazon before they kind of shut down too. We ordered packing blankets to hang over them and I ordered a new microphone and a new interface and it was trial and error for a bunch of days. And we had an engineer on call who talked us through how to run the software programs and stuff, how to set them up. And from there I've just kept recording at home. I sometimes still go into the studios when they have a budget where they can spring for a studio, but mostly they want you to work from home these days. So that's mostly what I do. Jonathan: Oh, building a recording booth out of swords. That's very Caina. Hollis: It's very Caina. I love Caina. Caina is me as a young woman. If I had been a superhero, I would've been a Caina. All my favorite roles in Shakespeare were the girl as boy ones. You asked, one of my favorite roles in theater was when I was at Alabama Shakespeare and I was playing Queen Elizabeth in Richard III and dressing in gorgeous gowns and being very seductive and very powerful and manipulative and all that. But in the earlier scenes, we did the three plays and in the Richard III and the Henry VI we did all three. And in the earlier scenes where Elizabeth wasn't in, I got to dress up and doublet and hose and I like stippled some stipple of beard on my face and climbed a siege ladder with a sword in one hand and did a spectacular pratfall running away from the bad guys and would slide on my stomach on the deck of the stage and I would come out into the lobby and the other guys who were playing my fellow fighters would be holding up rating cards for how far I'd slid that day. Jonathan: Sounds like very practical cardio. Hollis: Yeah, very. It was a lot of fun. That was probably my most fun I've ever done, though I also loved Beatrice and Much Ado, which I got to do twice because she's just so funny and witty and passionate. She's great, and Shakespeare, you know. Jonathan: Very good. So after all these audiobooks, what goes into preparing to record an audiobook? Hollis: That's a great question, too. It depends on the book, really. And I'm lucky enough to do a lot of series now, so when you're doing a series, it gets easier as you go along. I remember with the first ones I did for you, the first Caina, it probably took me an hour of prep to get through the first chapter. There were so many made up place names that I needed to figure out how to say, and then you have to be consistent. Even if they're made up, you still have to be consistent. So I really used my theater training there because I learned the international phonetic alphabet when I was in school, and so I can write down phonetic pronunciations and for each book, I'm old school with my prep, I'll keep a legal pad and I'll write down phonetic pronunciations, the word, page number, and the phonetic pronunciation for each word, so I have a record. You don't retain them from book to book. Pronunciations is a big part of what you do. Also, character voices, because again, you want to be true to the author's intent and you want to stay consistent. Again, for Caina, it became very complicated because you had to have Caina's basic voice, which is this [speaks in Caina's voice]. She started out a bit higher because she was younger. And then as she aged, she's gotten more medium pitch-wise, but then she was in disguise as various people. She was disguised as a cockney guy for a while, and she was an Irish guy for a while. And so for each of those personas, you have to notate for yourself in the script. Oh, now she has this accent. Now she has this one. And really for each chunk of dialogue, every time a character speaks, I'll put the initial of their name and if there are a lot of characters in the scene, I will have to differentiate between them pretty frequently. If it's two characters and I know them both very well, then I kind of have the shorthand in my head. So the different character voices I also put on my legal pad so I have a record, so Calvia sounds like this [speaks a line in the character's voice]. And sometimes I'll write down physical aspects of them so that I can just kind of feel the character. And after I do them for a while, the feel of the character will give me the voice and you write down everything that the author says about the character too. I'll just notate for myself that will oftentimes give you the voice. If it's a good author, which thank God you are, you write in different voices, which makes my job easier. Jonathan: The joke I sometimes say is I didn't do audiobooks for the first seven years I was publishing, and people would ask me, how do you pronounce this? I say, I don't care, pronounce it however you want. And then suddenly we started doing audiobooks and suddenly no, it matters very much how it's pronounced. Hollis: Yeah, exactly. It's funny, I'm just looking at my tablet. I have your Shield of Power up on my tablet. I've been reading that on the treadmill and at lunch. But yeah, we have to keep tabs. And when we have so many books now, I've started special folders just for the Ghost series and the Cloak series because a lot of times a character will show up from several books previous and I go, I remember them, but I don't remember what they sounded like. So I will have notated forward alto, slightly Irish or something like that for them. I have shorthand for all of it, and so I'll do that. Jonathan: Yeah, I spent a lot of time with Control + F searching through Word documents, trying to remember the first time I wrote this character and what they looked like. Hollis: Yeah, I bet you do. Some writers I guess do, well, if they don't do it all themselves. And if they have somebody who's like an administrative assistant, they have somebody who gives you, I've gotten these from authors before. Their assistant will send me a story log of characters with everything that's said about the character. I'm like, oh, well, that's very organized and helpful, but I would think it would be massively time consuming. Jonathan: It is. I did hire someone to help me with that this year. It was getting to be too much to go back and search through things and it is a very time consuming project, but once it's done, it's very helpful because it's quite easy to find things and look things up and refresh your memory. Hollis: I bet so. When I was working on my mom's books, we hired an editor and she did a spreadsheet, a database kind of different terms and characters and what was said about them. And I go back to that and amend it all the time now that I'm trying to write book eight. Jonathan: Yeah, that kind of thing is very helpful. But on a related topic of preparation, since you've done audiobooks, stage, and TV, how would say narrating audiobooks is different from the experience of doing theater or TV? Hollis: The major thing and the hardest thing for me when I was starting out was you can't move around all the time. I had an engineer at Audible. It was just, and a lot of times the chair is very important because if you move, what you're bound to do, if you're producing your voice correctly, you need to sit up and you need to use your hands to express yourself, and you have to have an absolutely silent chair. And the chairs at Audible at that time, were not absolutely silent. So every time I moved, the chair would squeak and we'd have to stop and start again. So that was very, very hard for me. In fact, I've been doing so much audiobooks now, and I also do TV and film, but that's gone to all for auditioning for that. It's all self tape, which means it's just like head and shoulders, so still you're just kind of using a little part of your body. And I had a theater callback for Pygmalion in the city the other day, in person, in a studio, in a rehearsal room. The day before, I used to do those all the time, and that's so rare now for them to do in-person auditions since the pandemic. But I put on my character shoes and my skirt and I practice just being bigger, opening my body up and doing all this stuff I learned to do in school and that you do when you're on stage to own the space because the space is the back wall of the theater. And that's a big difference between theater, film, TV, and audiobooks is the scope of it. When I did Beatrice, I was in an 1,100 seat unamplified stone amphitheater outdoors in Colorado. So you can imagine the scope physically and vocally is so big. And then for TV, film and you have to what they say, reach the back wall of whatever space you're in. Well, for film and TV, the back wall is the camera. It's right in front of your face a lot of the times. And the back wall is really kind of the inside of your head. It's almost like you have to have internal gaze so that the thoughts are just happening. You don't have to project them, you don't have to project your voice because all the equipment comes right to you, and all you have to do is feel the feelings and think the thoughts and the camera and microphone picked that up. Similarly with audiobooks, I'm just in a little tiny padded booth. My microphone is just a few inches from my face, and so I could be very, very intimate and everything gets picked up, and you have to do a lot less work for the emotion to come through. Again, really all you have to do is kind of feel the emotion. And for me, that's always for me is being in the moment and feeling the moment and letting that dictate the pace and the vocals and everything. I guess I'm pretty Method. I'm very Method, but that's how I trained. It's what works for me. Not every narrator is like that. There's a million different proper ways to narrate, and that's just my take on it. But everything is right there. So it's just kind of keeping it much smaller and more intimate. And in fact, when you want to be big like [character name's said in the character's] voice and he was yelling a lot, and I would have to pull back from the microphone to let his scope come out. Jonathan: Well, after 30 audiobooks together, I can say that method definitely works. Related to that, as we mentioned earlier, you're now at over 300 titles on Audible over the last 12 years. Congratulations for that. What would you say is most surprising or unexpected things about audiobooks you learned during that time? Hollis: Oh, well, it was very surprising that we could make a booth out of sword blades and blankets. That surprised me. Yeah, that's a great question. It's surprising to me how simple I can be. I went back and I had an author recently who wanted me to do a new chapter to begin and end a book that I had done like 2014, something like that, shortly after I started. And I thought at the time that I was really filling these voices and what I did was fine. You're always your own worst critic. But what I've discovered now is the more you do it, the more you record, the more you use your instrument every single day for 300 some books, the more effortless it becomes and the more depth you can bring to it. And as a young actor, we always resist that. My acting coach used to say, age and experience. There's no substitute for it. I'm like, yeah, yeah, but talent and hard work, that's something. But it's really true that just the repetition, there's no substitute for it. Those chapters that I did, they were the same voices basically. But when I went back and listened to the original, I was like, oh, it surprised me how without really changing anything mechanically, the work has just gotten deeper, more effortless, but it sounds better at the same time. Does that make sense? Jonathan: It does. Because you've probably noticed I've redesigned the covers for the Caina series like seven times over the last 10 years. And every time you think this is it, this is it. I'm done. This is good. And then with more practice, you look back and think, well, maybe I can improve this again, though. I suppose that's not often something that happens in the audiobook world where you get to go back and revisit something you did previously. Hollis: That is one of the hardest and most surprising things about audiobooks. And I've heard people say that this happens to every young narrator when they're starting out, you get through the first two chapters of a new book and you go, oh God, now I get it. I want to go back and start again. Well, there's no do overs with audiobooks. With audiobooks, “done is good” is what they always tell you when you're starting out. So even in film and TV, which you don't get much rehearsal for, you get a couple of run run-throughs, but with audiobooks, you got your prep. Not everyone does, but I always read the whole book before I start if possible, because otherwise you get surprises. But you get your one read through, your prep, and then you go and yes, you can stop. You can punch and roll, edit over. If you make a mistake, you go back half a line, you start again there. But there's no evolution of the work, which is what's great about series too, I think, because with the series you get, yeah, Caina was here last time I did her and now she's going through something new. And then the character grows and it becomes less and less effortful, but it also becomes like someone you really know so that it gets so much deeper and it's so much more fun to play with. Jonathan: That makes sense. 12 years really is a long time to have done audio narration or anything. So what do you think is the key to sticking it out for audiobooks for the long term? Hollis: Well, a lot of things make a difference. I didn't do it before this interview, which is why my voice is kind of rocky, but I always warm up in the morning when I'm setting up a session. I always do a vocal warmup. You got to get a good night's sleep, you have to drink water every couple of pages. I have a tea that I drink that keeps my stomach quiet because stomach gurgles is another bad thing about audiobooks. You have to eat very carefully and drink tea to keep your stomach quiet. You don't want to have to stop every time for that. And a lot of training, a lot of vocal training. I had Linklater training and the Lavan training, and Linklater to me is the most useful. And a lot of the stuff that applies to Shakespeare applies to audiobooks too. You warm up, you get yourself breathing, you warm up your resonators, your sinus, your mask resonators, the back of your head, your chest resonators. For the men [imitates male voice], you really have to have your chest warmed up, get the vibrations going here. And so I get all that kind of going before I sit down in the booth. And that also keeps you, then you keep your throat open so you're not hurting yourself. You have to have good posture so that the air can move from your diaphragm up to your throat and have it be open. And then optimally, like with Caina, Caina has a lot of mask resonance. Brits do; they are very far forward. So you really have to have all that warmed up and then that has to have no impediments between the front of your face all the way down to your diaphragm where the breath originates. And if you can do all that, then you could be an audiobook narrator. Also diction. I warm up my diction to everything from [imitates several vocal exercises] in just to get your mouth moving. You don't want lazy mouth with, there's a lot of enunciation in audiobooks that's important. But I also don't like, I really hate when you hear people enunciating. I don't like that. And with Caina, even though she's upper class, she's not like that. She's not pretentious. And certainly Nadia, you want to be able to understand what she says, but you don't want her to be enunciating. That be weird. So all of all that stuff I worked on in grad school and did all the Shakespeare plays, I would always get to the theater an hour early. You have to be there half hour for makeup and check in, but I would always get there an hour early and do at least 15 to 20 minutes of physical and vocal warmups. And so those habits have really helped me. I think I have pipes of iron, fortunately. I'm very lucky. So all that stuff really matters with audiobooks. Jonathan: It's amazing in how many different fields of life the answer seems to boil down to do the things you're supposed to over and over again forever. Hollis: Exactly. That's really true. When are we going to get old enough that we don't have to do that anymore? [laughs] Jonathan: Just one side question. What is Linklater training? I don't think I've heard that term before. Hollis: Oh, Kristen Linklater is, she's probably the biggest American vocal coach. She has a lot of books out there about voice and the actor and all of her training stems from allowing the breathing to drop in as she calls it, not forcing it to drop into the diaphragm, and then creating a pool of vocal vibrations that go from the diaphragm through an open throat to the resonators. And you can use every resonator in your body to project that sound. When I was doing Beatrice and Gertrude at Colorado Shakes in that unamplified stone amphitheater in the foothills of the Rockies, there was winds that would come down out of the mountains when we were on stage, and that theater was known for eating women's voices. And I had to thank God the vocal coach that summer was a Linklater coach, which is the method that I trained in, and he helped me work with even resonators. If you can imagine in your back, just using the whole chest box and shaking the vibrations through your body so that basically you're making your whole human skeleton an amplifier for the vocal energy coming from your breath. And that's Linklater. She's fascinating. If you ever want to study voice, you can't do better than Linklater, to my mind. Cicely Berry is another one I studied. She's the British guru for the RSC and the Royal Shakespeare Company and all those people, and she's great too. Jonathan: Well, that's just exciting. I learned something new today. Hollis: That's always good. Always learning from your books too about Medieval combat. Jonathan: We always want to learn something new every day, whether we like it or not. Hollis: Right. Jonathan: So to turn it around a little bit, what advice would you give a new indie author who is working with a narrator for the first time? Hollis: Oh yeah, I actually, I made some notes. I thought that was such a good question. Make sure that your narrator knows what you expect from them upfront. If you go through ACX, they have this great thing called the first 15 where your narrator is, if you're new to this author, you record the first 15 minutes of the book and you put that on ACX for your author to listen to and approve. You don't have to approve it if you don't like it. And in fact, if you don't like it, it's very important you don't approve it and you tell your narrator specifics about what you need them to change before they go on with the book. Because what you can't really do is once a book is recorded, say, oh, I really don't like it. I'm not going to pay you for it. I need you to go back and do it again. That's not acceptable and it will make narrators never want to work with you. But what's great about the first 15 is you have that chance to say, well, this voice was, she was a little higher than I wanted. I hear her in my head more as an alto because for me as a narrator, what I want to do is I want to take what you, Jonathan, hear your characters being as you're writing them in your head. I want to take that and translate that into an audiobook for you. So the more you give your narrators information about your characters, the better they're going to voice it. Also, if there's a style in your head, like with Nadia books, there's a little touch of noir there. It was a dark and stormy night kind of feel. If there's a style you kind of hear in your head, that would be a good thing to give them. But ACX has also, I think a character sheet where you can tell them about the different characters. You can fill that out for your narrator. That's tremendously helpful, age of the character, if you hear a vocal pitch range, soprano, alto, tenor, bass, any dialects, they need to know that. The narrator's nightmare is you finish up a book and you shouldn't do this, you should read ahead, but you get to the last line: “I love you, darling,” he said in his beautiful French accent. Jonathan: It explicitly shows up there for the first time. Hollis: Exactly. And then for the narrator, it's like, oh my God, I have to go back and rerecord everything this guy said, which is hours and hours and hours of work for you and your editor who will kill you. But yeah, let them know about all the character traits that you can and just, I think it's on the narrator too, to, I've been lucky with my authors, we always have a good give and take. I come from a theater background and you want to collaborate. You want to realize the author's vision and you want to be a partner in creating that. So try to be partners and give them more information than you think they need and use that first 15. It is totally acceptable to send it back and say, I'm going to need you to do this again, and I'm going to need these changes. And then once you get that ironed out, then you'll probably be ready to go ahead and have a book. And when you get the book, you won't be shocked and you'll be happy (hopefully) with the read. Is that helpful? Jonathan: It does. New authors, if you're listening to this, listen to that advice. Hollis: Yeah. Jonathan: Now for a slightly different topic, can you tell us about the Magic of Larlion books and how you ended up publishing that series? Hollis: Yeah. The Magic of Larlion is an epic fantasy adventures series seven, almost eight volumes. I'm working on finishing book eight now. The first book, Wizard Stone, my brilliant mother Dee Maltby started years and years ago, probably, gosh, maybe 20 years ago now, I think when my little brother moved out from home and she had an empty nest and she had more time to write, and she wrote Wizard Stone, and she sent it out a few places, and that was the only way you could get published back when she wrote it and didn't pursue it, she got discouraged, I think, by rejections from publishers, sat in her drawer for a while, and my sister-in-law, Dana Benningfield, who's also an actor, and she was my best friend even before she married my brother. I introduced them. So yeah, that was all me. She was an editor professionally for a while, and when she moved to Ohio where I'm from and was living with my brother and my parents lived right across the orchard, I told her about this book. And she wasn't editing at the time, she was kind of done with it, but she asked mom if she could read it. So she read it and edited it, and then it became a much better book and really encouraged my mom to keep writing, which I had been telling her to do for years. But hearing somebody who wasn't family, somehow giving her that input that it was really something special, changed her perspective. So she kept writing and she and I started, I was on the road doing Shakespeare a lot. We started trading chapters. She'd send me a chapter a week and I would edit it and send it back. And so Wizard Stone evolved from there into its current form, and then she started the next book, Wizard Wind and Wizard Storm. And we went that way through five and a half books. And my dad finally, when he retired from being a physicist, said he was going to, I always told you I'd get your published Dee, I'm going to take it down to the print shop and get a hundred copies made. And by this time I was working with you and a bunch of other great indie authors who were letting thousands of happy readers read their books through an independent platform. And I said, well, wait a minute. I could do better than that. So I convinced them to hire an editor that I had worked with, and I did the rewrites and got it through the pre-production process and hired a cover artist, very talented artist. And you and Meara Platt, another of my authors, gave me so much information and help. And we got it published in 2022, I believe. We had three ready to go. And we published those all within a month of each other. One a month for three months, and then four and five, and then six came. And I co-authored five, six, and seven because my mother was losing her sight and her hearing at that point. We got those done. We had six out and a lot of people reading them and loving them and reviewing them before my mom passed. And I think it's probably one of the most satisfying things I've done in my life, because not only do I love the books, and they're just a rip roaring, fantastic adventure-filled epic trip through this incredible world my mom invented. But when she was about to, one of the last things she said to me was, I told her how many people had read her books. I just went through the Kindle numbers and thousands of people in different countries and all over the world were reading and loving her books. And I told her that, and she said, that's all that matters. And she felt such a sense of pride in herself and accomplishment because they were being received for what they are, which is a brilliant creative flight of fancy, this magical world in the tradition of all the books she loved, always Tolkien. And so I promised her I'd finish it. So after she died, I published six and seven and I've got eight about 90% written now, and I'm hoping to bring that out by the end of the year, although I've been too darn busy with narration to really spend the time. I've got the big climactic Jonathan Moeller type battle at the end sketched in my head and on an outline, but I got to write that. And then we can get that out there and finish that too. Jonathan: Will you stop with eight or keep going after eight? Hollis: My feeling is that this series will culminate with book eight. It's been a long saga of Beneban, this young wizard who kind of gets flung off a mountain by his evil wizard master and has to master his fledgling wizardry powers and his magical sword to win his love Laraynia, a powerful sorceress, and save the kingdom. And that's book one. And there's ice dragons, and then they have kids, and then the later books have become much more about their kids. And the more I write, the more it's become about young women fighting with swords. Jonathan: Well, they say write what you know. Hollis: Defeating the bad guys. Plucky young women, overachieving, competing with men. And so I think that's all going to come to a head with book eight, and that will be the end of that series. But I do think I'm going to spin it off into possibly more on the younger characters. I don't know if it's going to be YA per se, I think it'll still be for adults, but more of a YA feel to it, the younger characters of the ice dragon riding school of battle and the wizarding school. I don't know if I want to make it schools necessarily, it might limit you too much. And that's kind of been done too. But I do think the ice dragons are going to figure largely in it. Oh, and I don't know, there's a plot point I probably shouldn't give away, but my mother's full name was Willa Dee Maltby. She writes under Dee Maltby and there is a character, a very magical character named Willa that shows up in this book eight. So I think Willa will be a big character going forward and the younger generation of women and some boys too. I like boys, I do. Jonathan: Well, I suppose if people want to know more, they will have to read and find out. Hollis: Yes. And please go to the website is deemaltbyauthor.com and everything you want to know (well, maybe not everything), but everything you can know for now is there. Jonathan: Well, I was going to ask you what you would say was the most rewarding things about publishing the books, but I think you covered that pretty well. On the flip side, what was the biggest unexpected challenge in publishing them? Hollis: The PR is hard. You seem to be great at it. I even did PR professionally to work my way through undergrad and then in between grad school and undergrad and after I graduated and I had an assistantship in it at my university. But the book world specifically is a whole different kind of PR and learning Amazon ads and Facebook ads and it's a lot. It's a lot. And again, you have been so helpful with it. And I mean, there are a lot of online resources out there too, which is great. But what I'm really finding, trying to do it part-time is overwhelming. You really need a full-time block of time to not only write the books, but then to publicize them the way they deserve to be publicized. Jonathan: Yeah, the tricky part is, as you said, book advertising is very different from anything else. I was talking with a guy who is an Amazon reseller for various toiletries and hygiene products and makes a good living doing that. I was telling him how much I pay per click on Amazon ads. He's just appalled. It's like, you can't make any money doing that. And then the flip side of that too is that Internet marketing is so different than any other form of PR, so it's just sort of constant challenge there. Hollis: I know, and I know I actually signed up for a TikTok account and I just don't, again at the time. Plus every time I turn it on, I'm like, I don't want to watch that. I'm allergic to the format. You'd think being an actor, being used to being on camera, I could come up easily with little things to do for the books and I probably could for TikTok. But again, just learning the platform and then applying yourself to it is just such a big time hack that I don't have that amount of time. I know that narrators are now more and more marketing themselves by recording themselves on camera narrating and putting that out there, which I can do, I guess. And that's why I got this ring light and everything. I can do that now. I haven't done anything with it, but I guess if some of the book work dries up, I'll be more motivated to do it. Jonathan: Well, that's how anything works. You try it and if you enjoy it and it works, keep doing it. And if you don't enjoy it and it doesn't work, no point in carrying on with it. Hollis: I think that's true. And you just have to keep learning too, as we know with everything. You got to keep learning new things. Jonathan: Well, this has been a very enjoyable interview and thank you for coming on the show. Hollis: My pleasure. Jonathan: Let's close out with one last question. You've obviously done a lot of theater, so what, out of all the productions you've done was the one you would say was your favorite or that you enjoyed the most? Hollis: I think I have to go back to Beatrice probably. I mean, the Alabama Shakes getting to play a man thing, that was a lot of fun. But Beatrice, we did a Wild West Much Ado about Nothing at Colorado Shakespeare. The premise was that I was the niece of Leonardo, who is the tavern keeper, the bar keeper in this Wild West world. And there was a bar fight opening this Wild West production, and I entered through a swinging tavern door with a six shooter in one hand and a bull whip in the other. And I shot the pistol and cracked the bull whip and broke up the fight and then got to do Shakespeare's incredible Beatrice and Benedict story from there. It was so much fun. Jonathan: It almost seems like the soundtrack could have been “I Shot the Sheriff.” Hollis: Yeah. Yeah, it really could. It was a heck of a lot of fun. Jonathan: Well, speaking of fun, it was good talking with you, and thank you for taking the time to be on the show. Hollis: Yeah, I am excited to start the next Cloak book soon. So I was going to offer to do a little snatch of you want the introduction for Cloak here? Jonathan: Oh, I think we'll save it for the Real Thing. Hollis: Oh, okay. All right. Well thank you, Jonathan. It's been a pleasure. Jonathan: It's been a pleasure. And see you soon for Cloak Mage #10. Hollis: Alright. So that was our interview with Hollis McCarthy. Thank you for coming on the show and giving us a very informative and entertaining interview. A reminder that the website with the Magic of Larlion books is deemaltbyauthor.com. So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy, and we'll see you all next week.

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Welcome back to ARTMATTERS: The Podcast for Artists.My guest today is Robert Schefman. He is a Detroit-based artist with a BFA from Michigan State University and an MFA from the University of Iowa. His work is in collections at the Detroit Institute of Arts and The Broad, along with other major institutions, and has been exhibited at the Smithsonian and other venues across the country. He's a recipient of Pollack-Krasner and Kresge Foundation grants and is Professor Emeritus at the College for Creative Studies and is currently represented by David Klein Gallery.In today's conversation we talk about what happens when you're three-quarters done with a painting and want to quit. Why finishing isn't the same as just resolving it. How sketching out ideas first saves you weeks of work. Why your style comes from doing the work, not from deciding what style you want. Robert talks about why he switched from sculpture to painting. And we get into the trap of teaching or other work feeling like real progress while your actual art sits on the back burner.You can now support this podcast by clicking HERE and becoming a Patreon Supporter!If you're enjoying the podcast so far, please rate, review, subscribe and SHARE ON INSTAGRAM!   If you have an any questions you want answered, write in to artmatterspodcast@gmail.comhost: Isaac Mannwww.isaacmann.cominsta: @isaac.mannguest: Robert Schefmanwww.robertschefman.cominsta: @robertschefmanThank you as always to ARRN, the Detroit-based artist and instrumentalist, for the music.

portrait by Catherine Talese Melanie Vote holds a BFA from Iowa State University and an MFA in painting from the New York Academy of Art. Having grown up on a functional farm before living and working in NYC for over 25 years, her practice straddles these two worlds. Her work investigates the complexities of the human-land relationship, the cyclical nature of life, and the impossibility of permanence. Vote was a recipient of a Pollock-Krasner Foundation Grant (2007) and was awarded residencies, including the Vermont Studio Center (2002), Jentel, WY (2009), AHAD, Abu Dhabi, UAE (2013), the Grand Canyon (2016), the Weir Farm, CT (2022), and Cill Rialaig, Ireland (2023). Her work has been exhibited nationally and internationally. Exhibitions include work at The Aldrich Contemporary Art Museum (2003) and The Hangaram Art Museum (Seoul, South Korea) (2016). Solo exhibitions include, DFN Gallery, NY (2008), Hionas Gallery, NY (2011, 2016), Galleria Farina, Miami (2017), and Equity Gallery, NY (2020, 2025). Vote presented work in a two-person show curated by Liz Garvey of Garvey|Simon Gallery at DFN Projects in October 2023, followed by her solo exhibition, Consulting with the Light Eaters, at Equity Gallery in May 2025. Her work was also included in the group drawing exhibition, “We Were Never Here,” at Kaliner Gallery in August 2025. Waiting (Portrait of Norman Allen Vote 1945-2025) Graphite and Watercolor on Paper, 2024, 12 x 16 in Overalls (Drawing) Graphite and Watercolor on Paper 2021, 11 x 8 in Bioluminous, Oil on Canvas, 2025, 70 x 112 in Bioluminous, Oil on Canvas, 2025, 70 x 112 in

Artist Olivia van Kuiken discusses intentional misdirection, how she is thinking about language through painting, engaging with the architectural element of her work, and more. This conversation is concerned primarily with the work in her recent show “Bastard Rhyme” at Matthew Brown Gallery in New York.Olivia van Kuiken (b. 1997 in Chicago, Illinois) is a New York based artist. She received a BFA in Studio Art at Cooper Union, New York, 2019.Solo Exhibitions include Losing looking leaving, Caprii, Düsseldorf (2024); Beil Lieb, Château Shatto, Los Angeles (2024); Make me Mulch!, Chapter NY, New York (2023);  She clock, me clock, we clock, King's Leap, New York (2022).Select group exhibitions include the Lord will spit out the lukewarm, Bortolami, New York (2025); What are you looking for?, curated by Brandy Carstens, Société, Berlin (2025); Meet me by the lake, CLEARING, New York (2024); Mad Monk, Micki Meng, New York (2024); A Modern Disease, curated by Cooper Brovenick, New York (2024); Manic Pixie Nightmare Drawings, Adler Beatty, New York (2024); Anything can pass before the eyes of a person, Derosia, New York (2023); Works on Paper: 100 Years, Amanita, New York (2023); Supper Club, As it Stands, Los Angeles (2023); Oceans of Time, Château Shatto, Los Angeles (2022); Elective Affinities, Chapter NY, New York (2022); Bright lights, big city, no fun, Shoot the Lobster, New York  (2022); La Saison Creuse, Hoffman Maler Wallenburg, Nice (2022).Olivia's Instagram: @livankuikenReference links:Bernini, Chair of St. Peter (1657–1666)Barnett Newman, Vir Heroicus Sublimis (1950-51)Percy Bysshe Shelley, Ozymandias (1818)Tove Jansson, The Summer Book (1972)Rembrandt, Self-Portrait with Two Circles (1665-1669)Taryn Simon, Image Atlas (2012) Beyoncé, AMERICA HAS A PROBLEM (2022)Cap'n Jazz, Scary Kids Scaring Kids (1998)my bloody valentine, mbv (2013)

It takes a true dreamer to become a dancer, but grit and a bit of luck are often necessary to navigate this challenging world and bring that dream to life. Many dancers know the feeling—when everything seems to be falling into place, the universe can throw unexpected hurdles your way. That's been my own experience, and it's part of why Putting My Heels Down struck such a deep chord with me. Kara Tatelbaum is a multifaceted dancer, choreographer, teacher, coach, writer, and caregiver who brings her whole self into everything she does. She has built a remarkable career performing and teaching in NYC and abroad, earning her BFA in Dance from NYU's Tisch School of the Arts and an MFA in Choreography from SUNY Purchase. Early encouragement from her teachers led Kara to choreograph at a young age, eventually founding her own company, *independentdancemaker | Kara Tatelbaum, in 2000. Her work has been showcased at numerous venues, including DanceNow/NYC, the Gibney Center, Joyce SoHo, and internationally at the Shanghai Expo.In this episode, I dive into my first-ever book review as we explore the incredible journey of New York's own Kara Tatelbaum, who beautifully intertwines her personal story with universal experiences in a captivating read for dancers of all ages and backgrounds.. Welcome to Episode 4 of Season 3, Putting My Heels Down.Kara TatelbaumPutting My Heels DownBook ReviewSoundtracks:Birds - Tyler Twombly Poison Ivy Yard Work - Uncle Milk6:00 - DarkSunn Support the showLike our offers? S2 Summer SALE! Check out our new Dance Masterclass YouTube review Sign up for Dance Masterclass Choreographing Your Dance Career by Janaea Rose Lyn Try Nord VPN Like what we do? Help us grow by Visiting The Background Dancer YouTube Channel Rate and review here Email me at backgrounddancer.jy@gmail.com Answer a survey Sign up here to receive future updates Leave a thought on Facebook and Instagram Join the Facebook group and introduce yourself as a member of our community

Willie Stewart (b. 1982, Gallatin, TN) lives and works in New Haven, Connecticut. He received his MFA in Sculpture from Yale University in 2018, and a BFA from The Cooper Union in 2016. His work has been the subject of solo and two-person exhibitions at Morgan Presents, New York (2022); Morán Morán, Los Angeles, CA (2023, 2019); Nicelle Beauchene Gallery, New York (2023, 2021); and Pioneer Works, Brooklyn, NY, with Brent Stewart (2017). Stewart completed residencies at Pioneer Works (2016), and Skowhegan School of Painting and Sculpture (2014) Willie Stewart Beasts, 2025 Colored pencil, ink and gouache on cotton board, graphite, acrylic, oil and gouache on canvas over panel 80 x 64 inches 203 x 162.5 cm Willie Stewart The Last Supper, 2025 Ink on cotton board, acrylic over custom armature with hardware, acrylic, gouache, graphite and ink on canvas 67 3/4 x 80 x 12 inches 172 x 203 x 30.5 cm Willie Stewart Singers, 2025 Colored pencil, ink and gouache on cotton board, graphite, acrylic and gouache on canvas over panel 30 x 22 inches 76.2 x 55.9 cm

Originally from Mexico City, via California, and South Carolina, Paulina Johnson has been immersed in the fields of art and graphic design for over 20 years. She received a joint BFA from the Academy of Art University and the University of San Francisco in 1999. In 2017, she earned an MFA from the Vermont College of Fine Arts.  Paulina has been an ongoing educator and is currently an exhibiting partner at Pine Moon Fine Art in Steamboat Springs, CO. She lives and works in beautiful Steamboat where she enjoys the mountains with her husband, two growing boys and their pup Murray.

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In this College Deep Dive, Joel Ferrell, a Professor of Practice in Theatre and Inaugural Director of the Sexton Institute for Musical Theatre at Southern Methodist University chats with MTCA Director Charlie Murphy.  Building a Musical Theater program on top of an already established Acting program The power of chutzpah: cultivating artists who will challenge with a real point of view. Confidence over false humility— being an artist means taking risks and embracing mistakes. If you have any questions about the college audition process, feel free to reach out at mailbag@mappingthecollegeaudition.com. If you're interested in working with MTCA for help with your individualized preparation for your College Audition journey, please check us out at mtca.com, or on Instagram or Facebook.  Follow Us!  Instagram: @mappingthecollegeaudition YouTube: @MTCA (Musical Theater College Auditions)  TikTok: @mtcollegeauditions  Charlie Murphy:@charmur7  About MTCA:  Musical Theater College Auditions (MTCA) is the leader in coaching acting and musical theater students through the college audition process and beyond with superlative results. MTCA has assembled a roster of expert artist-educators who can guide students artistically, organizationally, strategically, and psychologically through the competitive college audition process. MTCA provides the tools, resources, and expertise along with a vast and strong support system. They train the unique individual, empowering the artist to bring their true, authentic self to their work. MTCA believes that by helping students reveal their potential it allows each school to connect with those who are truly right for their programs, which in turn guides each student toward their best college fit.  About Charlie Murphy:  Charlie is a proud graduate of Carnegie Mellon University's BFA program. As an Actor he has performed with theaters such as: NY Public Theatre's “Shakespeare in the Park”, The Pearl Theatre Company, Hudson Valley Shakespeare Festival, Chautauqua Theatre Company, Kinetic Theatre Company, and the Shakespeare Theatre of DC. With MTCA [Musical Theater College Auditions -- mtca.com], he has been helping prospective theatre students through the college process for over 15 years. As a Teacher and Director, he is able to do a few of his favorite things in life: help students to find their authentic selves as artists, and then help them find their best fit for their collegiate journey. Through this podcast, he hopes to continue that work as well as help demystify this intricate process. This episode was produced by Meghan Cordier, Kelly Prendergast and Socials by Jordan Rice. Episode theme music is created by Will Reynolds with Additional Vocals from Elizabeth Stanley Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of Stuff About Money They Didn't Teach You in School, Erik Garcia, CFP®, ChFC®, BFA™, and Xavier Angel, CFP®, ChFC®, CLTC, tackle one of the most important yet often overlooked financial topics: long-term care. The conversation kicks off with a laugh as Erik shares how Xavier nearly got himself kicked out of a professional study group for challenging the conventional wisdom around long term care insurance. That sets the stage for a lively discussion about why this issue matters so much, even if it is not the kind of thing people want to chat about at a cocktail party. Between sobering stats about rising care costs and Xavier's candid story of his aunt currently in a long term care facility, this episode keeps things engaging while shining a light on a subject that is too often ignored. But ignoring the problem does not make it go away. With the average nursing home room now costing well into six figures annually, long term care planning is a reality everyone needs to address. Erik and Xavier unpack the complexity, explaining why traditional policies may not be as reliable as they seem, why the financial planning around it can be so tricky, and how thinking in terms of cash flow might change the conversation entirely. Along the way, Erik lightens the mood with a surprisingly fitting analogy about chickens and eggs, reminding us that financial planning can be both practical and a little entertaining. Tune in, lean in, and be sure to share this episode with someone who may need a nudge to plan wisely for their future. Episode Highlights: Erik emphasizes why long term care matters, even for younger listeners, due to its inevitable impact on families. (01:12) Erik unpacks the challenges retirees face when fixed incomes meet rising care costs. (03:01) Xavier explains how some advisors buffer rate hikes by quoting higher premiums upfront. (04:00) Xavier shares a personal story to define long-term care as more than just insurance, it's physical and emotional support. (06:56) Xavier discusses the national costs of care and why planning for it is essential. (11:00) Erik outlines the risks of asset depletion and reduced income after losing a spouse. (13:38) Xavier explains how women statistically need care longer and why planning must consider longevity. (14:18) Erik highlights why long-term care planning must include income replacement strategies. (16:17) Xavier warns against “one-size-fits-all” insurance solutions in client conversations. (17:36) Erik uses a chicken-and-egg analogy to explain sustainable income planning. (21:53) Erik encourages listeners to focus on income streams over lump sums in planning for future care. (24:36) Xavier shares a case study about a client who prioritized legacy over self-care and why that needed to change. (25:39) Erik urges listeners to talk with aging parents now about their long-term care plans. (27:00) Key Quotes: “ As a planner, I'm always thinking about how does this affect you long term, not just today, but what happens 10 years from now? Because if we're doing your planning today, I'm still doing your planning 10 years from now.” - Xavier Angel, CFP®, ChFC®, CLTC “Even though you may not necessarily be taking direct action to solve a potential financial problem today or in the future, having the conversation about it is actually starting to solve the problem.” - Erik Garcia, CFP®, ChFC®, BFA™ “We are financial planners. We love helping people solve financial problems, and we love helping people make financial decisions that are in alignment with what is most important to them.” - Erik Garcia, CFP®, ChFC®, BFA™ Resources Mentioned: Erik Garcia, CFP®, BFA Xavier Angel, CFP®, ChFC, CLTC Plan Wisely Wealth Advisors

Show SummaryThis episode features a conversation with Kathleen Ellertson, the Founder and President of the Veteran Art Institute. The Veteran Art Institute is a 501(c)3 Nonprofit dedicated to honoring and empowering active-duty military and veterans through the arts.Provide FeedbackAs a dedicated member of the audience, we would like to hear from you about the show. Please take a few minutes to share your thoughts about the show in this short feedback survey. By doing so, you will be entered to receive a signed copy of one of our host's three books on military and veteran mental health. About Today's GuestKathleen Ellertson is the dedicated Founder and President of the Veteran Art Institute (VAI). Inspired by her father, an Army Air Forces Veteran and WWII Bronze Star Medal recipient, Kathleen has channeled her lifelong passion for the arts into a mission to honor veterans through creative expression. With a BFA in Art History and years of experience curating veteran art exhibits, including a notable year-long exhibit at the Pentagon, Kathleen has established VAI as a platform for veterans to showcase their work both online and in local galleries. Since its inception in 2019, VAI has not only hosted numerous art exhibitions but has also cultivated a nurturing community where veteran artists can share their stories and find solace. Kathleen's unwavering dedication to giving back to the veteran community continues to drive her work, making a meaningful impact through art and advocacy.Links Mentioned During the EpisodeVeteran Art Institute Web Site PsychArmor Resource of the WeekThis week's PsychArmor Resource of the Week is the PsychArmor course Telling Your Story. Your experience in the United States military is one only you can tell and it's up to you how much you choose to share with others. In this course, four Veterans share their personal stories and offer insight.   You can find the resource here:  https://learn.psycharmor.org/courses/va-s-a-v-e Episode Partner: Are you an organization that engages with or supports the military affiliated community? Would you like to partner with an engaged and dynamic audience of like-minded professionals? Reach out to Inquire about Partnership Opportunities Contact Us and Join Us on Social Media Email PsychArmorPsychArmor on XPsychArmor on FacebookPsychArmor on YouTubePsychArmor on LinkedInPsychArmor on InstagramTheme MusicOur theme music Don't Kill the Messenger was written and performed by Navy Veteran Jerry Maniscalco, in cooperation with Operation Encore, a non profit committed to supporting singer/songwriter and musicians across the military and Veteran communities.Producer and Host Duane France is a retired Army Noncommissioned Officer, combat veteran, and clinical mental health counselor for service members, veterans, and their families.  You can find more about the work that he is doing at www.veteranmentalhealth.com  

In this episode of CAA Conversations, Kimberly Sandoval moderates a discussion on what it means to be a border artist and what separates Border Arte from other aspects of Chicana/o art, featuring Amanda Pardo and Samantha Ceccopieri, as well as Dr. Constance Cortez and Dr. Karen Mary Davalos, creators of Mexican American Art Since 1848. Amanda Pardo was working toward a BA in history with a minor in art from the University of Texas Rio Grande Valley (UTRGV) at the time of recording. Her work and research focus on the history of women, gender, and sexuality. She has given a public talk about her work and research as part of a lecture series and participated in pop-up exhibitions dedicated to the discussion of modernity and the domestic space. Samantha Ceccopieri has a BFA with a K–12 certification from UTRGV. Her work and research focus on the usage of art in mental wellness to reduce anxiety in scholars, both young and old, working with students and educators throughout the Rio Grande Valley. She has shared her research at TAEA and other art education conferences as part of UTRGV's Engaged Scholar Program and School of Art and Design. Constance Cortez is a professor at UTRGV for the School of Art and Design, currently teaching Chicano/a art history as well as special topics courses such as Women in Art History. Dr. Cortez is a prominent figure in Chicano/a scholarship, with works like The New Aztlan: Nepantla (and Other Sites of Transmogrification), published in 2001, and has an extensive background in early Mesoamerican art history. Karen Mary Davalos is a professor at the University of Minnesota Twin Cities, currently teaching topics in Chicano studies and art history as affiliated faculty. Dr. Davalos is also a prominent figure in Chicano/a scholarship with works like Exhibiting Mestizaje: Mexican (American) Museums in the Diaspora, also published in 2001, and recently presented a paper on Nepantla aesthetics at the CAA Annual Conference in 2024. Kimberly Sandoval is an independent scholar, artist, and MFA alumna of UTRGV. Her work speaks to the life and experiences occurring around and within the Brownsville, South Texas, borderlands. She has exhibited her video artwork across the United States and Indonesia. She has also spoken about culturally affirming art pedagogies at art education conferences and chaired a panel discussion on Border Arte at the CAA Annual Conference in 2024 .

In this episode of Stuff About Money They Didn't Teach You in School, Erik Garcia, CFP®, ChFC®, BFA™, and Xavier Angel, CFP®, ChFC®, CLTC, tackle one of the most important yet often overlooked financial topics: long-term care. The conversation kicks off with a laugh as Erik shares how Xavier nearly got himself kicked out of a professional study group for challenging the conventional wisdom around long term care insurance. That sets the stage for a lively discussion about why this issue matters so much, even if it is not the kind of thing people want to chat about at a cocktail party. Between sobering stats about rising care costs and Xavier's candid story of his aunt currently in a long term care facility, this episode keeps things engaging while shining a light on a subject that is too often ignored. But ignoring the problem does not make it go away. With the average nursing home room now costing well into six figures annually, long term care planning is a reality everyone needs to address. Erik and Xavier unpack the complexity, explaining why traditional policies may not be as reliable as they seem, why the financial planning around it can be so tricky, and how thinking in terms of cash flow might change the conversation entirely. Along the way, Erik lightens the mood with a surprisingly fitting analogy about chickens and eggs, reminding us that financial planning can be both practical and a little entertaining. Tune in, lean in, and be sure to share this episode with someone who may need a nudge to plan wisely for their future. Episode Highlights: Erik emphasizes why long term care matters, even for younger listeners, due to its inevitable impact on families. (01:12) Erik unpacks the challenges retirees face when fixed incomes meet rising care costs. (03:01) Xavier explains how some advisors buffer rate hikes by quoting higher premiums upfront. (04:00) Xavier shares a personal story to define long-term care as more than just insurance, it's physical and emotional support. (06:56) Xavier discusses the national costs of care and why planning for it is essential. (11:00) Erik outlines the risks of asset depletion and reduced income after losing a spouse. (13:38) Xavier explains how women statistically need care longer and why planning must consider longevity. (14:18) Erik highlights why long-term care planning must include income replacement strategies. (16:17) Xavier warns against “one-size-fits-all” insurance solutions in client conversations. (17:36) Erik uses a chicken-and-egg analogy to explain sustainable income planning. (21:53) Erik encourages listeners to focus on income streams over lump sums in planning for future care. (24:36) Xavier shares a case study about a client who prioritized legacy over self-care and why that needed to change. (25:39) Erik urges listeners to talk with aging parents now about their long-term care plans. (27:00) Key Quotes: “ As a planner, I'm always thinking about how does this affect you long term, not just today, but what happens 10 years from now? Because if we're doing your planning today, I'm still doing your planning 10 years from now.” - Xavier Angel, CFP®, ChFC®, CLTC “Even though you may not necessarily be taking direct action to solve a potential financial problem today or in the future, having the conversation about it is actually starting to solve the problem.” - Erik Garcia, CFP®, ChFC®, BFA™ “We are financial planners. We love helping people solve financial problems, and we love helping people make financial decisions that are in alignment with what is most important to them.” - Erik Garcia, CFP®, ChFC®, BFA™ Resources Mentioned: Erik Garcia, CFP®, BFA Xavier Angel, CFP®, ChFC, CLTC Plan Wisely Wealth Advisors

Introduction to “Cherry and Star Anise – Episode one of the Dean and Cordelia series. Hello and welcome survivors to the next story in the Apocalypse Café. Today we present to you the first episode in the Dean and Cordelia three episode arc titled “Cherry and Star Anise.” I'll come back with comments at the end, but allow me, survivors, to quickly introduce the author and the performer. Jesse Daniels is a tree-climbing Virgo with an amazing whistling ability. He can often be found at the peak of a mountain with his dog and wife in tow. He enjoys storytelling, drawing, painting, and creative endeavors of all types. He is working on a fantasy novel with a creative take on classic monsters and a unique magic system, hoping to get it out and into the world within the next couple of years.Currently, Jesse has a non-fiction book out through Storey Publishing focused on tabletop game design, titled Make Your Own Board Game. Look to his website, PiedRaven.com, for more information on his other work including Hibernation, a bear-centric card game that is available for purchase, and Between Realms, a celtic-mythology themed, worker-placement card-game coming soon.Our audio artist for today's piece is Clara McCouch. Clara is an aspiring young actor, fresh out of high school, all set to leave behind the pastoral farmlands of central Pennsylvania in pursuit of her BFA in acting at Montclair State University in northern New Jersey. And she does an outstanding job on this read. Additional thanks to my thespian survivor friend Duane for putting me in touch with Clara. So…my survivor friends, grab a glass of good merlot, a handful of silverware, and sit back and enjoy “Cherry and Star Anise.” Hosted on Acast. See acast.com/privacy for more information.

Gbadebo's use of materials centers on her family history of enslavement in the American South, while her ceramics draw inspiration from traditional African pottery techniques, calling on her Nigerian ancestry. Fueled by research and a commitment to the archival record, Gbadebo's multidisciplinary approach investigates the complex relationships between land, matter, and memory.Grounded in historically and culturally significant materials such as indigo dye, human hair collected throughout the African diaspora and soil hand-dug from the True Blue plantation grounds in South Carolina, Gbadebo's practice is an exploration of heritage. She lives and works in Philadelphia. She received a BFA from the School of Visual Arts in New York and a certification in Creative Place Keeping at The New Jersey Institute of Technology.  In 2023, she was the recipient of the Maxwell and Hanrahan Craft Fellowship and the Keynote speaker for the American Ceramic Circle annual conference. In 2022, she was a Pew Fellow at the Pew Center for Arts & Heritage. She has exhibited her work across the US and internationally in Africa, Europe, Asia and Australia.

In this Artist Exploration, David Loud, Author of Facing the Music, chats with MTCA Director Charlie Murphy. Tune in for a conversation about careers, detours, and navigating your ever-changing “Point Z.” Musical Theater College Auditions (MTCA) is the leader in coaching acting and musical theater students through the college audition process and beyond with superlative results. MTCA has assembled a roster of expert artist-educators who can guide students artistically, organizationally, strategically, and psychologically through the competitive college audition process. MTCA provides the tools, resources, and expertise along with a vast and strong support system. They train the unique individual, empowering the artist to bring their true, authentic self to their work. MTCA believes that by helping students reveal their potential it allows each school to connect with those who are truly right for their programs, which in turn guides each student toward their best college fit.  About Charlie Murphy:  Charlie is a proud graduate of Carnegie Mellon University's BFA program. As an Actor he has performed with theaters such as: NY Public Theatre's “Shakespeare in the Park”, The Pearl Theatre Company, Hudson Valley Shakespeare Festival, Chautauqua Theatre Company, Kinetic Theatre Company, and the Shakespeare Theatre of DC. With MTCA [Musical Theater College Auditions -- mtca.com], he has been helping prospective theatre students through the college process for over 15 years. As a Teacher and Director, he is able to do a few of his favorite things in life: help students to find their authentic selves as artists, and then help them find their best fit for their collegiate journey. Through this podcast, he hopes to continue that work as well as help demystify this intricate process. This episode was produced by Meghan Cordier, Kelly Prendergast and Socials by Jordan Rice. Episode theme music is created by Will Reynolds with Additional Vocals from Elizabeth Stanley Learn more about your ad choices. Visit megaphone.fm/adchoices

Jason Mott is the author of two poetry collections, including We Call This Thing Between Us Love and five novels including The Returned, which was a New York Times bestseller and was made into a TV series that ran for two seasons. His novel Hell of a Book was named the winner of the National Book Award for fiction.  He has a BFA in fiction and an MFA in poetry from the University of North Carolina at Wilmington.  His new novel is called People Like Us.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Emily Coan / Episode 493Emily Coan (b. 1991 St. Petersburg, Florida) is an artist based in the Hudson Valley, NY. In 2013, she received her BFA in Sculpture from the University of Florida, and moved to New York City as a painter in 2015. Her multilayered, glazed oil paintings deal with themes of femininity & women's labor set in fairytale-esque environments. Her work has been featured in Interview Magazine, T Magazine, Artnet, Whitewall, Juxtapose, and even Playboy. Emily has recently exhibited in group shows with Victoria Miro (London), The Pond Society (Shanghai), and Sargent's Daughters (Los Angeles). She was recently an artist in residence at Palazzo Monti (Brescia). Her Spider Silk series began with a solo show at DIMIN (New York) in 2024, with additional works from the series exhibited at NADA New York and Miami (both 2024). The latest installment of the series was presented in solo show Nightshades at Long Story Short, Paris this May. She had a solo booth at Armory this September and is represented by DIMIN gallery.

Originally aired as episode 120 on December 9, 2020. Nik Walker is an artist, educator, and activist who made his Broadway debut in Motown The Musical. He spent 3 years with the Broadway and touring companies of Hamilton, adding both Aaron Burr and George Washington to his resume. Other stage credits include Peter and the Starcatcher (off-Broadway), and regional productions at La Jolla Playhouse, The Old Globe and The Denver Center, to name a few. He can also be seen on TV in Law & Order: SVU. Nik is a self-proclaimed cinefile and theme park nerd, and co-hosts his own movie analysis podcast called Little Justice The Podcast. He also co-hosts a video series on Broadwayworld.com called The Chaos Twins. Nik currently leads the Broadway cast of Ain't Too Proud playing Otis Williams, and is an adjunct professor at his alma mater, New York University. Nik shares that his mother worked a job as a news anchor when he was growing up, so she wasn't really home a lot. So it was movies that played babysitter and kept his imagination going. But movies and stories played an even bigger and more important role in focusing him as a child after he was diagnosed with ADHD, eventually leading to his early involvement in theater. And later, a BFA in Theater from NYU.  During our conversation, Nik speaks candidly about coming to Broadway with very little dance background, sharing that Motown was his first brush with dancing professionally and getting paid for it. He shares memories of intense dance training for Ain't Too Proud while still on tour with Hamilton - 5 hours of dance a day, and a performance of Hamilton in the evening - and the sense of pride he gained as a result of “being comfortable with letting go of your comfort zone”. Nik also opens up about the journey he has taken during the COVID pandemic which brought him back to NYU, this time as a professor. And while he acknowledges performing in Ain't Too Proud and teaching at the same time will be a lot of work, he not only feels rewarded by his new job, but knows he is contributing to the education and growth of the next generation of theater artists.  Connect with Nik: Listen to ⁠Little Justice, the Podcast⁠ Instagram: @⁠nikkywalks⁠ Twitter: @⁠nikkywalks⁠ Connect with The Theatre Podcast: Support us on Patreon: ⁠Patreon.com/TheTheatrePodcast⁠ Twitter & Instagram: ⁠@theatre_podcast⁠ ⁠Facebook.com/OfficialTheatrePodcast⁠ ⁠TheTheatrePodcast.com⁠ Alan's personal Instagram: ⁠@alanseales⁠ Email me at feedback@thetheatrepodcast.com. I want to know what you think. Learn more about your ad choices. Visit megaphone.fm/adchoices