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3 episodes with bfas
2 episodes with bfas
2 episodes with bfas
2 episodes with bfas
2 episodes with bfas
2 episodes with bfas
The invisible threat that could derail your financial freedom — and how to protect yourself before it’s too late. In this real and raw episode of Get Invested, Bushy Martin opens up the conversation on one of the greatest unspoken risks to financial independence: relationship breakdown. Through a raw recount of his own divorce and the decades-long impact it had on his family, health and finances, Bushy highlights why love alone isn’t always enough to safeguard your future. He’s joined by Ian Macleod from RP Emery, a seasoned legal publishing professional who helps couples create clear, fair, and legally binding Binding Financial Agreements (BFAs)—without the stress or cost of traditional law firms. Together, they explore why BFAs are not about planning for failure, but about preserving trust, protecting assets, and preventing emotional and financial devastation. From the monkey jar analogy to plain-English contracts, Ian and Bushy reveal how proactive agreements can be the difference between long-term freedom and years of financial regret. In this episode, you’ll discover: The shocking stats behind divorce and its financial fallout Why long-term property plans are vulnerable to relationship breakdown How BFAs work to protect both parties — and why they’re a sign of trust, not distrust How Ian Macleod helps couples create simple, understandable legal agreements Why taking action while in love is the best investment in your future Stay tuned for Part 2, where Bushy and Ian unpack BFAs for couples navigating separation and how to stay out of the courtroom. About Ian Macleod: Ian is the founder of RP Emery, a legal publishing company that bridges the gap between couples and complex legal systems. With 15+ years of experience, Ian empowers couples to craft mutually beneficial financial agreements that avoid the cost and conflict of court. His mission: protect relationships, finances, and freedom through plain-English, legally sound solutions. Get your copy of the free ebook "Living Together and Your Financial Future”: https://rpemery.com.au/safe/living-together-your-financial-future.pdf Find Ian and RP Emery’s financial agreements at https://financialagreements.com.au Find your Freedom Formula Success in property starts with your 'why', and then the 'what' and 'how'. Let me, Bushy Martin, lead you through it! Sign up for my Freedom Formula program. The first session is absolutely free, and it only takes around an hour! Find out more https://bushymartin.com.au/freedom-formula-course Subscribe to Property Hub for free now on your favourite podcast player. Take the next step - connect, engage and get more insights with the Property Hub community at linktr.ee/propertyhubau Book a personal solutions session with Bushy to go deeper on your specific property needs or challenges Continue the discussion with likeminded investors and experts on The Property Hub Collective Facebook group Get a copy of Bushy's book, Get Invested, for FREE, and find out what it takes for you to invest in living more, working less Get all Property Hub info here linktr.ee/propertyhubau About Get Invested, a Property Hub show Get Invested is the leading weekly podcast for Australians who want to learn how to unlock their full ‘self, health and wealth’ potential. Hosted by Bushy Martin, an award winning property investor, founder, author and media commentator who is recognised as one of Australia’s most trusted experts in property, investment and lifestyle, Get Invested reveals the secrets of the high performers who invest for success in every aspect of their lives and the world around them. Subscribe now on Apple Podcasts, Spotify and YouTube to get every Get Invested episode each week for free. For business enquiries, email andrew@apiromarketing.com.See omnystudio.com/listener for privacy information.
In-studio guests Kimberly Cassar and Adrienne Maglione from NYLABONE chat with Maria about Nylabone's 70th Anniversary and all that they're doing this year to celebrate!!For every Nylabone bought, another is donated to a shelter! Their goal is to help get shelter pets across the country adopted; they're partnered with Best Friends Animal Society. Plus you can win prizes from Nylabone too. It's May and that means PET MONTH at Walmart and Best Friends Animal Society! Walmart is hosting on-site adoptions with BFAS this month. (Check your local Walmart for dates/times) Click HERE for Nylabone products!Click HERE for NylaboneCares!Click HERE for Walmart/BestFriends Info!
Are you going through a divorce property settlement and unsure whether to choose a Consent Order or a Binding Financial Agreement (BFA)? In this episode, we break down what they are and the key differences between the two. We also discuss the pitfalls and risks to keep in mind when navigating this. Listen to This Episode If You: ✅ Are going through a separation and need to divide property fairly. ❓ Want to know whether a Consent Order or a Financial Agreement is the better choice.
In today's episode regular guest and mortgage broker Rachelle Kroon from Sphere Home Loans joins John on the show for a chat about all things lending and mortgages. Rachelle touches on the current lending landscape, what's considered a 'good' rate, should I buy property in a trust, is the FHSS a risky option in today's climate, releasing equity from your PPOR and more so strap in!Links
A conversation between four artists who juggle big families, lots of jobs, and sneak in more time than ever to make things. We discuss the joys and struggles of having it all- from artist tips when your life is full of taking care of the kids to humble entrepreneurial endeavors. Corey and Melissa Hardin, owners of The Art Studio in Highland Lakes, have four children, several jobs, two BFAs, and a passion for making and teaching art. Corey earned his BFA from Pratt and is a career-long Union Carpenter. Melissa earned her BFA from Ramapo College and is a dedicated art educator in her own art school, and marketing coordinator for Gym Guys. My wife Kristin Dalelio (aka Kitchen) and I have five kids, two BFAs, and a passion for making and teaching art as well. Kitch got her dual major degrees in Art and Religion from Felician University and is now a Cottage Food licensed baker. Dennis Dalelio earned his BFA from Mason Gross at Rutgers University, his MFA from William Paterson University, and has been a career-long art teacher (and host of this show.) Through years of alarm clocks or babies waking them up before dawn, ships passing each other in the night, learning how to be parents full of wisdom, and dedicated workers who earn their paychecks, all four have maintained a practice of creating and/or teaching art that makes them feel alive and to be who they each were created to be. --- Send in a voice message: https://podcasters.spotify.com/pod/show/thestolenhourspodcast/message
Hey Listener, grab your gear bag because I'm sitting down with Heather Sampanis (bass/singer) of Alex Kasznel & The Board of Directors and Luke Effler (guitar) of Ten Gauge to talk about being parents that are in bands. Topics this week include: Check out the Company Picnic Music Festival on March 23rd at Oddfellows in OTR (Cincinnati, Ohio). What is it like to be a band that gets a vinyl album pressed? What is a Costumer? BFAs of the world unite! Hailing from a family with musicians. Power chords for children. Life/Band balance. The differences between being a solo creator and someone working with others. Critiquing your friends. Faster and louder. Playing out and being cool with low standards. What's it like being in the backstage locker room? The tricks of figuring out the name of someone you've already met. Pre show rituals. I'm inspiring you, not intimidating you. Tap dancin' Luke Effler and the karate robot. The heartache of a bad show. Go watch The Greatest Night in Pop.
Welcome to episode 70 of I Like Art Podcast! Host Sara Glupker is honored and so excited to share this interview with her former college Professor Cat Crotchett of Kalamazoo, Michigan. Learn about how Cat Crotchett pursued her calling for art, how she balances her time in the studio, being a full-time professor, motherhood and life, and hear her advice for anyone who is considering a career in the arts. This conversation will not only help you learn more about this incredibly talented contemporary artist, but it will also inspire you to follow your creative pursuits and honor those creative nudges. Thank you so much for tuning in to this week's episode and please check out all of the links below to get to know Cat more, see her amazing art, and find ways to connect. About the artist: Cat Crotchett has been a professional artist for over 30 years. In her paintings, she uses patterns to vividly represent human emotions and experience, and to convey not just beauty but tension. Her current work represents an intersection of information, emotion and physical limitations. The patterns and colors inhabit spaces that are similar, but not the same- suggesting multiple realities in the same composition. Each composition is engaged in some form of conflict, suggesting our shared moment in American history, our creative resilience, and transformative struggles. Cat has been a regular presenter and instructor at the International Encaustic Conference in Provincetown, Massachusetts, and has taught painting workshops in the United States and in Indonesia. Cat earned BFAs in Painting and Art History from the University of Illinois, Champaign-Urbana, and an MFA in Art from Bowling Green State University, Bowling Green, Ohio. She has an extensive exhibition record that includes solo exhibitions at Vanderbilt University, the University of Illinois Chicago, the Maryland Institute of Art and Barbaran Segaragunung Gallery in Yogyakarta, Java, Indonesia. In addition, she has a considerable record of international and national group exhibitions, has been recognized through various grants and has been a fellow at several artist colonies- including a 2022 Golden Foundation for the Arts experimental residency. Her work is represented in numerous private and public collections. She was the 2021 Distinguished Faculty Scholar at Western Michigan University, and 2015 College of Fine Arts Roehrick Distinguished Professor also at WMU. She teaches painting in the Gwen Frostic School of Art. Cat lives and works in Kalamazoo, Michigan. She is represented by Addington Gallery in Chicago, IL. Connect with this episode's featured artist Cat Crotchett here: Website: https://catcrotchett.com/ Facebook: https://www.facebook.com/cat.crotchett Instagram: https://www.instagram.com/catcrotchettart/ You can watch this podcast interview here on YouTube: https://youtu.be/yoFxID_g20s Things mentioned during the episode: Kalamazoo Art League: https://kalamazooartleague.org/ Follow I Like Art Podcast on Instagram: https://www.instagram.com/ilikeart.podcast/ Find Sara Glupker- Podcast host here: Instagram: https://www.instagram.com/saraglupker Website: https://www.saraglupkerart.com Facebook: https://www.facebook.com/SaraStrongGlupkerArtist
In today's episode we're talking about divorce, money and relationships with Certified Divorce Coach and financial adviser, Dominique Bergel-Grant. Glen and Dominique touch on:
First half of this episode is dedicated to talking about Newsies because why not?! And then we talk about BFAs. Why I didn't get one, whether or not you should and more! Bottom line is YOU are the architect of your own life. If you want one, get one. If you don't...then don't. :) Follow me on Insta and rate this podcast! Love you all.
In today's episode Anna Cruckshank from Aubrey Brown Lawyers joins John on the show to answer some of your questions around property contracts. Anna and John touch on:
Maria's chats with Ledy Van Kavage, Best Friends Animal Society's Senior Legislative Attorney, about their new interactive online map that shows BSL (breed-specific laws) and ordinances across the country!This map helps you if you're moving or thinking of living in a community where BSL exists.It also helps to know where we need to make change! A pet should NOT be targeted because of its breed. If we remove BSL, more dogs can be adopted into their forever homes.To see the map and to learn how you can help, go to bestfriends.org.
Maria chats with Best Friends Animal Society's Legislative Attorney Kelsey Gilmore Futeral about the exorbitant fees people in public housing have to pay in order to keep a pet! Learn more about this issue by listening, and please reach out to HUD Secretary Marcia Fudge asking HUD to issue guidelines to landlords so pet owners can afford to keep their pet!
This week's episode of the podcast sees the panel take a look at the latest wave of fixtures, league cup results, and we also take a look at some transfers and BFAs that have happened. We also hear from Berty about the Golf Tour. ----------------- The intro and outro music is created by MBB Official, who have very kindly allowed us to use their music in our Podcast. We will not be claiming copyright or any other use off it. @mbbofficial www.youtube.com/c/mbbmusic www.instagram.com/mbb_music spoti.fi/2wqzjwK
Nobody gets into a long term relationship planning for it to go south, but it's good to know what happens if you do part ways.*** Trigger warning: This episode covers topics relating to relationship breakdown and separation. If you are experiencing issues like domestic or family abuse please reach out to 1800respect.org.au or 1800 737 732.Big thanks to Aubrey Brown family lawyers, Tanya Hibberd and Kate O'Grady for joining us on the show. They answer a bunch of questions from Glen and the m3 community, including:
Kanab, Utah is not only the backdrop of many westerns, but it is also home to Best Friends Animal Society. Best Friends Animal Society is a nonprofit animal welfare organization. BFAS does outreach nationwide with shelters, rescue groups and members to promote pet adoption, no-kill animal rescue, and spay-and-neuter practices. Best Friends Animal Society's mission is Save Them All and they are making amazing strides to do just that. When they started, 17 million animals a year were being euthanized and today, that number is down to 355,000. Ethan Wayne visited BFAS in Kanab, UT and sat down with founder Francis Battitsta and CEO Julie Castle. Self reliance and grit are amongst many qualities that Francis and Julie share with John Wayne and we hope you enjoy this episode! Learn more about Best Friends Animal Society here: https://bestfriends.org/ Follow Best Friends Animal Society here: https://www.instagram.com/bestfriendsanimalsociety/ More information about John Wayne on JohnWayne.com Shop our official store on JWStockandSupply.com Follow us on Social Media Instagram.com/johnwayneofficial Facebook.com/johnwayne Twitter.com/johndukewayne TikTok.com/johndukewayne
Intro: It's a bad idea not to pay your student loans, The Odd Couple, Severance, chicken nugget bowls, Let Me Run This By You: Google is bullying Gina. What's your email archive strategy? We are all mostly old because the window of youth is shockingly short. Some of your dreams are NOT out of reach.Interview: We talk to T.J. Harris about coming to acting later in life, having a background in business, having a close-knit cohort, Title IX investigations, being the victim of racial profiling while at school, the paradox of slightly shy kids being told they were shy so often that they become even more withdrawn, Our Lady of Kibeho, Neighborhood 3: Requisition of Doom, Sean Parris, Chris Anthony.FULL TRANSCRIPT (unedited):3 (10s):And I'm Gina Pulice.4 (11s):We went to theater school together. We survived it, but we didn't quite understand it.3 (15s):20 years later, we're digging deep talking to our guests about their experiences and trying to make sense of it all.4 (21s):We survived theater school and you will too. Are we famous yet?1 (34s):Anyway, so I had to like get him out of the house and like men are slow and I just, it's just, it's a really no win situation. So anyway. Hello. Hello Busy. I've been busy. We've all been busy.2 (51s):We have been doing the damn thing. Haven't we?1 (55s):Yeah.2 (56s):Yeah. I have spent the last, what feels like a week. Yeah. I think it's been a week simply reviewing every single dollar 20, 21, like literally and putting it in a spreadsheet, literally like can donuts, can you1 (1m 18s):Keep it because you can write off a lot2 (1m 20s):Of new machine. Yeah. That's yeah. That's, that's the point of it is to find everything that, that can be written off, but it's, you know, and I'm hunched and my back and my eyes strain, and it's just like, oh my God, Calgon, take me away.1 (1m 38s):Yeah. I mean, I think that taxes are one of those things where if you do them right, and legally it's a lot of work, right? It's like,2 (1m 47s):You want to skim and1 (1m 48s):Be shady, which I don't recommend, because guess what? The IRS is only job is to get your money. Like, that's their only job. They don't have any other purpose on the planet. So like, if you think that's not their job, you're wrong. But anyway, so if you do it right, like you are, it's a lot of freaking work and it also is painstaking.2 (2m 12s):And I, and, and it's painstaking. And I think, you know, to, to, to find a silver lining in it, like, I'm so glad I don't have a full-time job because this is the kind of thing that literally, I don't know how people, when it's, when everybody works, how they do it it's1 (2m 35s):Well, you can't. I mean, I think it's, that's why people end up in trouble. Like, that's why people end up trying to skin his scam or not doing them and being like, you know what, I'm going to pass on all this. I'm just going to hope for them. And like, that's what I did with my student loans, because I didn't want to, and that's not even as hard as taxes, but I just like, couldn't cope with the ins and outs of doing the work to defer or like make deals, or like get my payments lower. And thus, I had a sheriff show up at my apartment. Like that is where you're headed. You don't know that story. Oh, all right. So I thought, oh, it'd be really cool to not pay my student loans.1 (3m 15s):I mean, I didn't really have the money, but I also didn't realize that my student loans were private student loans. Oh boy. So when they're private, you're in big trouble, because guess what? It's a bank that wants their money. It's not the government who has a million other things to do. Right. So the bank is like, no, we want our money. And I did that. Know that the bank hires the Sheriff's department to serve papers when you are being sued for your private loans. So one day I am N in Rogers park at my thinking, you know, nothing of it. Like I, I owed 50 grand and I to like four different banks. Right. It's always, and they sell them to other people and it's a big scam.1 (3m 56s):Right. Okay. Fine. But I'm like going about my business thinking, but feeling bad, but like, feeling like, ah, fuck it. Like, who cares? Well, they care. Wait,2 (4m 7s):How long were you not paying them1 (4m 9s):For a couple of years? Maybe I just said, forget it in 15, 20, 15. I said, no more. And then in 27, 20 17, I'm literally, I kept getting calls. They started calling miles and I was just the guy just pay no attention. Miles, like pay no attention. And of course he's like so trusting. He was like, okay, I'll pay no attention. I'll compartmentalize. And okay. So one day there's a, our buzzer goes off and I'm like, hello. Cause no one ever. He's like, this is the Sheriff's department. Are you Jennifer Bosworth? And I was like, and then I realized, I really quickly, your mind goes, oh, what have I done wrong?1 (4m 50s):Right. And it focuses it on the thing. Cause you know what you've done right. Or what I've done wrong. And I'm like, oh, my here is the PA the Piper or the pied Piper or whoever is coming to collect chickens, home to roost all the things. And I was like, and I just said, I have a lawyer go away. And he goes, no, we just, we just want to give you these papers. Like we have to give you these papers. I'm like, no, I have a lawyer go away. Which is the wrong thing to do.2 (5m 19s):What also, what was your logic there? I have a lawyer. Okay.1 (5m 23s):There was no logic. I would say it was the opposite of logic is what's going on. So I see that they go away because, and so they're paid by the bank. So they just hire the Sheriff's department to serve people. I did not know that it's like, they, they you're there for hire basically the Sheriff's department. So they go and they serve people and they could not serve me. But then what it did was it was really actually a great kick in the pants because I was like, oh, I have a court date now. So no. So what I did was I said, okay, let me find it. So then I was like, I need a lawyer. So, and then on my 43rd birthday or 42nd, 42nd birthday.1 (6m 10s):Yeah. 42nd birthday. I went to the lawyer. I found this lawyer fucking brilliant. I can't remember her name right now. She was like legally blonde. She had these long pink nails and her only job was to get people off student loans and, and either file bankruptcy or figure out a way to talk. The loan people doubt. She was a bad-ass and I went there and I was like crying. And I was like, look. And she was like, oh, $50,000. That's nothing. And I was like, oh, she's like, I got people that I was, you know, 600,000 in medical school loans,2 (6m 43s):Medical school, that's1 (6m 45s):All. But also she goes, yeah, the private loans they get ya, you know? So, so she, she, okay. So she said, I said, well, what do I do? I can't remember her name. She was so awesome. And I, and she's like, well, do you have the money? I'm like, well, look, I have this inheritance. She's like, oh no, no, no, no, no, no. Then we can't declare bankruptcy because they'll go after your inheritance. I was like, oh, hell to the, no. So she's like, all right, well, we'll try to get him down. So she reduced $50,000 to $25,000 for a fee of $3,000 and went to court and was like, you know, so she talked them down. She's like, you're getting nothing. If you don't take this 25,000, she's like, can you get me 25,000?1 (7m 27s):I'm like, sure. So I, then it happened to be, we were selling the house around that time. Anyway, I got the money and then my life has, but my credit was literally if a here's what people don't understand. It's like, it may be stupid, but the credit matters. But if you want to live somewhere,2 (7m 46s):Right? Like if you want to be on the grid,1 (7m 49s):If you want to like have a house that is, if you ever want to apply for apartment, if you ever want to it matters. I know it shouldn't. I always tell my students like, yeah, all this shit shouldn't matter, but it does everyone. It does. I hate the fact that it does, but let's be honest about the truth here. Let's just get real. So my, my credit now, what my credit was so low, I can't remember what it was. And I was like, oh, that's not so bad. And my friend was like, that's the worst credit you're going to have? And I was like, oh, okay. I was like, I didn't understand the scale. Right? Like I was like, oh, five 40 isn't bad. Or five, some days she was like, that's like the worst. So now my credit is seven 80.1 (8m 30s):Oh no, no. I got it. All of it is seven 50 because I paid it off. And like, I don't, we don't have any debt. Thank God credit card wise. Oh, because vials is, if, if it were up to me, I probably have debt up to my eyeballs, unfortunately. But my partner is like, oh no, no, no. He's really good with that. Thank God. Oh boy. Cause I have some problems because my parents never taught me shit. You know? So no, all this to say, how did this come up?2 (8m 58s):Because we were talking about,1 (8m 60s):Sorry.2 (9m 1s):Okay. But so many things about your story. First of all, it was $50,000. Just the amount you owed from the time that you stopped paying, or are you saying it has a total of $50,000?1 (9m 15s):No, I had more than that. So I had had 80 and I had paid 30 of it off because I went to school like in oh eight. I graduated. So it's not like a long time. So I had 50, 80,000 total. I had paid 30 somehow some way and all those years around there. And then I had 50 left. Yeah. And I was used to pay the 50, but then I2 (9m 38s):Just, just asking, but like, could anybody go to a lawyer and say, reduce my,1 (9m 45s):Yeah. That's their whole, because here's what the, yes, this is what they don't tell you is that2 (9m 50s):I feel like such an asshole. Right?1 (9m 54s):Doris is literally overdosing on melatonin. Hold on. Okay.2 (9m 58s):Oh my God. I can't believe I could have. I just pay. All of my students will never1 (10m 6s):Happen again. Come2 (10m 7s):Here, Come here. I just can't believe I've paid every penny of my student loans. What is wrong with me? I'm just the worst partner ever. Sorry. No, you're not. You're not the worst person. She meets me. And I eat1 (10m 31s):That2 (10m 32s):Thing away from her and I gave her all kinds of,1 (10m 35s):Okay. So yeah. You don't feel like an asshole because here's the thing. They never tell you this, that you can everything's negotiable in this country. Okay. Every single thing is negotiable. Everything's a business deal. Everything can be reduced. Why? Because there's no set rate for anything that's capitalism. So you, you, you can charge whatever you want. And then it's negotiable. So what she told me was these companies, these banks, they're banks, they're not companies. I mean, they're banks. These banks know that they will get nothing. If someone declares bankruptcy. Okay. So they don't know that I had this inheritance, this, you know, but they, they know that most people say F you I'm part of capitalism is bankruptcy.1 (11m 22s):I'm declaring bankruptcy. You get $0. So they want anything. They'll take pennies on the goddamn dollar. So she's like, oh no. And it's a fine line. And that's why you need a lawyer to go to court and say, my client has nothing. So if you want anything, she'd lucked into 25 grand. She can, she can scrape by twenty-five grand. You want that? Or you want Jack shit. And then they'll say, give me the 25 grand.2 (11m 45s):Right? Right. Well, I, I, it doesn't matter. Now I had done this, you know, 10 years ago. I mean, because the thing is, of course, like you take, you borrow $50,000 and you pay 300, basically.1 (11m 58s):It's ridiculous. Especially with private loans. Ridiculous.2 (12m 3s):That's what, and that's what I had. I had a lot of problems, but the other thing that's so striking about your stories, the moment when you start, when you said you had this moment in 2015, where you said, fuck it. I just, that gave me such a thrill. Like if you would, just because the reason I couldn't do that is I would think about it every second of the day.1 (12m 25s):I would have. Yeah. Because my mom was my co-signer, but that lady was dead. So I was like, what are they going to do? Cause she was really, I was more afraid of my mother than the federal and then the, then the bank and the government. So the private loans and the government. So I, if she was alive, you bet your ass. I would have been paying those motherfuckers off2 (12m 45s):Of my loans for social work school had to have a co-signer of my father-in-law. And for some reason that I never did get to the bottom of Wells Fargo. If I was one day late for a payment, they wouldn't even call me or contact me in any way. They just immediately, it was all on him. Yes. And he would of course call me the second that they called him. And it was so embarrassing every time I'd be like, I mean, it happened like, I want to say it happened five or six1 (13m 19s):Times. That is so easy to do.2 (13m 22s):It's silly. But1 (13m 24s):It's2 (13m 24s):Also like, this is the mafia. Like you're you're one day late in your payment and you don't say, Hey, could you pay me? You just go, do you just threaten somebody to break?1 (13m 33s):Yeah, it's a psychological tactic. It's like some real Scientology bullshit.2 (13m 38s):It was horrible. Horrible, horrible. So if you have a few, can't pay your student loans. If you're listening to this and you cannot pay your student loans, call a lawyer,1 (13m 52s):Let me run this by you.2 (13m 58s):And then I'm also doing another, another way in which I'm an obsessive rural follower is that Google sent me a message saying, I have exceeded my storage limit by 380%. And if that, if I listen, anybody could, anybody can bully me. I am so easily bullied. It said, if you don't, if you don't pay more for storage or get rid of some of what you have, you will no longer be able to send or receive emails. So I spent five hours yesterday going through1 (14m 34s):A bad idea in some it's2 (14m 36s):Not about idea. Well, I've got it down. Sorry. I was, I was out, I was using 385%. I'm down to 340% after deleting probably 10,000 emails1 (14m 49s):With like, is it true? What they're saying?2 (14m 52s):I don't know. All I know is that when I log onto my email and I see a big red line across the top,1 (14m 60s):I can't,2 (15m 1s):I can't take it. I can't take the red line, but upside, it has been a walk down memory lane, you know, because things, I mean, people I'm having email exchanges with, it seems sort of intimate. And I'm like, I have no idea who that person is. Or like reading email. I looked for the oldest email I have from you, which on this, on this, my Gmail is from 2008. And just, you know, whatever, like you were talking about your job. And I was talking about my job and I found the, the engagement announcement. Yeah.1 (15m 40s):That's2 (15m 40s):Kind of fun too. And, and also I realized I had thousands of emails that I just simply don't need. Like I keep every email. Do you keep all of your emails?1 (15m 51s):No. So I I'm so weird. I never have more than zero unread in my inbox.2 (15m 59s):Well, wait, did I just mean you archives of metal?1 (16m 3s):No, I just delete them. Not all the good one. No, no, no, no. I, I don't, I I'm terrible that I don't know how to do shit, so I don't put them in folders or anything like that or archive.2 (16m 18s):And then you have1 (16m 19s):Zero2 (16m 20s):Emails.1 (16m 21s):Yeah. It's because I have no life maybe. And I just,2 (16m 25s):The chairman for you have a full life and now you don't have any of your emails back from you. Don't1 (16m 30s):You know, I have that.2 (16m 32s):Well, how do you have them?1 (16m 34s):I erased the ones as they come in that are know that I don't know longer that have attachments and no longer need.2 (16m 41s):Okay.1 (16m 42s):So I manage my box. So here's the thing I will run out of storage. It's just that I don't think I get a lot of emails. I don't, I actually don't like, I'm always saying, I want more emails. I'm like the only person that wants them. I'm so like, I love paperwork and I love emails. And so I don't know. I'm always like no one ever emails me. It's so weird. But anyway, the pain is,2 (17m 5s):It's not possible that no one ever emails. You Did. The thing that I did, which is I accidentally deleted all my emails from1 (17m 15s):No, I remember that. That was hilarious. And now,2 (17m 19s):For example,1 (17m 20s):So right now I have zero emails, unread, unread,2 (17m 26s):Unread, you keep everything in your inbox.1 (17m 29s):Yeah. You know me, my desktop. How2 (17m 33s):Many emails are in your inbox? Just1 (17m 38s):30,000. I mean read 30,035.2 (17m 44s):Okay. Well what do you do when you have to find?1 (17m 50s):Well, that's why I can't never find my, Why you don't say why it happened. You have ISO every time you send me, it's bad. But miles miles was like, cause now miles is really into email because of his job for the last six months, his new job. And he's like, but you have no full zero four.2 (18m 8s):No, but zero folders. My shoulder, my shoulders are getting so tough.1 (18m 16s):So, Okay. So anyway, it beans, like I'm not saying I have a good system. Like I don't have a good system. I have no system. But what it is is I'm just proud. I don't have like, I'm really judgy about people that have a lot of unread emails. So like literally if I walk by and coworking and I see someone's inbox has like 12,000 unread, I go, oh God, I go, nothing, nothing, nothing little do they know? I have not one fucking folders. So I can't pay,2 (18m 47s):I need to start in a production of the odd couple because I am.1 (18m 54s):I know I look at your, I don't even know how you make. I look at our joint email. I don't know what these folders mean. I don't know what there's like sub folders to me. I'm like,2 (19m 6s):Now that you're, now that we're discussing this, I'm realizing another fake fakery folders actually don't have any meaning because actually, well, because actually, if you wanted to find an email,1 (19m 22s):This is like from2 (19m 23s):Right. If you want to find an email from target, you can just Google. I mean, you can just search.1 (19m 29s):Yes. But the problem is if you have 4,000, let me run this by you emails. So that is my, so I need you to set it up. I thought I had set it up for, for my, let me run this links. No. So what I did was set up a ma a new G Gmail account2 (19m 47s):And it's not1 (19m 48s):Good. It's not fair. So the bottom line is, I don't think my system is great, but what I think is I like I Le well, I'm weird in that. I like having no unread emails, but at the same time, I don't feel like people are emailing me enough.2 (20m 3s):We did a freaky Friday. You and me and you were thrust into my life. And I was thrusted. I think that I would immediately feel relieved because I feel like you don't necessarily carry around you. I mean, you have a lot of stuff that you have to carry around, but you don't necessarily carry around this need to do everything. Perfect.1 (20m 27s):Oh, no. And I think that comes, I swear to God. A lot of it is with kids, because if you fuck up with yourself, okay, so you're a fuck up. But if you are a parent of three children and you don't, you fuck up, you end up like a lot of people we know, which is, and the kids ended up like, like we, us and people, we know we don't like, so that is, I feel like if I was dropped in. So, so I feel like if I was dropped into your life, I would like it. Cause you have like all this space Around and everything.2 (21m 0s):And my kids would love it because you're fun. And that's, that's like, that's like the dynamic, that's the thing in our house. It's like, mom's no fun. Mom is doing, she's got the rules. She's1 (21m 12s):No, no, I'd be like, all right, let's do, let's eat fried food. This would be my thing. I'd be like, Eat fried food. And I can't eat that anymore. But if I dropped into your life, I could write, I could eat that. And I would say, okay, this is what I used to eat before my hurt. Like what completely I would have. I was thinking about the other day, something called a chicken nugget bowls. Okay. Which was, I would a2 (21m 37s):Bowl of chicken nuggets1 (21m 39s):Mixed with, okay. So I'd go to trader Joe's and get the chicken nuggets and then bake those. And then their, their potatoes, fries, fries, and th and literally dump a bunch of that in a bowl, put some ketchup and mix it all up and just have like a chicken nugget fry. But that's not good for you, by the way.2 (22m 2s):Why was it appealing to put it in a bowl? Instead of1 (22m 5s):I liked the combo of the two together and like the ketchup was the glue that held it all together. And I loved that, but the problem was I gained a lot of weight and then my heart went down. You can't really2 (22m 18s):Mean the thing1 (22m 20s):About adulthood, the shit you really like can not be maintained if you want to live.2 (22m 25s):I mean, it's such a bummer. I recently realized that youth really only lasts for 25 years. So, so, so everybody is mostly old, right? Like everybody's friends, the majority of their life that didn't occur to me for some reason, I think because we're so youth obsessed in this culture, I had this way of fit, not logically, but like I had this way of thinking about it. Like it's this long epoch of life, but really1 (22m 59s):You're old for a very long time. And then you die.2 (23m 2s):And then you're also very young for a period of time. So the, the period of time where you're autonomous and1 (23m 14s):We also missed it.2 (23m 16s):And then we were just walking around, feeling horrible about ourselves.1 (23m 19s):That is such a waste. Right? The other thing I was going to tell you, I have a really good story to tell you about someone we know that I can share, because it's a good story. This is a story about why it's good. That life can be good. Okay. I'm teaching at DePaul, our Alma mater, as you know, if you listen to the show, okay. I teach fourth year BFA actors on zoom, which I wasn't supposed to, but I got special and that's a whole nother Oprah and itself. But so I have students and one of my things is we write pitch letters. I help them. Cause that's my jam. I love doing that. Even if it's a pitch letter for them, for a tour to a rep, to a producer, whatever we write these like bio pitch letters.1 (24m 3s):Okay, fine. So I had this student, I still have the student and he's a wonderful youngster. And he's like talking his dream. This is so crazy. His dream is to be in the Mar somehow in the Marvel universe. Okay. Like he wants his dream is to be in a movie, a Marvel movie. But of course he wants a foot in the door, anything. And he goes, and I said, okay, well, like why we're developing his pitch letter with the class. Everyone takes turns, blah, blah, blah. And he's like, I would really like the career of this guy that I, that I've heard about named Sean Gunn. I'm like, wait,2 (24m 37s):Oh my God.1 (24m 39s):He said, he said, I know he went to the theater school. And like, I know, and I'm thinking to myself, cause you know, I obviously we've interviewed Sean gone listened to his interview and obviously, and we've done it twice, right? No, didn't we do two, two parts. I wasn't that the second one. But yeah. And obviously we know him and obviously he's not like my best friend, but I, and I was like thinking to myself and he's like, I just would really love to pitch him. And I was like, oh my God. So we created a dope letter to Sean Gunn. And I wrote to Sean and said, Hey, my students are doing this thing. He would love to jump on a zoom and they're going to have a zoom. So he's going to meet his hero.2 (25m 20s):That's I1 (25m 21s):Know I couldn't have been happier. I was like, I actually am doing something that makes a difference. So I'm facilitating the zoom between Alex and Sean and Sean was gracious enough to do it. And, and it turns out that he's filming. I think in Atlanta, you know, probably some marble thing and, and he gets off this week. And so it's, he has some time and Alex is like lipping out. Out's 21, right. This kid, he's like a great kid. He did stop motion classes. Like he, like, he knows how to do that as an actor, like the guy is in his letter, I really helped him with his letter. And, and Sean said, this, your student's letter is so sweet. Like I love it. So anyway, the point is, I was like, oh my gosh, this is, this is also to say that another reason the podcast is good.1 (26m 8s):Right. Because you just don't know how you're going to like pass it along. And FYI in two months, my students are going to be our colleagues. Right. Cause they're graduating. So you don't know, like, I don't know what they'll need for me or what I need from them.2 (26m 22s):I always say, you're the person who identified from the very beginning that this podcast was going to be healing to people. And not only are you doing it in this way, but you're also doing it in a way that you're through your work as a teacher correcting the thing that almost everybody who comes on says, I, yeah, I got all this education. But then when I graduated and now I do anything, like you're giving them at least,1 (26m 47s):And I do one-on-ones with them. And because I'm like, look, yes, exactly what happens to us and happened to everyone that we've talked to almost missed, except for like three people. And we've talked to a lot of people happened to is happening again, because I think there's obviously a bigger question of the reckoning of how do we change at a theater stage, acting conservatory to become more friendly towards launching these students in a way where they actually can get work and live and not worry and not worry as much that everything is for not. And what am I doing?1 (27m 26s):And I didn't get picked or chosen and how to write a pitch letter. Like FYI, all the people that I'm helping write pitch letters, they're all getting their meetings with people. It just, anyway, you were saying like, you can access.2 (27m 41s):Yeah. People it's, I'm not suggesting that anybody you want to talk to, you can just hit them up and talk to them. But I am just sort of speaking to this barrier that I have always had myself this mental barrier of like, well, I could never talk to so-and-so it's this thing about like, I could never follow my dream. You know, I recently realized that I actually was afraid to say inside of my own head, what a dream, what my dream was like. Right. Like I, I just made 99% of life completely out of reach for me. And then just try and then just try to figure out what this 1% that I could.1 (28m 24s):Yeah. I mean, that's what trauma does to you. That's what it does. It says you are, you can't even, it's not safe to even dream in your own fantasy. So most what I'm finding is as the more I talk to people in the more I sort of do research for like my own writing on trauma, on like serial killers, really. But like that the trauma is so crystallized at a young age, right. That there, it cuts off all access to hope. That's the effect of trauma. There is no hope. So you operate in this one, teeny little place of, I'm not going to hope, but I'm still going to live. Cause I'm not going to die. So there's, it's like, it's like, yeah, yeah.1 (29m 6s):There's no hope trauma cuts off the access to pipeline, to hope and to not just joy, but hope.2 (29m 13s):Yeah. And, and if it's true, like we were saying that youth is this short window, the good on the good side is there is hope in your older years that you can evolve to be the person that1 (29m 28s):You really can't. It takes a lot of work and it takes a lot of, it's not easy. And it's like really bizarre how you get there. But if you keep putting in the work and get support, it is possible. Even at 40, like that's the other thing that I am so clear on because I launched this consulting business so crazy. Like I thought I was going to get a nine to five and like, so my consulting business has taken off. Right. Because you've just fantastic. And people are like, how are you having so many clients? This is the reason I have no imposter syndrome. When it comes to this particular skill, like I'm scared as shit to be an actor. I'm scared as shit to write, to be a writer.1 (30m 9s):I'm still doing it, but I'm scared in that way, a screenwriter, a television writer, that kind of thing. But if you ask me to sit down with somebody and help them to pitch themselves and to crystallize their vision of what their thing is, whatever their thing is, I don't care what it is. I have zero imposter syndrome. I know you don't have to hire me. I don't get that's, you know, but I know that I am good at that beyond a shadow of a doubt because things have all come together to show me that. So my own work emotionally, I'm working with you on this podcast and in the entertainment business and my past life and entertainment and getting a master's in counseling, psych literally has prepared me to do this thing.1 (30m 57s):And I have no like, fear that if I'm talking to somebody about it, that they're going to think I'm full of shit, because it's actually the truth of what it's undeniable, it's undeniable, you eat it. And it's because I put in the work. And also I just it's one of the side effects of being a traumatized and neglected child is, is, and then doing the work to work through that is noticing that in other people and where their trauma points are. So now, like I'm literally about to start pitching my services to the district attorney's office for, for trials, for people to do closing lawyers that are scared to do closing arguments in a theatrical way.1 (31m 42s):Isn't that crazy? I was watching the John Wayne Gacy trial and I was like, oh, this guy has an amazing closing in his, his closing argument. The da was so brilliant. And it's known as like, he did this beautiful theatrical, but also tasteful thing. Cause sometimes it can be like a carnival, but like, and so I was like, oh, how do I help people do that? Cause that's, you know, and that's always tricky in the legal system, but I've also worked in the legal system. So I know a little bit, so anyway, that's my new, I'm like, yeah, these, some of these lawyers2 (32m 14s):How I1 (32m 15s):Have like stage fright, so litigators even, and they need help. So anyway, we shall see where that goes, but I don't have, I don't have, I'm not afraid that doesn't, I don't have imposter syndrome about that.2 (32m 28s):Yeah. Oh, thank God. We should all have at least one thing that we don't feel like we're an imposter about1 (32m 34s):One thing. I mean, for God's sake7 (32m 43s):Today on the podcast, we are talking to TJ Harris, TJ terrorists introduced us to the idea of the artist preneur and his background in business is what helped him get to that exciting place. So please enjoy our conversation with TJ Harris.2 (33m 2s):Okay. All right. All right. Congratulations. TJ Harris, you survived1 (33m 9s):And you did it with some very like your energy just from the emails and from your life is like so positive, ridiculously positive, which I adore and which I think we need. And also you call yourself and you are an extra preneur,8 (33m 29s):Brilliant1 (33m 30s):Artists, preneur artists are brilliant. Brilliant, brilliant mixing of that. Like I love that. Did you come up with that or?8 (33m 39s):Yeah, well I think so. I probably stole it from somebody else, you know, as all artists do. Yeah. But I have, I have, I started in business before acting, so I came to lading to acting and filmmaking later in life. I'm 34 right now. And this I've been on this journey for about six years. So I, I kind of started out like in finance, I studied, I got a general studies degree in undergrad. I went to ball, state university in Indiana and I was a business administration major at first and I hated it.8 (34m 19s):Absolutely hated it, but I knew it was during the time, like right before the recession hit where it was like, just get a degree to get a job. So I was like, okay, I'll get a business degree. But I ended up switching over to general studies with a concentration in finance and sociology. And during that time, I, I, I've always felt like I've been kind of in this, this middle ground of not really knowing which route I wanted to go, because I didn't want to become a doctor and I didn't want to become a lawyer and I didn't want to go down this. Like somebody already created my path for me. So I just kind of started experimenting with things, graduated with my degree.8 (35m 2s):I got a job with a company that I'm currently still with. I worked part-time for him. Yeah. So I I'm, I'm a consultant. Part-time1 (35m 12s):Oh, you know, what's so funny. That is so rare that people keep their job after they graduate from a, from a fine arts, like from a conservatory that they, as a master's student. That is fantastic. And why did you keep it? Like, could you love that work? What makes you want to keep it?8 (35m 30s):No. So, I mean, they know, I don't really love it. So I actually quit. I quit prior to coming to going to TGS for grad school. So the plan was just to, just to be done with it because I really want to transition out of this industry, but it keeps pulling me back somehow. So I quit. And then I had an exit interview and someone that when I first started with the team, the PR one of my colleagues ended up being the manager of the team when I was leaving. So did an exit interview and I was like, Hey, if you all, like, I'll come back and help out while I'm in school, if you all need my help.8 (36m 10s):So six months later, they brought me back as a contractor. So I was working in like, ha basically all my bills were paid for through working this job. Part-time while being at TTS1 (36m 24s):Here, here's the thing. This is brilliant for a lot of reasons. But one of is which, you know, I teach BFA fours at the theater school and, and now they have a class and I don't know, you may have had something to do with it. I don't know that that's called actors as, as entrepreneurs. There's like a, but, but it reminds me of like, they're trying to, but you already did that on your own. So like you, I never, it is so brilliant that you were able to maintain that job so that you might guess is you were able to live, like you had some Dota live on. Right.8 (37m 1s):I didn't take out any additional student loans or anything like that. I did just the bare minimum. And I was living with a friend from undergrad. So my rent was like, mama shit. He charged me charged charge, like 600 or $700 to be in a really nice place. I didn't have to pay your abilities. And I was living with a friend that I knew, so, and it was, it was, so the reason I quit is because I asked to go remote from my previous manager, but they didn't really work that out for me. So I quit. And I was like, you know what? I don't, I don't need it. So they brought me back and it was like, it was a part-time remote. And I already knew that job. And I was, I was basically locked site.8 (37m 43s):So like in the middle of rehearsal on breaks, I was doing work. It's all project based work. I was doing work in between rehearsals in between classes. I would check in and check my emails and just kind of set my own hours. And so when, like when the pandemic hit, I was already in the work from home mindset.2 (38m 2s):I have to stop you for one second. Cause there's so many things that you're saying I want to respond to. One is it's always a good sign, a good omen when just organically, the conversation turns to exactly what she and I were talking about before we started talking to you, we were talking about student loans and what a albatross they are for so many people so that you did yourself, such a favor by not having to go down that path. But also what I, what we always find in the MFA's is they really already know how to hustle, right? Because they've been in the workforce, hustling is like the thing you have to be as an actor.2 (38m 42s):And I feel like that isn't writ large enough when you're in a training program. Like, listen, you can learn about intention till the cows come home. But what you really have to be able to do is figure out how to do a lot of things all the time. Right?1 (39m 0s):Go ahead, go ahead.8 (39m 1s):Oh, I was going to say, yeah, I was, I was already hustling. I was working the full-time job and then immediately go into rehearsal for four hours and then rehearsing on my own after rehearsal and then going back to a job the next day.1 (39m 13s):Well, so this leads me to a question that maybe you can answer, which is okay. So the MFA, what I'm noticing, cause I also am doing a little workshop with some of the MFA actors this year and a writing workshop because I'm really interested in writing8 (39m 28s):Ones or twos or threes. It's all weird. Now1 (39m 32s):I know it's all weird. No, these are twos. And, and anyway, what I'm learning is that maybe, and you can see what you think about this. Maybe we need to look at restructuring acting conservatories to be more like MFA programs versus BFAs. Because like yourself, we have found that the MFA actors who graduate seem way more prepared to live the life of an, of a, of an artist preneur versus the BFAs who are like, I don't know, they seem like daring, like losing it.1 (40m 12s):Right. So what is your thought on that MFA versus BFA for you?8 (40m 17s):So it's a catch 22 because obviously like I wanted my MFA experience and the BFS, you know, we worked together, we rehearsed together and we did shows together and we were offered a lot of the same classes, but also you want that distinction of like, I'm paying more to get this specialized area. And I don't know if when I was 18 or 22, if I would have been in that mindset, like, I don't know what I want it then. So I think it might've been, I think it's a lot to process studying, acting and the business of acting and to make it all make sense, unless you already have an area that you're interested in and you can like apply while you're in, in school from the business side.2 (41m 16s):Did, did your career in business set that intention for you to be an artist preneur from before you ever started the program before you were restarted your MFA?8 (41m 28s):For sure. Yeah. I, so I can, I consider getting my MBA and I was looking at like Northwestern or, and just to preface, I had really had no interesting getting my masters. DePaul was the only school that I applied for because I, I was considering moving to Chicago or LA and I just wanted the training because I didn't study theater and, and undergrad. So I just wanted the training and I was like, you know what? I grew up in I'm from Northwest Indiana. I'm from Gary. And I knew, I knew of DePaul and I really, I searched top 25 MFA programs.8 (42m 10s):And I was like, oh, this isn't in Chicago. And then I looked at like UC San Diego, because that would get me close to LA. So I applied to DePaul and going into it. I told myself that I was never going to get my masters unless it was for something that I absolutely loved, like absolutely without a doubt. So it was acting. And I knew that I knew that I didn't want to get out of school and be poor. Cause like I don't, I don't like the concept of being a struggling poor artists.2 (42m 45s):Well, thank you. Thank you for saying that, that I really appreciate that because that persists as a myth that we all need to be living in a Garret somewhere. But how did you audition when you never studied that? Or did you ever act?8 (43m 2s):I was, I was acting, I was doing like community theater and I had an agent. I was doing improv. I was doing commercials and auditioning for TV and film and doing a lot of auditioning for theater and taking like workshops and classes. I had a vocal coach, so I was training, but it was like a self study type of training. And I never really had the core foundation of what acting is all at once. So I don't honestly, it's just one of those things where I like I'm, I'm very much a spiritual. And like you put out, you get whipped back what you put out into the universe. And like this life, the life that I've been kind of creating for myself is very surreal because things just like on paper, things should not happen the way that they have, you know?1 (43m 48s):Oh, tell us about that. Okay. So what, first of all, my question, my, my feeling is good. Good for you because I think you're making it, it sounds like it's exciting. Things are happening and they're coming together for you. So I guess my first question would be is what is the most exciting thing that is happening for you? Right this second,8 (44m 9s):This second wall, I just established my production company, my film production company in December. And I haven't launched like technically to the public, right until next month. Like I have an official launch day, May 15th next year, next year, next month, while next month. And the most exciting things that are happening are like, I have a small business client lined up for mark doing marketing work. I have someone that approached me for producing a web series that we're kind of developing the scripts. And then last night, DePaul school of cinematic arts student approached me to produce their MFA thesis, which is going to be a sag, a sag agreement.8 (44m 55s):So we just locked that in and that'll be, and I, I can't talk about it too much right now, but that's, we're shooting that in August.2 (45m 4s):Congratulations.8 (45m 5s):So even all of those things are just kind of happening and I haven't even really hit the ground. Yeah.2 (45m 11s):Oh my God. You're going to skyrocket. So what ways, if any, did the theater school experience challenge what you already knew about acting from having been a professional actor before the program?8 (45m 28s):In a lot of ways, it actually made me, it kind of hurt me a lot because I was very naive going into, and I was a lot more free and a bigger risk taker. And then when I got into TTS, you know, you start peeling back all of those layers about yourself and you're getting constant criticism and people were telling you to experiment, but also it's, you can't really experiment because you're getting graded and you're supposed to be taking risks and shows, but you're also getting a rehearsal and performance grades. So they call it caused a lot of like internal conflict. Where,1 (46m 4s):Why does that happen? Is that just the nature of school? I'm really curious as to why. So we have a beginner's mindset, right. Which is a beautiful thing. A lot of us, when we go in some of us, some of, you know, some of your classmates could, like some of ours probably would have been acting since they were like one month old, but for most of us, we didn't know what the hell was going. I didn't anyway. It really was going on. Yeah. So what is it when you say it's cut? Cause you said it was kind of bad, which I totally can relate to the idea of then going from being more free, to being more self-conscious and maybe like precious more about the work, but like what happened? What is the process that makes that happen? TJ, like, I don't get it.8 (46m 42s):I think, I think a lot of it is self-induced of like being in the competitive environment and I camp, I come from a sports background and wanting to just like love competition in a healthy manner. So I think a lot of it is that. And then I think a lot of it is just taking when you're, when you're told that there's so many different things that you need to change about yourself to kind of start fresh aching. Did it eat away at you? And like, and in the midst of like your learning, all your, like exposing yourself to all of this childhood trauma that you didn't even know exist in your body is going through all of these changes.8 (47m 29s):And you're releasing of this, these emotions that you didn't know existed. The reflection was great, but I think it was also like so much in such a little time to where before I was just kinda like, fuck it. Like, I don't have anything to lose. Like I've never acted I'm going to do this my way, regardless of what they think. And I think in grad school, I got back into a mindset of like, oh no, I actually care what they think.1 (47m 58s):Well, the other thing that is because I am a, I, I was listening to the thing you said about the sports mentality or a sports background, like, okay. Like, I was really good at basketball, unbeknownst to me in eighth grade. Okay. Like, shockingly, I was like this overweight kid, but I was really good at basketball. Okay. I didn't know I was good. I just, someone was like, Hey, try out for the team. We need people. I was like, well, I'm doing nothing else. But anyway, I turned out to be really good and I had fun because I had no expectations. I was like, okay, well they want me to play. Someone wants me. And it turns out I was really good. But then when I tried out for the high school team and it was like serious business, of course I never made the team.1 (48m 41s):And I never even went back to tryouts after day one, because I was like, oh, I'm not, this is, I'm not now it's serious business. Now this is like where, where the big boys and girls really play and it's competitive, more competitive. And it's more like, it felt more businesslike, you know, instead of fun. So maybe that has, I don't know. I could really relate to that sports analogy of like, when you're free, you're going to play better. You're going to be a better athlete. Right. Cause you can. So it's like how to maintain that freedom as an artist. If we bring it back to the theater school, like how to maintain that freedom to do what you want to do and experiment. And at the same time, take what they're giving you, but not care what they think.1 (49m 22s):It doesn't seem possible to me,8 (49m 23s):It doesn't. And I think like mid grad school. So probably second year before quarantine and everything happened. I think that was the year where I was like, okay, this is my second year. I know that. I know that I w I like, I really want to set myself up for success beyond just acting. But also I know that the stakes are high, like, or I made them high for myself. Like, oh, I gotta, I have to get an agent. And then you see all of that. You see it, all of your classmates, like they're starting to get representation early, before graduation in the middle of the pandemic. So like, it's like, oh, all of this pressure, and you don't know how the industry is going to be when you get out.8 (50m 6s):And also, like, I think I got back into the mindset of which I started in of like, okay, I feel behind already, because I started acting at the age of 28 and I didn't study. I haven't been studying since I was the age of five. Like I grew up in a performing arts family, but I was not other than just doing improv and having fun and making sketches with friends. So like, I didn't have anyone around me as a mentor in my friend group or in my family that could just kind of guide me. So I got this sense of urgency when I first started like, okay, I have to learn everything possible.8 (50m 47s):So I didn't care then. But like, when I was in grad school, I just started caring more about what my life could be and what it wouldn't be if I didn't get what I wanted. And I think, I just1 (51m 4s):Think she8 (51m 4s):Was as a lot of pressure.1 (51m 6s):So did you enjoy your time there sometimes some, like, did you, what would you say if someone came to you like were coming to you and say, like, what was your takeaway from that theater school experience in terms of high points and low points?8 (51m 22s):I, you know, I've, I, I loved it despite like the first year I will say the first year was brutal. It was brutal. My, my cohort, I love my cohort. We went through like a title nine investigation the first quarter. So it was like emotionally draining, just the, you know, being in a new environment and conservatory to start. And then you have like a sexual harassment case happening that creates like our own type of social distancing thing, where the person can't be in class, we have to go through, like, we're getting Student, this was a cohort member. Who's no longer with the program.8 (52m 3s):They got expelled, but, okay. So yeah, we're going through that. And we're navigating like intimacy and like how to get around all of this in our first quarter at DePaul. So a lot happened and it drew us together a lot.2 (52m 19s):I'll say my God. I mean, that door normally happens anyway, just because of the intimacy of being in voice and speech classes, but having that to go through, I mean, that, that probably in the end, sorry for whoever got hurt in that experience, but probably in the end boded. Well, for everybody just being able to, to judge8 (52m 37s):It did it did. So yeah, that first year was rough. I also went through, like, I went through a racial profiling scenario in the theater school that ended up leaking out to media when the George Floyd things happened in 2020, like that It's a whole thing. I was there's you, where were you all in the, you, weren't in the new building. So1 (53m 5s):We're old, we're old as hell. We've we, we graduated in 97 and 98. So no,8 (53m 12s):So, so I, I was like napping before rehearsal on the second floor, which is next to like the marketing section. And there's like a couch kind of blocked off, but you know, everyone sleeps in theater school cause you spend like 98% of your time there. And there was a, there was an Encore, a duty officer patrolling. And I think he was new because he had never, I never seen him before anyway. So he like woke me up and then started questioning me and like asking why I was there and who I was and asking for my ID. And I'm like, no, I go to school here.8 (53m 52s):And then I was like, why, why did you, why did you wake me up? And then he told me that because someone saw on camera and called to check that there was someone in the building that shouldn't be there. Okay. So we went through this whole process of like investigating and there's no cameras in the theater school. So he lied about why he stopped me. It was, it was, you know, I mean older, like I'm not at a typical theater type look anyway, the case got thrown out because they couldn't like, they couldn't find enough evidence to prove that he was in the wrong, even though he did wrong.8 (54m 34s):So they kind of went by that. So that's, this is all first year, right? So the case got,2 (54m 38s):Oh my God, you've graduated.8 (54m 42s):Yeah. So the case got closed and then we just kinda let it go. But after that first year, I was like, you know what? This was a more emotional turmoil. And I refuse to have the final two years go this way. So that's when I really started focusing on, okay, I'm going to do this. I'm going to get through school and like get every ounce of it out that I can. And that, and that's kind of like this that's when I kind of started developing like truly developing my production company. It had been in the works for awhile, but that's when I really got serious about it. And then the pandemic hit and like I had a lot of extra free, free time and you know,2 (55m 23s):Oh my God, I, I don't think there, there could have been any more calamity that you were facing at this time and you and you, so you truly survive school it on such a deeper level than I think I could, I can attest to, I want to go back to something you were saying earlier, when you were talking about picking careers, you were saying, I didn't want to be a doctor and I didn't want to be a lawyer. And so my assumption was that that's what your parents are. And then you said it's a performing arts family. So tell us more about your performing arts family.8 (55m 58s):Yeah. So my mom, she trained in classical singing and she's not a professional singer. My sister was in a performing arts high school and she's 10 years older than I am. So I grew up exposed to like, I grew up exposed to her in a girl group and around artists and around theater. Like my mom was kind of a, she's a public speaker and a politician her own way because I lived in Arkansas for about five years during my childhood. And it was a small town and everyone knew her and she, she ran this, this preschool, but she also did a lot of things in the community where she would have like women's support groups and she would go do like these leadership workshops.8 (56m 46s):And she's, I also grew up in a Baptist church and in the black church. So I, I grew up seeing performances a lot in a lot of theatrical performances and seeing my mom speak and she's so like articulate and powerful and I always admired her like, wow, she can get up in front of all these people and speak and like enjoy it. And I could not because I was super shy, like super shy. And I think it's because people told me that I was shy. So I had no interest in performing. Cause I was just terrified of it. And1 (57m 24s):I have to pause there for a psychological moment. Isn't that interesting. I did not realize that about shy kids. That a lot of times they're told, oh, this is the shy one. Just like, oh, this is the, you know, whatever one. And then it becomes a self-fulfilling thing. Like this is my, this TJ, he he's the shy kid. And maybe he wouldn't have been so shy if it hadn't been reinforced and reinforced. That's so interesting. It's just like what we tell ourselves like, oh, I can't do that. I can't play basketball at camp, but I'm this one, my sisters, that one, that's so interesting to me. Cause shy you, I mean just shows how people change and w how we aren't really what people say we are.1 (58m 5s):So anyway,8 (58m 6s):I internalized it and what I've psychologically, I think what it was, I grew up around kids. There were way older than me and way more mature. So I'm a, five-year-old around a 15 year old. And my brother who was six years old or 11, and all of my cousins are like 11, 12. I'm not going to be able to articulate the way that they're articulating and expressing themselves. But, so I think I just kind of withdrew within myself when I wasn't able to do what they were doing, which ties back into me, never acting is because I never thought it was a possibility because I saw them being able to do these things, but I didn't feel like I could express myself that way. So I just did sports.2 (58m 51s):Okay. Well, and actually that's kind of a pretty good bridge. Really. If you feel like if you were any bit in your shell, sports does help people come sort of come into who they are a little bit, but what I wanted to ask you was, did you, when did you, when did you figure out that you are not shy and when did you decide that this could be something that you would do?8 (59m 19s):I think in my probably, you know, I never, I've always known that I, I wasn't shy. It just depended on who I was around. You know, what, what group I was around. Because if you, like, if you're around my childhood friends and people, I went to high school with, they'll be like, he is not fucking shy. Like what, he's the worst, actually, he's the worst. Once you get them going? I think it has a lot to do with code switching and being in environments. I was very observant as a kid, you know, because I was shy and I listened a lot.8 (1h 0m 1s):So I think it was more of, I like to observe people around me before I speak. So I knew I wasn't shy, but I, I also knew that I wanted to be able to have a voice and figure out what that looked like. And that was kind of the journey of me that led me to acting is okay. I want to be able to speak and express myself and I want the tools to be able to do it. I just don't know what that looks like.2 (1h 0m 33s):Can you tell us about some of your favorite theater school experiences like performances or, or classes8 (1h 0m 41s):Favorite? Okay. Let's Griffin is a favorite of all. She, I could talk about her for days. Phyllis is a voice, was our, my voice teacher and my second year, and just her spiritual and gentle approach and having a black woman as a faculty member was huge. Those are, so those are some of my biggest highlights. So it's probably going to be more on like me and who I had around me. So just for context, I was the only black male in the MFA program when I went in.8 (1h 1m 26s):So there were two black women in my cohort. And then the class that MFA two's ahead of me, there was one black woman. And then the, is there was one black woman. So I was the only, like, not only was I, the, I was the only black male in the MFA program in my thirties, going into an environment where like everyone out of the other younger black men were 18, 19 20. So there's like this huge gap where I didn't really, I'd never felt like I had someone that I could talk to, you know, so, but great experiences.8 (1h 2m 7s):Our lady of second year, it was majority, all black tasks, a play centered around three well Rwandan girls who saw, saw our, the Virgin mother, Mary, so apparitions of it. So that was a great to being that environment and do that. And then I did this really cool in the, the big black box in the heli. I did this, this horror comedy job, a play called neighborhood three requisition of doom. And I got to play three different characters and I love the horror genre. So it was cool to really dive into that and work with the cast.8 (1h 2m 51s):And then that final quarter of the second year, the pandemic hit. And one of our professors that we didn't know, which was great. We were terrified because we hadn't worked with him, but he's an alumni, Sean Paris. I don't know if you're aware of Sean Paris.1 (1h 3m 12s):I know Sean,8 (1h 3m 12s):Sean, Sean has become a big brother to me. He is so amazing. And that was like the point that was game-changing for me, because it was during, it was during the start of the pandemic where I had not only a black faculty member teaching, but also a black male faculty member teaching me and I, that like that was when I really felt like I was able to open up and truly start translating who I am into acting and into my art or my art1 (1h 3m 42s):So necessary. What, what did, what was Shawn teaching or was he directing?8 (1h 3m 47s):So it was all remote. He was teaching us Meisner and viewpoints, but we were translating it to on camera because everything was done. So I got to really start building my relationship with the camera, Our relationship and the environment, because there's not really on camera for, at the theater school and there needs to be more And I love TV and film is the route that I'm, I want to go mainly in my career.1 (1h 4m 18s):So what, when you say like, that really opened you up in that really? What do you think it, I guess what I'm trying to, I want to get clear about, like, what did it do for you as a performer to have that experience with Sean? Like what, what, what happened? What changed in you?8 (1h 4m 38s):I got to hear his experiences and see him work because he really, he wasn't, he was a student as well, and he, like, we got to watch him do monologues and watch him work. And I think just being in the environment where someone was like me, literally, who was like me and has experienced it, experienced the type of things that I've experienced in life. It's one of those things where like, growing up, I didn't see a lot of people that looked like me on TV or in film. So I never thought it was a possibility. And sh working with Sean in being around him really opened up what acting can look like for me.2 (1h 5m 26s):Oh, that's so beautiful. And I'm never not surprised in all of the ways that representation matters. I never thought about it mattering in the classroom, but it certainly does. I don't know if you got a chance to listen to, we interviewed Justin Ross and he talked about our lady of Cuba. And one of the things that he was talking about was that, that it sounds to me. So I'm asking you to, for clarification, it sounds to me like that production fostered a whole pivot in terms of the curriculum and, and, and how he said it to us as we warmed up differently than was sort of the, the, the usual at the theater school.2 (1h 6m 14s):And that, that production helped create a new normal for that. Is that, was that your experience?8 (1h 6m 21s):It did. And I think a lot of that has to do with our graduating class with BFA and MFA my class, my cohort was very much of like, we'll burn this institution down if we need to, like, we're, we're changing shit, like regardless. And a lot of it had to do with going through what we went through that first quarter with the title nine situation. It was like we had each other's backs and it was the same way with our lady of Cuba. Oh, if like we have each other's backs because we went through some shit in there too with like,1 (1h 6m 54s):Yeah, they, yeah, it didn't, it was like, there was a lot of bad shady shit that went down right there.8 (1h 7m 1s):A lot of shit going down. Yeah. And a lot of like unbiased prejudice and racism that was happening with the people who were working on crew, not really having an understanding of the story that we're telling and not really allowing us to tell the story and not really getting our feedback as you know, it was, it was a lot of like an all black cast, but being essentially produced by all white people was right. You know, and there was a lot of conflict during that production, but I do think,1 (1h 7m 40s):Do you feel like it changed though yeah.8 (1h 7m 43s):To change the culture of TTS? For sure. Because we start, it was, I think that production and the things that happened during it really started shifting the culture of theater in TTS before the culture started shifting in 2020s. It was kind of like the, the catalyst before that.2 (1h 8m 9s):Oh my God. Yeah. Only like 50 years too late, not too late, but 50 years late. Like w we've had a of conversations because your experience of being the only black male in, in our generation there, yeah. There was always an, any class, only one person of color, pretty much. I mean, maybe in a couple of years there were two. And certainly Phyllis was our only are ever professor of color. Is she still the only professor of, I mean, I know the new Dean is a woman,8 (1h 8m 39s):But the only 10 years1 (1h 8m 42s):Tenured and full time, even maybe, I don't know, like adjuncts. Yes. We're cause I'm adjunct. And I know in my cohort of adjuncts there are, but I think full-time like, it's still, what, what, wait, wait, what?8 (1h 8m 55s):Yep. Well, Christina, Anthony, Chris, Anthony is new. She came in our second year. So that, she's also a really great she's. She came from California and she's, she has a lot of background in activism and in the classical. So she, she is a full-time staff member, faculty member, faculty member.2 (1h 9m 18s):Do you remember your audition? And can you tell us about what your audition was like? Yeah.8 (1h 9m 22s):Yeah. So get that. So when I apply for the audition, they were like, you can do the preliminary video or you can just come to in-person and I didn't have any experience with self-tapes. And like, I was still raw. I was like, I don't want to put a monologue on video. Like I won't have a chance at all at all, if I do this, but during that time, I was already preparing for Kentucky Shakespeare auditions. So I had been working monologues and working on a lot of different things with my, my vocal coach. So I did in-person auditions. And it's very funny because I was currently in rehearsals for the show of chorus line, the musical, and then think auditions were on Wednesday, Wednesday.8 (1h 10m 17s):Yeah. Auditions were on Wednesday in Chicago. And then there was an audition for cau UC San Diego in Chicago. Like they were, you know, all of the colleges they come and I was like, okay, I'll, I'll, I'll get an audition for UC San Diego. And it happened to be the day before the DePaul auditions. So I knew that I wasn't going to go to UC San Diego just because I felt like they don't know who I am. It would be like me applying to Yale and they don't, they have no idea who I am. So I have no chance. So I used that as like a warmup for DePaul, used it for a warmup to get, just kind of get the jitters out and audition.8 (1h 10m 59s):And then as I was leaving the, I can't, we were in some hotel downtown, maybe the Hyatt or something like that, as I was leaving, they were like, Hey, we're doing auditions for Columbia and New York. If you have a headshot, a resume and want to get a slot, I'm like, oh yeah, I have these printed out. So I signed up for a slot and then I went and auditioned for Columbia. So it was like, oh, all right. I got these two auditions under my belt. I feel, I feel ready going into tomorrow. Right.1 (1h 11m 25s):Wait, can I just say how brilliant it is that you decided to use them as practice? This is the sign of someone who is ready to do their craft when they see not those opportunities as a chance to have a panic attack and die, but as a chance to use their skills and practice and get in front of people and practice, that is a true artist, entrepreneur mindset. Like that is a better mindset. Thank gosh. You had that anyway. Okay. So then do you went to Columbia? Did you do all those?8 (1h 11m 55s):I did the Columbia. I did the Columbia and you know, there were, I was in the lobby and just ki
Or, How To Not Exactly Succeed In Corporate Satire While Actually REALLY Trying. We might have felt differently about In Good Company if we didn't live in the Republic of Bezos, in a timeline with Succession, but we do, we do, and a movie that tries to send up corporate machinations really needs to have an R rating to work with. Still, this gentle, dated, clueless-about-BFAs-and-NYU "Hallmark movie for boys" isn't unpleasant, and DQ is quite good in it despite being obliged to dribble a basketball AND deliver a Notwork speech during the big boss's TED talk. Past its sell-by date, but still safe: it's an all-new Quaid In Full. Overall score: 5.5 QQQ score: 8 Days since a lost Kuffs accident: 28 SHOW NOTES Follow us on Twitter (http://twitter.com/quaidinfullpod) Get EVEN MORE Qontent (...sorry) at our Patreon page (https://www.patreon.com/quaidinfull) In Good Company on Prime (https://www.amazon.com/gp/video/detail/B00CSBLJ0E/) Ebert's review (https://www.rogerebert.com/reviews/in-good-company-2005) Peter Travers's for Rolling Stone (https://www.rollingstone.com/movies/movie-reviews/in-good-company-249546/) Ruthe Stein's for the Chron (https://www.sfgate.com/movies/article/Meet-the-new-boss-not-quite-the-same-as-the-old-2739027.php) Nathin Rabin's for AV Club (https://www.avclub.com/in-good-company-1798200312) S02E02: GORP (https://quaidinfull.fireside.fm/11) It's Christmastown (https://daveandjebarentmean.libsyn.com/)
I want to talk a little bit about this transition that we go through, or this obstacles that it seems as though we're faced with. And for me, it took a long time to put these thoughts into words. I recently had a get together with a friend that I've known for a very long time, who doesn't live in the Chicagoland area. And he happened to be in town and we grabbed dinner the other night and just kind of got to talking about my coaching career, my transition in life and the way that I've been moving obstacles out of the way, and really discovering that a lot of the thoughts that I've been having, and the beliefs that I had about my life without children, how they were really keeping me feeling stuck, and feeling as though I did not have any other option but to feel like my life was just going to be dreadful. And that my future was not something I could really see myself dreaming of and being excited about. I loved our conversation, just really feeling like I uncovered some amazing things and was able to finally put into words some things that I harbored in my mind for so long. When you become childless, not by choice, versus somebody who maybe already knew that she or he just didn't want to be a parent. They cognitively chose that for themselves. But for those of us that have issues with infertility and went through fertility treatments, and were unable to have children, we did not choose this path for ourselves. I know speaking from my own experience, I always envisioned children and motherhood in my life. And I really didn't plan for much beyond the motherhood part because I was just really looking forward to a future that was filled with milestones based on being a parent. I also sometimes wonder if the men out there are going through this same thinking. I mean, do men attach their future to fatherhood as much as women do? For me, that's really what I planned on my future being full of -being a parent and sending kids to school and off to college and having a wedding and grandchildren and watching them grow. And when we don't have the opportunity to embrace that and experience that it's, as I, I shared with my friend the other day, it's almost like, you get to the end of your fertility journey, when you don't achieve your goal of motherhood, there's just this mass of dead space that's staring back at you, when you're looking into your future, it can be super daunting to think about the remaining years of your life, you're feeling like you just really haven't had anything prepared for what you want your future to look like. But when you actually choose your future for yourself, you're able to decide what you want and what you want to fill your time. Well, what I'm starting to realize on my journey is that even though I have so much heartache and so much sadness around not being able to be a mom, and that it really for so long felt - really still to this day - feels like it really wasn't my choice. But when you're able to work your way through that weight that just lies on your chest and consider a possibility that you may love your life one day, and you may understand things about yourself in your mind that will offer you so much awareness in how you actively choose to live and experience your life. Many of us with infertility have a really hard time forgiving ourselves for not being able to have a baby. So we really never allow ourselves to seek a silver lining in our lives. So many of us judge ourselves because we think that if we move to a point where we see ourselves, loving our future or see ourselves, loving our life Even though we don't have children, it's almost that we believe that we're not respecting the heartache and the helplessness and the feelings that we went through during our journey of fertility treatments, telling yourself that you can love yourself in your life and still keep a segment of loneliness and defeat in your heart. And that it can still coexist with this new life that you're creating. There's just such a liberty to know that you're not abandoning that woman that tried so hard to get pregnant and the woman that did everything she possibly could, you're not abandoning her because you're choosing to love your life and to create a future that you can love. Maybe if you're out there listening, and fertility is not part of your journey, but maybe it's a partner or a job or a promotion, that you're waiting to have happen to you so that you can feel that your life is complete, or that you can start to dream about a future because that portion of your life has a checkmark next to it. I'm here to tell you that having those things aren't going to be what's magically completing you or your life or it's not the reason that you're going to love your life. Once you get to understand that regardless of what it is you are embarking upon in your life, you have the ability right now to choose or even start to identify what it is that you want your life to contain. And so many of us are afraid to really dream until we feel like we have all of the boxes checked of the things that are going to tell us that Okay, it's alright to dream right now. So I just I had this epiphany of thoughts of, we just need to give ourselves some time to pick what it is that we want in our future and how we want to live our lives. And what are some of the things that if we could just choose what we would have in our lives, if it's not going to be a child. And we can just tell ourselves, you can choose anything, it just can't be motherhood or a child because we know that that part of our life is not where we are right now. Give yourself the liberty of just starting to dream a little bit about what you would want. And what you would have if you didn't have any hindrances, or if you didn't have any roadblocks. Where do you envision yourself being? What do you see yourself doing? Who do you surround yourself with? What do you look like? When you see yourself, how do you envision the best version of you? What are you wearing? What's the look on your face? How do you appear to yourself. Once you get to have a stronger understanding of who that version of you is, you can start to set your goals for how you're going to get there. But as long as we're telling ourselves that there's this black mass in front of us that seems to be this future. And we didn't want to have to choose and we didn't want to have to plan and we didn't want to have to envision who we would be. But the opportunity we have to do this, you will start to see is such a gift. And I'm not saying that people with children don't have this opportunity to do this for themselves. They absolutely do. But so many of us just hang our hats on motherhood and children and those milestones related to parenthood as being what our future is full of. I am here to tell you that the opportunity we have to choose deliberately for ourselves, what we want is such a gift. You don't have to trade wanting to have been a mother or the years that you put into fertility treatments and those heartaches; you don't have to wash it away and be grateful that you went through it. But if you can just keep a little segment of your heart that you know that's always going to be with you. But looking back at it, having that retrospective view of who you were in what you did is the thing that gets you to the next version of you is really going to be such a gift. So short and sweet this week, just take an opportunity to just close your eyes and start to dream. Who would you be if there were no obstacles? What would you look like and what would you be doing? Who would you be surrounding yourself with? What do your surroundings look like? Are you living in your current home? Are you living in your current geographical state and just start to dream from there? So I hope you have a wonderful time with this practice. I hope you're doing your paper thinking and taking some BFAs and looking at your beliefs, your feelings and your actions in your paper thinking this week, and really allowing yourself to dream about your future again. Have an awesome week and remember, it is never too late to discover your meaning. Talk to you soon.
Today on the pod we discuss Steven Spielberg's West Side Story, adapted by the brilliant Tony Kushner, shot by legend Janusz Kaminski, and starring a whole bunch of awesome people. This movie is so so good, one of the best movie musicals in decades, perhaps an all-timer. We had fun! This movie was so good. We drank beer and talked about West Side. It's just so great, I don't have much else to say. We also talked about drugs in parliament. Push play, like, and subscribe! Find all of our Socials at: https://linktr.ee/theloveofcinema Music: soundcloud.com/dasein-artist. Beer: @cbarrozo.beer Edited and produced by Dave Green. Hosts: Jeff Ostermueller, John Say, Dave Green. Twitter: @theloveofcinema, Twitch/Facebook/Instagram: @theloveofcinemapod, YouTube: The Love of Cinema Podcast. Find all of our Socials at: https://linktr.ee/theloveofcinema Music: soundcloud.com/dasein-artist. Beer: @cbarrozobar2019. Edited and produced by Dave Green. Hosts: Jeff Ostermueller, John Say, Dave Green. Twitter: @theloveofcinema, Twitch/Facebook/Instagram: @theloveofcinemapod, YouTube: The Love of Cinema Podcast.
This episode is sponsored in part by Humane Network and Doobert.com. As Kristen Bell is to sloths, so Jon Dunn is to cats. Senior Specialist of Communications and Host of the Best Friends Podcast by Best Friends Animal Society, Jon just really loves cats. He joins Stacy for his first-ever podcast sitting in the guest chair and answers questions instead of asking them. Jon and Stacy talk about TNR and how the mindsets around community cats have evolved. They touch on reunification challenges faced by cats and current conversations about how and who is able to adopt. Jon offers some insight into what it takes to have a successful podcast and how BFAS, as an organization, embraced podcasting as a timely communication vehicle to launch its first episode in April of 2020. Listen and subscribe to Best Friends Podcast. You can also follow Best Friends Animal Society on Facebook, Instagramand YouTube. Quick Notes: Jon mentioned VeganGR.com, his Grand Rapids, Michigan guide to vegan life.
Welcome to season 2 of The Canine Condition Podcast. My name is Jacqueline Piñol and I am your host. This is the why, where & how to adopt or help a canine family member. The goal is to save homeless dogs and set you up for success with information and resources to raise and keep a healthy and well balanced dog. My guest on this podcast is Mia Navedo Williams from Best Friends Animal Society, a national orgnanization. BFAS is known as a pioneer in the no kill movement. Find out how they partner up with shelters all across the country to achieve this ultimate goal and why they believe together we can save them all. To connect with us or Best Friends Animal Society click these links: The Canine Condition: www.thecaninecondition.com Instagram: https://www.instagram.com/thecaninecondition/ Best Friends: https://bestfriends.org Instagram: https://www.instagram.com/bestfriendsanimalsociety/ Facebook: https://www.facebook.com/bestfriendsanimalsociety The Canine Condition Podcast Writer & Host: Jacqueline Piñol Sound Editor & Engineer: Joe Crow - The Audio Pro Producers: Jacqueline Piñol and Jonny Blu Music: Jonny Blu
Are you a sculptor considering collaborating with a writer? A dancer wanting to work with a filmmaker? A graphic designer looking to create something with a fashion designer? An artist's creative imagination knows no bounds. However, how do you even begin defining your project's parameters if you've never seen a model for it before? Can you work with someone if you don't speak the same artistic language? We will have two guests to discuss their experiences in developing and executing inter/multi-disciplinary projects and/or events from the ground up.Y. E. Torres (ms. YET) is a professional movement artist, instructor, model & specialty entertainer: Fusion Bellydancer, Fire Performer & Flow Artist. She holds dual BFAs in Drawing & Painting and Fashion Design from the University of North Texas and multiple dance and yoga based certifications. Torres is an arts educator, movement instructor, and Public Programs Coordinator at Contemporary Art Museum Houston. She was named one of Houston's Top "100 Creatives" by the Houston Press in 2011, inaugurated into the Houston Music and Arts Hall of Fame in 2016, and awarded 2nd place for the “Best of Sideshow Arts” at the 2019 ABurlQ! Burlesque & Sideshow Spectacular. Torres is also a Flame Effects Operator, licensed by the state of Texas and a Principal on the National Fire Protection Association (NFPA) Special Effects (SPE-AAA) Committee.Koomah is an intersex & genderfluid multidisciplinary artist, performer, and filmmaker currently residing in Houston, Texas. Koomah has facilitated several interactive public art projects including: "Chalked" around the outside of Westboro Baptist Church in Topeka, "Intersex Welcome Mat" at Lurie Children's Hospital in Chicago, and the immersive multi-sensory interactive art experience “No Such Thing As A Free House” inside a home in South Park. Koomah has performed, showcased artwork, presented workshops & lectures, and screened films across the US & internationally.Music: "Ike is Gone" by Nick GaitanSupport the show (https://fresharts.org/about-fresh-arts/friends-of-fresh-arts/)
Tomas Goldsmith is an American Professional indoor and beach volleyball player. From top finishes on the regional scene, to multliple indoor championships on the international and domestic scene, it is safe to say that the 30 year-old superstar gets around. He spent his freshman year at Rutgers University as a libero before transferring to UW-Milwaukee to play outside hitter where he won conference player of the year twice. He continues to shine on the indoor and beach scene, and is currently the director of "Volley-Life" a revitalized scene at Bradford Beach for tournaments, camps and clinics. Tomás is an accomplished musician, graduating Summa Cum Laude in 2014 from the Peck School of the Arts at UW-Milwaukee with BFAs in Jazz Studies and Music Performance. Tune in, as we chat up his time at Rutgers and UW-Milwaukee, the indoor and beach Olympics, the importance of 'role-playing,' in indoor positions, buying into a system, Playing conditions at Waupaca, his first main draw at Manhattan Beach, having a partner like Max Martin who is easy to play with, the number of upsets on the beach scene this year, What his partner does well, where he wants to improve, the easiest and most difficult things for him to transition to the beach, "Volley Life," being humble in the sport, and MORE!
Stunts, shenanigans, bufooneries, and weaponized BFAs abound, this season of All Stars has been GOOD. Jake and Michael sum up their mid-season thoughts on RuPaul's Drag Race All-Stars 6, from top to Jan. Plus, Loki's over, and we get into ALL the multiversal implications of that finale, so let's all fan out about some TV this week!
Intro: Should Boz become a band manager? Let Me Run This By You: When you ASSUME. Interview: We talk to Sarah Charipar about playing old ladies when you're barely an adult.FULL TRANSCRIPTSpeaker 1: (00:08)I'm Jen Bosworth Ramirez and I'm Gina Pulice. We went to theater school together. We survived it, but we didn't quite understand it. 20 years later, we're digging deep talking to our guests about their experiences and trying to make sense of it all. We survived theater school and you will too. Are we famous yet? Before we begin this episode? Just a little note to say there were some audio problems with this. I did the best I could fixing it up. The content is still good, but you know, sometimes things work out that way. Mercury was in retrograde or something. I'm sure. Anyway, enjoy. Speaker 2: (00:47)Hi. How you doing? How you doing, babe? I stayed up pretty late. You did. Okay. I have these neighbors. Do you know? Oh my God though, that gives me flashbacks. Um, no, no, I have these neighbors, right. I adore them. Okay. They are young, you know, mid, late twenties in a band that I adore and they're trying to get me to be their manager. I don't think that's a great idea just because I don't know how to manage bands. And I am trying to work on my own career, but, but I did give them some feedback, like about how to go about their there's a great band, great kids, you know, kids 20, 27. Yeah. But still kids to me. And, um, anyway, we stayed on the w we have balconies next to each other. So we just sat out there talking while miles, miles was as long asleep at like seven, but I stayed up until nine. Speaker 2: (01:48)So that's late for me. Oh my gosh. I thought all this was building up to like, you stayed up till three in the morning. You got two hours of 7:00 PM. 7:00 PM. Well, he gets up at four. So, um, he goes to bed. No, I shouldn't say last night he did go to bed a little earlier, but usually it's about eight 30, eight, eight 30. It's really quite does he get up at four? Because like, that's his natural body. He likes to do that. He does his burpees. He's Mr. Kind of healthy. He does all this workout stuff and I'm just jealous. That's the reason you didn't see it. But I did like a dismissive hand gestures only because I'm jealous. That's the only reason. So, so he, so anyway, his people were farmers that's. I mean, that's what they say. Like people who are night owls probably have ancestors who were on the night watch, you know, caveman style and people who just a mosquito and people who are early risers were, I mean, I've heard, Oh, I like that. Then that I like that. That means my dad was on the Nightwatch and, uh, or just very Speaker 3: (03:00)Depressed and couldn't go to sleep, but, or I'm going to choose the nightmare. Speaker 4: (03:08)Let me run this by you. Speaker 5: (03:15)I recently called to tell you about, uh, a experience I had with a friend of mine, who I felt like didn't like something I had suggested to them and wasn't responding to my text message and it's, I wasn't, uh, freaked out about it. That's a step forward. And I wasn't even very worried about it, but I thought, okay, well I suggested something to this person. They didn't write me back. My assumption was that they thought it was a terrible idea and didn't want to have any part of it. And I was completely wrong because I had another conversation with this person yesterday. And like, and of course they reason they didn't write me back was completely Speaker 3: (03:56)Had nothing to do logical. Right. And this is Speaker 5: (03:59)So lesson that I can't seem to grasp that. Like my first inclination is always to say, they're mad at me. I did something wrong. Speaker 3: (04:13)Sure. How do I get out of that? I don't know. It's the same. So I think I have the exact same thing. Mine goes mine. It's my first instinct. And I think it's practice of look, actually what I think it is is if you go to that first thing first, which you probably, I probably will, and you probably will, the rest of your life. It's just, just part of the DNA. All right. But the process of working through it right. And getting to the point of being like acceptance of, okay. So if they are mad, okay. So if they are, they hate my guts. Okay. What then, what am I going to, how am I going to take care of myself? If this person is upset or who doesn't want to be my friend or whatever, I think that's the real, um, when of the thing is working through, working with ourselves through that process is the process versus, you know what I'm saying? Like that's the reason it comes up is to, to be worked through and not necessarily that the first instinct will go away because I don't think it will. I just think that's the way we're wired. At least I know that's the way I'm wired. And I think I it's practice of working through so that it becomes less of a whole situation. Um, and more of a, Oh yeah, I did that thing again. Okay. Well, how can I work with myself? Okay. So let me talk it through with somebody, let me, but I, you know, Speaker 5: (05:48)Bernie in that, and I have, I guess now that we're talking about, I guess I have come some, what of a way? I mean, cause it used to just be that I would immediately respond to that person and say like, I'm sorry, I take it back. Or, or like, I know that I know you hate me now. Speaker 3: (06:05)Just start crying profusely, get on the phone and say, I'm sorry, I'm so terrible. Um, and please forgive me. Yeah. Like you said, it was a, be a whole play, a drama Speaker 5: (06:18)And then DBT, uh, I think it was in DBT, but anyway, as a therapist, I would always encourage my clients to check the facts about something, you know, because feelings aren't facts and you know, just because even if you have, even if this person really doesn't care for you, that doesn't mean that every interaction you have you're, you're doing something wrong. You're, you know, you should be put up on the cross. Speaker 3: (06:40)Yeah. It's just ownership of self. And of, I think it really, for me comes down to this core, core, deep, deep belief that I deserve to have my feelings. I deserve to have opinions about things. Um, I deserve to take, um, to take initiative on ideas and even if they're shot down or even if people think it's the stupidest idea in the world, I deserve to throw things out there and see, and you know, it's, it's a deep, deep core situation for me. Yeah. Speaker 5: (07:14)Yeah. It is. And, and I think I I'm really learning. It's there's a big part of it. That's generational too. I mean, you know, when we talk to younger people, they seem a lot less burdened by, I mean maybe sometimes going in the opposite direction. So that was the other thing I was just going to ask you about is now that you've been teaching at DePaul for a minute. Speaker 3: (07:37)Well, now I'm done. It's crazy. Well, I'm not done. I'm done, but yeah, it has been quite the journey. So they're just like us in some ways. It is amazing. So I had 13 individual one-on-ones with these students, um, at 10 minutes each. So I offered one-on-ones because they really wanted that. And they too Speaker 5: (08:06)Knew like her feedback about their Speaker 3: (08:09)Like, to do like therapy. Let's just be honest because they're struggling. And it was my suggestion. It turned into not therapy, but it did turn into a lot of coaching. Let's just say, but they're struggling just like we were, even though there's I would say, yeah, I would say a good 13 out of 24, right. Or 12 out of 24 half are struggling with the exact same thing. I don't have a rep. Other people have reps. Now they get reps before school ends because they they'd been auditioning for, um, agents, um, on zoom. They had like a class where they bring agents in. So half that sets up a dynamic where half the people now have reps and half don't. So the people that don't have acting reps obviously wanted to meet with me partially to say, how do I get a rep? And I'm like, listen, it takes time. You'll find your people. Let me, I, and I offered to help with, I say, send me your showcase link when you have it, your part, your monologue. I will send it to my peeps, but like, it's the same stuff we're dealing. We dealt with. I think they're not quite as quiet about it. Like they're pretty loud about it. Speaker 5: (09:22)They don't have their quiet shame that they'd have to wait 25 years to listen to somebody else on a podcast to go, Oh, I shouldn't have been ashamed about that at all. Everybody was feeling the same thing. Speaker 3: (09:30)Yeah. That they're loud, they're vocal about their issues. So that actually makes it somewhat easier to work with. But it also is. I'm jealous, you know, that they're able to be so vocal. Um, that brings up a lot. I have a lot of feelings of like man D but then at the root they're just as scared as, as we were, well, a lot of them and just as, um, petrified to fail. And just as a, I think it's just an age thing too. And it's also a competition thing. Like there's a lot of competition and within the school, right. Because you set it up, some have repped, some don't and that sets up this whole dynamic of some of these kids or these young people are going on auditions. And they're not like supposed to, but because it's a zoom world, it's a different situation Speaker 5: (10:20)Rule that they're not supposed to, but everybody took advantage of this time. Which of course they did. And I would have thought Speaker 3: (10:26)Of course. And so anyway, it has been, it was in very fascinating ride, but what I did find was, you know, after my 13 one-on-ones I was exhausted. Like I had to lay down, it was like 13 mini therapy sessions. And I was like, and then follow up, you know, I I'm sending certain people resources. So, but I do feel like it was, it didn't, it didn't feel, um, I don't feel resentful. I feel like they paid me really well. And this is part of my deal. And also one of my, one of my strong suits, one of my jams is connecting one-on-one and really listening and saying, Hey, like, you know, let's like you said, like, let's look at the facts here. You know, you haven't graduated yet, but you see, it doesn't matter because when you're that age, you feel like there is no time. And now you look, as we get older, I'm like, Oh my God, you had so much time girl. Speaker 5: (11:23)But the other day sitting at my rate, waitressing job, talking to this guy who was, you know, he was a good 30 years older than me. I was 20, I think. Um, I think it was like 24 and being like, I'm old, I'm at 24. I started thinking I'm almost 25. And then when you're 25, it's over like every, you have to have everything established by the time you're 25 because who, you know, becomes a person after that. Like, I really thought Speaker 2: (11:54)That way. And in part it was because, uh, not because I thought my parents were so emotionally mature because they'd be the first to say, or at least my mom would be the first to say that they weren't, but they own their first house when they were like, they got married at 18, they own their first house right away. Or I guess they rented. But then really soon they own their first house. And that kind of set the bar. Like I felt, I feel like a failure sort of before I even went to school, like, there's no way I'm going to be right. You know, right away. I felt the same. Like I think it's generation. Yeah. I, my parents had their, they didn't have their together emotionally, you know, and, but they definitely own the house and they definitely had job jobs. And, you know, so that, and also the, I guess that speaks to the difference of what kind of, what we culturally value we had. Speaker 2: (12:47)There was no room for valuing like personal growth and development at that time. Whereas that that's gotten much more of a stakehold in terms of our societal values and, and hopefully less and less about what you have and what you own and how much money you have. Oh, well, that's interesting. So if you're listening to this and you're, this is your final year of the theater school, it gets better, you know, it gets better and it's already good. Like there's this combination platter of the, the depth of despair that you may be feeling now that'll get better. Um, but also you are doing it. You are doing the career part. The training is part of the career. Everything that comes after that. Yeah. You'll, you'll, you'll build upon. I mean, that's what we've learned during this podcast. Like you build a PA, even if you leave in 10 years, you find yourself, you didn't do anything, thought what you thought you were going to be doing in this final year. Speaker 6: (13:49)You are using your skills and what you learned there, and you are applicable everywhere. This is your life, you're living it. And this is the life like it's all of today on the podcast, we talked to Sarah charper. Sarah is one of those actresses that multiple people that we've talked to have described as a powerhouse. And she really is, and she's on stage and on screen. She's just so connected. She has such a presence. And, um, we talked to her and it was a lovely conversation. And I just she's has this outlook about the pandemic and about life. That's really inspiring. So I'm so glad we got to talk to Sarah charper on I survived theater school. Enjoy fancy. I, I move your camera so I can see Speaker 2: (14:52)Your beautiful face. I want to see the bottom of your beautiful face there you okay. Oh, you're so you're so I know you're not supposed to say this, but Sarah, you, you have you, are you eating? Speaker 6: (15:05)What's going on? I I'm it's it's so funny. H I said the same thing. I mean, I, I, I don't. I have, I don't. I mean, yes, yes. I'm yes. I'm you look great. Thank you. Just checking that, you know what I did? I, um, I stopped drinking. It was weird. I mean, I haven't, I have not had any alcohol in like three months and all of a sudden, like I have a chin wall. I mean, just like, I think the puffy goat has gone away. Um, yeah. Regrettably, I guess. I, I it's, it's so nice to see your face and I still feel like such a crumb that I, I just think I had a pandemic stroke that last time, but, um, I'm so happy to see that something terrible had Speaker 2: (15:47)Happened. Um, Fred, this passed away. Speaker 6: (15:50)Oh, right. That's right. Yeah. One of the mini pandemic suicides. Um, Oh my God. Yeah. So sorry. Um, but this was super fun, but this is fun. What a. I am Jen before. So before I forget, you have to send me your address because I have something for you that I've had for over a year. And now I feel bad, Gina, because I don't have something for you, but I don't know what to get you, but I do. I'll share it. I do have something for you, Jen, that I've had for a very long time, and you're going to know what it is and when you see it, Oh my God. I can't wait. I can't wait. Well, welcome. And congratulations. Speaker 2: (16:32)You survived theater Speaker 6: (16:33)School. I did allegedly Speaker 2: (16:36)You in actual fact, you survived it and you are. I ha I probably shouldn't be starting this with such a gush, but you, you are such a fantastic actress. I mean, really everything you do now, everything you did in school is fantastic. You are so like deeply connected to everything you do. It's very admirable. Speaker 6: (17:03)Thanks. We hear it all the time. Speaker 2: (17:09)We've heard it from multiple people on the podcast about how much of a powerhouse or like in the, you know, in the Facebook chat situation, how much of a powerhouse. And I think that's the word that comes to mind when I think of your and your you and your acting is like powerhouse, but connected is also like Gina said, totally connected. And I've seen you, you know, in rooms, running casting sessions, and you're the same way you're connected as a reader. You're connected as a casting associates. So you're, Speaker 6: (17:39)You should see me weeping in corners on a regular basis. Speaker 2: (17:43)So, um, did you want to be an actor since you were a young lady? Um, Speaker 6: (17:50)I think, well, my mother always says th th th th my transformative moment, they took me to go. I grew up in upstate New York. So they took me to the Shaw festival and I saw Cyrano de Bergerac and Cyrano was played by this. I want to say, he'd let her know. His name is Heath Heath Lambert, a very diminutive, um, Canadian actor. Well, I say that only because he played Cyrano, who is such a heroic, huge character. Um, and the one we played Roslyn was so beautiful, but more importantly, her hat was amazing. Like she had one of those pointed princess hats with a gossamer hanging down, which I don't know if you it's like, that's the fabric that looks like fairy dust. And my mom is like she said, Sarah, you just sat at the edge of your seat and didn't breathe the entire time. Speaker 6: (18:33)And I still to this day, and I think I might, I think I might've been nine. I still, to this day, remember sitting in that theater, just being like now, granted I was mostly drawn to the fairy dust and the applause, but I, um, I don't think I ever recovered from that moment, but I really, it, it has taken me, um, I'll say I'm, I'm 50 now. I think I've just started to admit that I'm going to be an actor. Do you know what I mean? Like, I don't think I ever really wanted to own that. I don't think I ever wanted to, although I just said I was 50, but everyone knows that. Um, uh, I don't think I wanted to own that. So I did a lot of things to kind of be like, Oh, I'm going to be an academic. I'm going to, you know, um, so really what kind of academic did you think you might've studied theater? Speaker 6: (19:15)I mean, I got it, got my degree in theater studies and women's studies and religious studies. So really, I just liked studying people and motivation. So it's all the same thing, right? Like, Oh yeah, definitely all the same thing was when it, DePaul, I went to university of Toronto for my undergrad. So, um, they're in there, you know, they're a very rigorous academic school. Um, and it's a totally different than the American system. Like most of your classes are a year long, some are a half year. So it's a really like hardcore, like in some of the colleges they wear robes. It's very, um, not my school, but, um, so yeah, so I, I went there and got a BA in theater in women's studies and, and, um, religious studies, uh, and did have some performance. So that's why I went on to get my masters, um, w where I ended up at DePaul, uh, because I wanted to learn how to act. Speaker 6: (20:09)I mean, I knew what I thought was really great theater. And I worked with incredible people that I still haven't had the gift of working with people of that caliber ever again, but I didn't know how the to do anything. I just felt a lot. Yeah. Did you, did you act as a, in high school, did you say, Oh, golly. No, it wasn't. So it's funny. So I went to my high school, I went to a super urban high school and it was connected to the school of the arts, but again, this fight in me, I was like, I'm not going to go to school, the arts, I'm not going to be one of them. Um, and like, you know, I went to high school with Taye Diggs, whose name is Scott. Um, you know, uh, people who ended up having massive careers. And I sort of sat on the periphery. I did, however, was a part of Speaker 7: (20:48)An improvisational theater group called awareness theater, which is hilarious. And I think about it now. And we went around and did improv for like, doctors about how to deal with kids with like drug addiction or parental issues. And I think I was remembering the day. I think we actually did a performance at Attica, and I'm not even you. Like, I don't know who led us in these places, but we did these improv's about like, don't do the cocaine, but I want to do the cocaine. And like we got in a van and drove to schools. I mean, I had a little sweatshirt, I loved it so much. I loved it so much. Speaker 5: (21:18)So I love that. That's fantastic. So, um, in upstate New York, uh, you went to the shop festival. Did you get, did your parents also take you to Broadway Broadway? Speaker 7: (21:29)Um, I believe so. The first Broadway show I saw was the touring company of Annie. So I saw that in Rochester, the first Broadway show I saw was the tap dance kid. I think Speaker 7: (21:42)Alfonso, Roberto, the kid, yes. Right. He was the tap dance kid. Um, and you guys are, you're younger than me by a lot, but this was the time too, in my junior high, they had to band taps because in the, in the, um, the musical, there were all these great tap numbers where they had like converse sneakers with taps on the bottom. So everyone had to get taps. So as you can imagine, the halls of my high school were just says, coffin is insane. Those got manned along with the Michael Jackson belts. Cause everyone beat each other with them. Speaker 5: (22:14)It was a little aggressive with the spice, Speaker 7: (22:18)The ones with the big name, like the one where you could get them personally, not, you know what I mean? We weren't allowed to wear those as anything could be weaponized with a creative mind Speaker 5: (22:28)When I was in junior high, I got sent home for wearing, um, what I thought was just a cute little accessory in my hair, a bandana, it wasn't red or blue, but I got sent home because there was a no bandana, uh, gang violence in Sacramento at the time that I was in junior high was like real, real, real high. So, uh, anyway, so, okay. So you, uh, did your MFA at DePaul and, and then when you left or when you graduated, were you debating, staying in Chicago, moving to LA moving to New York? Speaker 7: (23:06)No. Um, I I'm realizing now in this pandemic time of reflection, like how much, and I've been thinking so much about this thinking about theater school and stuff. Um, no, I think I was lived with, I think I just lived in fear and waited for permission. So I was waiting for something to tell me where I had to go. Um, and I thought Chicago was a great place to get started. And I, um, I had friends of mine right out of school who had started a company. Um, so we were working together. So that seems like a great little launching pad and then they watched real careers. Um, and, um, Speaker 6: (23:47)Was that sad? Yeah, yeah, Speaker 2: (23:50)Yeah. We were talking to Lee a little bit about it, Speaker 6: (23:52)Eric. I was thinking about him this morning. Um, yeah, so they, um, so I, no, I didn't. I mean, I did, did I think that that call was going to come where I was desperately needed elsewhere. Absolutely. But, um, shockingly, that hasn't arrived yet, but there's time Speaker 2: (24:09)Fair to be fair. You have had calls come for different things. Speaker 6: (24:13)I have, indeed. I have been very lucky. No, I have been very lucky, um, Speaker 2: (24:17)And hardworking. I just want to put that out there, that call comes and then we answer it and we try to show up the best we can and you've done. Speaker 6: (24:25)I appreciate that. And I, and I feel like Speaker 2: (24:27)Ciao hasn't called yet. Judd, Apatow has not called yet, but that doesn't Speaker 6: (24:32)No, and I, it's funny, I have been thinking a lot about, you know, when, when you're ready for things and when you're not. And, um, I don't know if the world is ready, but I kind of feel more ready now than I ever happened. So that's kind of exciting to not feel like your life is over in the midst of all this chaos and breaking down. It's sort of interesting to find, I'm trying to, I'm really trying to silver lining this whole pandemic, so yeah, yeah. Speaker 2: (24:56)Yes, yes. There is the option. The alternatives are not good. Silver line. Speaker 6: (25:02)I know. Right. I mean, don't we all? So, um, yeah, so, no, I, I mean, I wanted to go and I did, I did spend some time in New York. Um, I went with a show, um, I did it, I ended up doing, um, Cuckoo's nest at Steppenwolf, and then we did it in London and then we did it in New York and then the world went to hell in a hand basket and I saw the world trade center fall down. I thought, well, I want to go back to Chicago. So anyway, blah, blah, blah, um, nine 11 Blomberg. Anyway, that happened back to me. Speaker 2: (25:35)I have a question. I have a question going back to the, so when you, when you decided, did you decide, um, were, were other schools in the running for you besides DePaul for your MFA? Speaker 6: (25:44)Well, so I had already gone to another program for a year. I went to SUNY Binghamton, um, in Binghamton New York, which is where rod Sterling's from, that gives you an indication. Um, and that program was actually rather astounding. It was run by this guy, gene lesser, God rest, his soul, who I can unequivocally say was a bit of a sociopath, but he was one of the people who started Julliard in the early days. So he was one of those Svengali kind of teachers that could get you to do work. You never thought you had access to, but you were completely dependent on him to do it, which is why he had these weird little acolytes following him around and stuff. So I spent a year kind of being brainwashed by him and then the program crumbled. So then I had to find somewhere, um, the program shut down and it was hell in a hand, basket was just total task. Um, so I left that program and then went through the process of desperately auditioning and, um, you know, when Tish and Julliard and everyone else to get that, but I will say this, this is an amazing story. So I went to New York for the IRDAs Speaker 7: (26:44)Or something to audition for DePaul. And, um, at the time I had just been recovering from an illness. All of us ladies are familiar with it, had a horrible UTI. And so I took sulfa and didn't know I was allergic to sulfa. Um, and if you're allergic to sulfa, it does something great. So I went into my audition. I, you not by face was swollen. You came out to here. Like I looked, I looked like a homeless person in the middle of a Chicago winter by that. I mean, my face was completely swollen and disbanded, dark purple when burned and insane. My lips were deformed. Um, I mean, I looked horrified and I remember standing like in this waiting pen room, like it was a dance studio and there are mirrors everywhere. And I was just kind of looking at myself going, are you me? Speaker 7: (27:33)And I was like, Oh, okay, here we go. And I went and did my pieces and was like, I remember Jim hostel help was there. And I think John Jenkins and all these people, and I finished my pieces and they're like, do you have any questions? And I just kind of stand there, look at them going seriously. We're not going to talk about that. I've ever been like, just in case any of you are wondering, I don't normally look like this. I'm like, I'm not a supermodel, but this is not what we're normally just to put that out there. Cause like, it was good. You were brave to do that. Oh my like, I mean, I was making children cry in the streets. I mean, I really, but it was just so funny that they didn't even acknowledge. I mean, I get it, but we weren't even politically correct then, but no one said a word and I'm like, we're going to pretend I don't look like a descendant of the elephant man. Okay. But anyway, they took me. I think they felt badly for me. Speaker 5: (28:20)No, no. They saw they saw your talent audition. Speaker 7: (28:26)I know, I think I know I had this piece. I have no idea of what it's from, but it was about green peppers, like about, do I not like green peppers? And I went to this diatribe. No. As a matter of fact, I hate it. Actually. I really hate it. Everyone else likes green peppers. They think it was highlighted in that it was this theory about grit, which is very close to me cause I tend to get furious about nonsense. Um, and I probably did something tragic, like from Troilus and Cressida. I think I did a Cassandra monologue control. I was impressed. I talk about overblown. Like I'm, I'm going to play a deeply connected sear. Um, but they felt, Speaker 5: (29:02)I bet you knocked it out of the park. So you weren't talking about, uh, your earlier experience in having a spin golly type figure. And I, I probably wouldn't go so far as to say the theater school head spin golly types, but we did have, and we talk about on this podcast a lot, you know, people with big personalities people w we, we got, um, labeled in a way by our section in a way. Uh, so I'm curious to know your thoughts about that, about the personalities among the faculty, how you related to it, then how you relate to it now, what Speaker 2: (29:42)Your thoughts are. Speaker 8: (29:42)Well, so it's interesting, again, like I've been really deliberating about this a lot, you know, cause I wanted to do a good podcast to help you get now I know there's a great at the end, I was in a very different position. You know, I'd already gone to undergrad for four years and I'd already done one year of, of theater training. So I came into it at a different place and it was interesting because, um, temperamentally, I was much more, I felt a greater kinship with, uh, the folks that were getting BFAs and my MFA class. I mean, I really just didn't, it's not that I didn't get along with them. I just didn't. I was in school with a lot. I'll never forget. I was auditioning. I wanted to go to, um, ATC elemental P whatever the Harvard school is and I'll forget it. Speaker 8: (30:21)They were audition. They were like, if you want to be a teacher, get the hell out of here. We don't want accuracy. We want to be teachers. We want actors who want to act. And I was like, yes. Um, and not in any way to be disparaging of the folks that were in my class, but I felt like a lot of people were like, this is my backup. I'm going to be a teacher. And I'm like, who's going to want you to teach if you don't actually do this. Right. So, um, there was a little, just a little bit of a disconnect. And I think, I thought I knew everything and I was more than likely a snapback. So I, um, I didn't have the same kind of, Oh my God, this is a whole new world for me. You know, I was 23 and worldly, you know, but I'd already had those aha moments. Speaker 8: (31:02)So, and I came out of a really, um, I don't want to say for me, but like a borderline abusive stage. I think, I mean, I think this teacher I had before was actually a predator. And I say this now, cause he's dead. Although I should say it out loud when he was alive, I think he was a predator. So, um, I came out of a very intense environment into something where I remember sitting with Jamal's to Hoff all the time and he'd be like, Sarah, I just feel like you want me to yell at you. And I was like, yes. And then I had a little PTSD. I was like, no, one's mean enough. No, one's hard enough. Um, and I was constantly asking for more in gym and it's funny. Cause like everyone was like Jim Austin, Hoff crusty guy. And I'm like, I want more crust. Speaker 8: (31:39)I um, and I think I was very much a victim of one of those people that convinced myself that it didn't hurt. And I wasn't an excruciating pain all the time. I wasn't doing enough. Um, and if people didn't tell me how much I sucked, then they thought I couldn't be better. And so I really had, I was stuck with that feeling for a very long time in DePaul, like, Oh, I guess this is as good as I'm gonna get. Cause no one seems to tell me what I need to fix. And again, no one can, no one can fix me other than me. Uh, but I think I a very much, um, I think it goes into the whole permission thing that I was really looking for someone to tell me what was wrong and tell me I was going to be okay and tell me I was gonna make it. And that I was one of the chosen ones so that I could go out and take chances, which I think is the biggest problem with theater school in general. But that's a customer question. Speaker 2: (32:26)It's interesting because we do have a lot of you're the first person that I've really is struck me as saying like I needed more crust, I wanted more crust. I needed that for whatever reason. And it's, there's no judgment on, but um, there Speaker 5: (32:40)Are those people and I think it's also the Julliard method. That kind of method of, you know, unless it hurts, you're not, you're not growing and you know, to be fair, there's something about that that works like when I'm in pain is when I make changes in my life. It's just that, uh, you seem a little, like you were a little more ready to make changes. I was just trying to figure out what's happening. Speaker 8: (33:00)Well, totally. I was in a different place. I mean, I had, I'd already left home. I lived, you know, in a university of Toronto, it's a totally different than the American system. Like you live on your own, you live in co-op housing. There's no doubt. I mean like I had already sort of lived a pseudo, I mean a wildly protected pseudo adult life for five years. So I wasn't in the same place of like, Holy crap, I get to smoke cigarettes in front of teachers. You know what I mean? Like I, uh, so I just, um, but again, like, I, I still very much, I mean, it's not a level of maturity that I'm, I'm super proud of because I still very much was desperately seeking for someone to say, Sarah, you can live the life you want to live. You can be who you want to be. And it's not about which role you get here. Cause it's, you know, that world is also as the three of us don't we, we were never fricking algae news. What the hell was I doing? Doing shows and theater school. Speaker 5: (33:52)Right, right. Yeah. So you, you are w when you talk about waiting for permission and, and being scared, um, that ties into something that boss and I talk about all the time, and we talked about it earlier today. Uh, those of us who, whose parent whose mothers were in the sixties generation of feminism, um, really experienced, horrible, horrible things. And so their impression that they taught to us and that became our impression is that it was all fixed and it was all better. And feminism worked and patriarchy was over, which is obviously less laughable, Speaker 8: (34:43)Just look at TV. Speaker 5: (34:44)Yeah, exactly. But we, I feel envious of young women growing up now, even at, even though they can still be in a patriarchal context, they can still be oppressed by somebody no longer. Is there just such a dearth of information about what, how it could be, or maybe even how it should be. Um, do you ever feel that envy wishing that you had been raised with, or maybe you were raised with a strong feminist bent? I don't know. Speaker 8: (35:19)Uh, well for sure, like I was raised in a tremendous matriarchy. I mean, everyone jokes, my, my late father, like my friends who, like, he just was a husk and a corner, which he wasn't, but like we just, I come from not surprisingly generations of really dominant women. Um, but I also, um, you know, my mother is the kind of woman she was getting her master's degree, worked a full-time job and raised two children and did everything all at the same time. So my mom didn't have time to about. I mean, so my parents were political and social idealists and they, they actually met in Chicago is this part of this Catholic youth, um, rebel organization. I mean, they were, as far as Catholics can be, but they were really about social justice and change. And so I grew up around all of that. Speaker 8: (36:04)Um, but I also think at a certain point, like what's funny is I, I noticed this particular last year at the beginning of the pandemic when things got cuckoo and, um, so many issues, so many social issues came to light. I realized how old and out of touch I was. Do you know what I mean? Like I had, I had lived this whole period thinking I am so enlightened. And then all of a sudden I was teaching these students and I was like, Laura. And I like literally vomiting on my own words and terrified of saying the wrong thing and not understanding, um, social codes anymore and thought, but I'm a good person. You know, I went through all that white guilt and fear and doubt. And so, um, yes, I, I, I, well, envious of these women, I'm, I'm envious for the time that they have. Speaker 8: (36:48)I'll say that I'm really envious of the time. And I try very much not to squander the time I have worrying about what I did with the time I wasted. Um, but I, uh, you get your lessons when you get them, I guess. Uh, but I think it's a really complicated place that people are in, but I'm very encouraged. And I was having this discussion recently with friends of mine, talking about the movies we grew up with. And again, like I thought me and my girlfriends, like nine years old going to see like nine to five or like we just thought we were a little budding feminists. And then I go back and I look at 16 candles and I'm like, I was obsessed with rape movies. You know what I mean? Like, um, coming, having those awakening moments of realizing I'm brainwashed too, um, or realizing that women cease to exist past 40. Speaker 8: (37:32)You know, when, when I was reading an interview with Reese, with this one recently where she was like, stop time up, Oh, this is a picture of me on set, playing Adam Sandler's mother. You know what I mean? Or like that new shell manque, that's out like Amanda, Seyfried's playing what's her butt's wife. And she's 78 years younger than him. And in real life, his wife was the same, you know, like just this horse shittery where like who's controlling the narrative of who women are is just especially as someone who's like, Oh wait, here I am, I'm 50. I'm ready to go. Now I'm like, well, I have to write it because you know what? These men are terrified to know that we exist. Speaker 2: (38:08)Right. That's absolutely true. And I, I just think, yeah, so that speaks of that thing of like, um, right. I don't know if you guys feel this, but it's like, I came of age thinking I was a feminist and that, that we, everything was possible that I was crushed right by the system. And now I'm coming of age again saying, and I am, I am, I wish I have this on this podcast all the time where I'm listening. I'm like, man, I wish I knew this when I was 18. And there's that thing where they say, you can't know what, you know, until you know it, but I hate that because I just, if I was armed with this, I listened to the stories of people that come on the podcast that are like, you know, I told so-and-so to F off that I was going to play this part or that, and I'm like, I wish I had had that, but you're right. Speaker 2: (38:50)You'd get, you'd get the lessons when you get them. But it sounds like you were able, there just seems to be a sense then about yourself, that when you were at the theater school, that you were able to step into your own, which is why you probably seemed so connected and were, was, was a good actor. And the rest of us were not terrible actors, but I can tell you, it wasn't that I was a terrible actor, is that I had no clue what was going on. You had a clue of what was going on, which is why your work probably seemed so connected because you knew Speaker 7: (39:18)I, maybe I just, I just had more of a chance to know who I was. And I think so much, I think so much of it. And again, like I think about Slack because I teach acting now and I teach at the university level a lot. And, um, I think so much of that environment is about a, tell me I can do this as there's a whole body of people that are gonna tell you just, just between you and me just to make it, am I going to make it like that feeling all the time of thinking someone can actually bestow your life upon you. Um, and then having someone to like, who are you? Who are, who am I do? Can you tell me who I am? And here I am going to school. And yes, I had, I had a pretty, I had a more, um, secure sense of self because I was older just by virtue of years. Speaker 7: (39:58)Um, and I w I was fortunate to be exposed to a lot of things in a very unique way, I think. Um, but still I went into theater school and I played old ladies, my entire career. I played old women. I played grandmothers and old women and the fat ferry. And then I got out of school and I played hookers for 20 years. Do you know what I mean? Like we, there's no sense of what, so theater school doesn't really help you find a truth. And that the hilarious irony is like, you get to be your senior year and you got to do the showcase, which is going to make or break your whole life. And they're like, how are you going to market yourself? And I'm like, are you kidding me? I have no idea of who I am, because I've been running around playing. Speaker 7: (40:43)I played women in theater school that I'm still too young to audition for. So it, it, it, it you up in terms of trying to figure out some way of being authentic and you know, how it is to, it's funny, I'm sure John, you saw it too. You know, our, our dear friend, Nick Whitcomb wrote something recently about like theater and what does theater mean? And I'm thinking, you know, gone are the days where we're all sitting around. I mean, hopefully not forever. We have to reimagine them, but like, I don't know how much me playing Cresseta in Troilus and Cressida is going to aluminate today's world. I don't know how much this can of things that we thought were really going to establish us as artists is going to move us forward anyway. And yeah, I don't know. Speaker 2: (41:29)I also feel like theater never really embraced me as a woman as a, Speaker 5: (41:34)As who I am. So I'm, I'm, I don't feel a loyalty to recreate the art form, which other people can, I just never found like my spot there. So when people are like, how are we going to reimagine theater? I'm like, because I, I never Speaker 8: (41:50)Theater that I liked in America, to be honest, I was spoiled. I was trained by a bunch of Europeans and undergrad and went, I mean, we went on school trips to Italy and Germany and Sasha, and that's the, still to this day, that theater, I, my favorite theater is Russians and Germans and stuff where it's like, I don't have to speak the language. Like to me, that's theater. I don't know a word you're saying. And I'm riveted. And that's, that's what I've never seen that really recreated here. Um, Speaker 5: (42:14)All right, well, gauntlet thrown America. You got to try to impress Sarah. I told boss this earlier, but, um, I just happened yesterday to be looking through the plays in my bookshelf. And, um, I was looking for, uh, to do something specific and I P I picked up a play that I haven't read in a long time called dead man's cell phone. And of course, I was delighted to see your name as having been one of the original, other, other woman, uh, characters. Can you tell us anything about your experience with that play? Speaker 8: (42:53)Yeah, that was great. That was super, super funny play. I mean, um, how do I talk about that? You know, it's so, so, so, so Pauli Noonan, um, who play gene and the play is sort of like Sarah rules muse. So it's very interesting to be in a play with the writers muse in there. And Polly's just one of these, she's just an other worldly being she's, she's a magnificent human being and creature, but like indescribable, I just use just this ephemeral sort of creature. Um, uh, and it was, you know, it's always interesting to work on new plays. It was, um, I find it really challenging. It was sort of one of those, and I'm in poly had done the show before. Cause I remember going like, you know, of course I'm trying to make my role really important and grounded. And sometimes, you know, sometimes a pipe is just a pipe, you know what I'm saying? Speaker 8: (43:40)So I think there were times where I was beating my head against a wall, trying to make my, to understand every, uh, every bit of minutia I could mind out of it. And, you know, I remember once Paul saying to me, yeah, you know, this part never worked in DC either like that. It's um, Oh, wow. That there were shortcomings, but it was, it was wonder, I mean, it was wonderful, you know, I, um, I never, you know, it's like, I think I went through a period. I was like, I'm going to keep working. And then you don't work for a long time. And you're like, I wish I appreciated those moments more. I mean, it was, it was, it was lovely. It was terrifying. I remember, I, of course I only really remember the moments I went up on my lines and didn't know what's happening and got Jeezy on a rake stage and was terrified. Um, please, anyone directing plays, don't put anyone on rage stage. It's just cruel. Um, especially anyone with anxiety vertigo. Forget it. Yeah. Um, Speaker 6: (44:36)You were on a rake stage at the theater school, in the one with the turf. What was that called? Speaker 8: (44:42)That was called systemly feelings, which for like six years, I still found AstroTurf in my underwear. Yeah. That Speaker 6: (44:52)You Speaker 8: (44:52)Were brilliant too. That was brilliantly. That was, Speaker 6: (44:56)That was the audition right. Where we had to be funny. Wasn't that the one where Speaker 8: (45:01)It was late and it was super funny. Okay. And, and I was thinking that Lee Kirk, this is my cousin Lee Kirk was in it. Sean Gunn was in it. JP Cabrera was in it Alex, but like, I mean, and, and, and, and, and, um, Bradley Walker and that, that play Kendra through. And that, that was, that play was F I was all, yeah, that was my favorite place for sure. That I did. Although, full of calamitous moments of, of utter tear and, and destruction. Speaker 6: (45:28)Did you get dizzy on that rake stage too? Speaker 8: (45:30)No, I got, I got sculled. I got to horrible things happen in this show. I have to. Okay. So the first one was, there's always a show at the end of like one scene, there's like a coin toss. And then that determines what the next scene is going to be. And we had to run off stage. It was a rainstorm. We had to run back on stage wet. So we got dunked with water off stage and ran back on. And I can't remember, Stan, I'm such a crumb. He was a lovely stage manager. We had long kind of Auburn hair and he was just adorable. Speaker 6: (46:00)Oh, yes. It'll come to me. Speaker 8: (46:07)Yeah. Reddish hair you're with me. Okay, Speaker 6: (46:12)Lovely. Speaker 8: (46:12)So I remember, um, he had told the, the, the kids, I say kids, because what other, th th th the kids working crew, um, make sure you put relief, um, warm water in, at the top of the act, put hot water in the bucket at the top of the app so that when we dunk them in water, they, um, aren't freezing. And, um, Oh no, whoever, uh, neglected to do this. So did it at the end of the act. And I ran off stage and literally had a giant bucket of scalding water poured on top of me. And I had to run immediately back on stage and finish a scene that was alarming. Speaker 6: (46:51)Oh, that's horrible. And how far along were you on? Speaker 8: (46:55)I was on stage then for another few minutes. And then we did the coin toss, but I just looked at Kendra and like, you're doing the next scene. I was like, this is not because I couldn't go. I was like hyperventilating. I'm like, I can't, I mean, it's like burn cream in my hair line. And then I had, like, I had like a scene or two to recover, and then I had to go back on, but that, because it was like the potential to do like eight different plays or whatever, the way that play was set up. Um, but that wasn't the most terrifying moment. I will, the most terrifying thing that happened that show. So there was a whole big picnic scene. We were all, I remember this all on that Hill. And Gus thing is about the extra guy. I think it was Bradley's an extra guy shows up. Speaker 8: (47:31)So we were one short we're, one short of everything. And all of the dialogue in that scene revolves around the one shortness, and God it. If I didn't open that picnic basket and it was empty, there was like a napkin and two plates. And I'll never forget this. I was thinking of Lee. Cause like I was really, I was really tight with those guys at the time and, and I was running the picnic. So all the dialogue was motivated by me, motivated by prompts about the things and about the lack of things. And I remember opening it up and looking at it being like, there's nothing in here. And this is that the reskin, like there's people out there. And I turned to Sean, Sean Gunn, he was playing my boyfriend Steph, and I'm like, Stafford, could you go to the car and see if there's a bank in the County? Speaker 8: (48:23)And I just remember looking over it and seeing Lee Kerr, cause he could tell him he just went and put his hands behind his head and lean back. Like I can't wait to see how Sarah gets out of this one. I'll never forget that. It was so funny. I mean, it was like the most panicked and we just had to basically make up the entire like, and then I remember seeing that same stage manager whip off his headset go poking around, trying to find, and then like, you know, three minutes later Sean comes walking out. I was like, Oh, is this what you're looking for? I'm like, Oh, was super, Speaker 5: (48:49)Thank you so much. Oh wow. Speaker 8: (48:53)Like I think of that moments where I'm like, Oh God, what if? And I'm like, I already dealt with a big one, if that's fine. And it was true. It was horrifying. Horrifying. Yeah. Speaker 5: (49:03)So, um, I, we have never talked in this podcast about this, but um, recently I was thinking about the actor's nightmare and what you experienced was, was a nightmare. But what we're typically referring to when we say the actor's nightmare is the dream you have that you're and there's variations on it, but like you're supposed to go on stage and you don't know any of your lines or you can't, for some reason you can't get all the way on stage. And I don't know why it took me so long because I would have the stream for the 25 years. I had never acted. Um, so it took me all this time to, to link the way that that is just tied to your own life and your feeling of like being an imposter or you're feeling that you're ill prepared. And I'm just wondering if you guys still have dreams like that. Speaker 5: (49:56)I have the same dream. I have the dream where, where I, I finally got to the point of the dream where I say, it in the dream. I'm just going to make the up. Because before I would try to cram cram, cram and lobby backstage and finding someone's script with the highlighted script and like I'm crying. And then finally about a month ago I had one where I was like, you know what, this. I'm going to make this up. And it was so my God I'm so inspired. Go back to the scary dream. Me too, Speaker 2: (50:29)Just, I said, it. I'm going to make it up. I can't go through this anymore. I can't go through this. Like I literally would. My dream was like, I took control because I had him all the time. Speaker 8: (50:38)I just had that. I'm not no word of a lie last week where I was like, can I just borrow? Like, and it was like the Shakespeare style where they just had their lie. And I was like, maybe that'll just, Oh, I have that dream. And I never have pants on, or I'm always missing either assertive. I find always like trying to take some kind of towel and yes, Speaker 5: (50:58)Boss that is very encouraging that you had that dream. And I am going to try to like take that in such that if I find myself in the middle of that dream, I might be able to give myself that same advice. But it, I wonder for you, I bet it is really linked to this idea that you're having to write for yourself and which yeah. Which Sarah mentioned, you know, you're, you're saying you, you, now that you are now that you're ready to embrace your greatness, um, and you're maybe not going to find a bunch of roles ready-made, you're going to have to make it for yourself. Are you already, Speaker 8: (51:36)Uh, I am eight pages in, I mean, so it's funny. I've been, I, um, like I said, I'm trying to use my downtime, my, this pen Demi time, um, effectively. And so part of what I'm trying to do is not break myself constantly. So, you know, I got my final draft, I got my ideas and I've had all sorts of interesting things pop up over the past few months. So have I done as much writing as I intended to know, but is it something that I'm thinking about and actively trying to not stop myself from doing every day? Yes. And I think that that's the biggest hurdle I have to get over is like the part of me that thinks, well, I've got to get it right from between here and my fingers. It's got to get right. Then instead of like, maybe I should just bark out some really bad and see what happens. Speaker 8: (52:18)Um, and not worry. Cause I tend to stop that. Well, what happens after that? it. I'm done. And shortbread and sourdough. So I, um, I'm trying to get over that hurdle, but I am quite excited and enthusiastic and, and I've had other interesting things. I've had great distractions pop up in the past little bit. So I have sort of like, all right, so I'm going to shelf that and work on. And I'm just really working on, um, not panicking. I'm just realizing, you know, in terms of the dream of like, um, not succumbing to panic and anxiety and fear of what's next and trying to be a bit more present in this weird timeless time. I'm trying to be just a little more mindful and slow. Speaker 2: (53:01)Well, you, you see, I gotta be honest. You seem, you seem pretty, you know, knowing, knowing you, you seem pretty much [inaudible]. I know I Speaker 8: (53:12)Thank you. I appreciate that. Cause I really have, um, and it's also been hard to do to realize like, wait, I it's, I think part of it leads into that. Like if it doesn't hurt, it's not work, um, trying to surrender to like Sarah, your life doesn't have to be excruciating all the time and you don't have to be miserable or suffering. You can just be, and that's a piece of the work. And so I'm really trying as I sit here watching icicles mouth outside of my house, I'm really trying to appreciate and sit with that time who knows what will happen. And again, like, Ooh, what's going to happen as soon as I have to, but I'm really trying to be okay. Speaker 2: (53:44)What did about Cuckoo's nest? Because people are going to ask, how did that come? How, how was that? I mean, that was, that was, that was like a big, huge deal for people that don't know it was Sarah was wasn't Cuckoo's nest. Speaker 8: (53:58)It was super easy, pretty fun. Um, although again, not without its challenges. I, um, I auditioned like every other woman between the ages of, you know, 20 and 32 for this little walk on part. Um, and uh, hilariously, it came down to me and this woman, Jennifer Inkstrom, who's a marvelous actress. Um, and we, at the time we're roommates, we work at the same restaurant. We had the same agent and Oh, my Gary Sinise and Terry Kenny could not choose which one of us to cast. So they cast both of us. So we were double cast in a role. And every other night, one of us went on is Sandy. And the other one played the electroshock tech. I. You not. Um, and that's how that run. It was bananas. It makes, I mean, and to this day, people are like, what the? Speaker 8: (54:52)It was really weird. And I don't really understand what transpired behind the scenes at the end of the day. I think it was a wildly unfair thing to do to Jennifer and I, because for years it really, really with our friendship, especially when I ended up going to Broadway and she did, and it was really unfair. Not that it's going to come back and bite me in the. It was a really unfair situation to put us in, um, horribly. So, um, especially when they're like, so Sarah, when are you leaving Broadway? When's Jen coming. And I'm like, this is up to me. I mean, it was really, really weird night anyway, but it was marvelous and wonderful. And I was very lucky to do a number of shows at Steppenwolf and, um, work with just astoundingly, uh, generous people and not realize it at the time. Speaker 8: (55:35)I just thought, I don't think I, you know, some youth is wasted on the young. I didn't realize how great it was. Um, but it was awesome. I mean, I, I looked out in the audience one night and Paul Newman was looking at me and I was like, that's Paul Newman. I mean, it was just, it was banana cakes. It was, it was, it was, it was wonderful. And it was a, a really fun show. And, um, I can't believe it was, you know, 20 years ago that it closed. Um, but it was a, it was a good time. It was a good time. Yeah. Speaker 2: (56:02)I got, I got, who played, who played first ratchet. Speaker 8: (56:05)Amy Morton. Oh, nice. Amy Morton. Um, yeah, we had a, Speaker 2: (56:12)Okay. I just love that. I love the stories about people. I know. Speaker 8: (56:16)Oh, it was super fun. I got paid to make out with Gary. Like it was like, Speaker 2: (56:22)You know, yeah. And you, you know, Speaker 5: (56:24)We, we, when the, by the time this is all over, you may be part of a bygone era of Broadway. I mean, I was just having this discussion with a bunch of theater people last night. Is it going to come back? Is it going to be, I mean, the whole model, the whole financial model of it, it was so unsustainable, um, with packed houses and, you know, charging $400 a ticket. I can't imagine trying to make this work with any type of social distancing protocols. Speaker 8: (56:53)Yeah. And who the hell are they going to put in those seats to fill? I mean, like, who's going to be on Broadway. Do you know what I mean? Like gone are the actors not to be a Dick, but you know, Speaker 5: (57:05)No, no, it's totally true. I, they interesting. So speaking of plays, um, probably my most memorable theater school watching experience was raised in captivity. Oh my God. And, and, uh, it made me, it made me a Nicky silver fan. Yes. I mean, that play is so funny. And I have the experience of watching it, that I was laughing so hard and so loud and people around me were laughing too, but I felt like, no, no, you don't. This is the most brilliant thing I've ever heard. John Gunn trying to say, I'm working with the baby, I'm teaching the baby. It's the baby's about to walk. Oh, such a great play. It was Nick directed that, right? Yeah. Do you remember that experience? I wasn't in it myself, Speaker 8: (58:09)Laughing in the audience. I wasn't in it. Speaker 5: (58:12)I've been telling myself you were in my favorite play at the theater school. Maybe I'm combining two plays. Did you do another Nikki that you were in you? Speaker 8: (58:22)I mean, I could be hallucinating. No, I cause Susan Bennett, PJ powers, um, was Juliette and that like I wait, was there someone that wasn't that on it? Speaker 5: (58:33)Wait in a Tutu. Speaker 8: (58:35)It's not about being passed around like a, like a, like a candy dish of nuts or something like there's I remember that, that awesome. Speaker 5: (58:42)Maybe we're thinking of a different name of the prompt. Maybe they did to Batman and skirts. Did you do any Nicky silver plays at the theater school? No, Speaker 8: (58:50)That's with Nicky silver too, because I love language play. Like I just, I, um, Speaker 5: (58:55)No, this is the problem Speaker 8: (58:59)That I wasn't in that show. Cause I was like, Oh, better to do Nicky silver then. Yeah. I mean, I was like, I grumbled, I think I was doing some Irish play at the time about, I don't know if I did some Declan. Speaker 5: (59:10)It's so funny. I believe I've used this to disparate things into one flatter. Speaker 8: (59:17)I thought it was me. Cause that play was awesome. And I, I can see Speaker 7: (59:22)Myself in that classroom watching it and just being gobsmacked. It was like, you know, Speaker 6: (59:27)Two little flats and like a light bulb on the floor. Maybe we were sitting next to each other. And I remember, okay. So I'll, I'll Speaker 2: (59:36)Share with everybody that, um, we are doing a part two with Sarah Shera par because, because my audio unfortunately lost. Yeah. So, so I went back and I just listened to the part where you can only hear you and I talking to, to remind us what we were talking about, but I just being transparent about it. The audience, I mean the audio quality will never sound the same. So if you're listening to this, well, yes, it was recorded in two separate days, but I'm going to do my best to bring us back to the point in the conversation that we were at when we were so rudely interrupted by squad cast. So, um, w we were, we were talking about the shows you did, and you were talking about a show that you did with Joe slowish. Um, and then, uh, a story that I loved talking about the show you did, where you had to be CA you were wearing a beautiful gown, I think. And you had to be carrying Helen of Troy, Helen of Troy. Yeah. Tell us that story. Speaker 7: (01:00:37)I just remember being devastated cause David decimal shin had to carry me and I was like, Oh my God, he's going to know how fast, I mean, you know, Speaker 6: (01:00:47)Like I, Speaker 7: (01:00:48)I mean, I had such a crush on him. Um, hi David, uh, as did everyone as did everyone now. Yeah, yeah. Speaker 6: (01:00:55)Me and it precluded you. Speaker 2: (01:00:58)What we were talking about is how it precluded you and things like that, or can so easily preclude us from focusing on the thing that would actually make the memory good. And the experience enjoyable. Like I'm on stage at a beautiful venerated Chicago theater, and I am getting to play this amazing part and I'm getting to do something that I love instead. We're, we're focused on the thing that you worry about what you ate last night. Speaker 7: (01:01:26)It's not really being in the moment. That's not being in the essential moment there that's not the Colonel one wants to clean to, for sure. Speaker 2: (01:01:34)Definitely not. Definitely. If you were in that position today, how do you think you'd be? Speaker 6: (01:01:40)I think regrettably, Speaker 7: (01:01:44)Well, yeah, I'm a bit in that position every day. Do you know what I mean? Like, I'm very, I, it's funny. I, um, uh, recently in this universe, uh, Oh, I apologize. There's some kind of siren happening. Um, recently in this universe of, um, zoom auditions, uh, has been a really eye-opening and a horrifying experience, but illuminating about certain things. And that is that, Oh, I am now back at a place where I'm have to relearn how to not focus on myself in an audition. Right. So because, um, all of a sudden you can see yourself in the corner can see that little piece and try not to be. So I, I thought mistakenly, um, as of late, I was in this groovy Headspace and I was ready to go and it's all about the work. And then the second I could, I was like, Oh God it. Speaker 7: (01:02:31)There you are. And right in front of you, are you and all of your insecurities. Um, and I was, uh, both reassured and disappointed by the fact that I still have the same, the same struggle as a performer to get out of my own way and to get out of my head and stop looking at myself in the moment. And I just had the same experience I had to watch myself. I was on, I saw myself on TV last week and everyone's gathered around the TV and it's like, Ooh, you're on that show. And how exciting. And all I saw were chins. All I saw were, and I remember the day I'm thinking, he looked great. You feel great. You should be confident now, focus on your work. And then I get to watch my work and all I'm all I'm seeing are, wow, that's a really bad sweater. And boy, you know, so it's hard. It's hard to not. Um, I think I focus on it. I try to actively focus on it less. Do you know what I mean? It's kind of like trying to, it's like trying to play a negative intention. I will not, not do. Speaker 2: (01:03:25)Right. Right. Right. Well, the, probably the biggest difference though, is that, you know, that you're doing that now and you know, that it robs you of something that's joyful and you're trying, and you, you know, I think having the desire to get to the place where you can like, just live your life and appreciation for it instead of monitoring your life or how other people are appreciating you. Yeah. Speaker 7: (01:03:45)Yes. And to appreciate the, I mean, so in a way back to that show, my, my goal doing when I shot that show was like, Sarah, you're going to enjoy this experience. You're not going to go home after three days of shooting going. I don't know what happened because I wasn't there. So do I feel like I was able to do that at least 60% of the time? Yes. Which is a big win, right? Like I was like, I was able to have fun being on set and working and focusing on the work rather than worrying about, are they going to fire me? Am I going to get kicked off? And I didn't lose 40 pounds last week. So that was good. That was good to be able to, what was the show? The, uh, the Chicago fire. Um, Speaker 2: (01:04:26)Okay. It's about the it's about the department. Speaker 7: (01:04:29)Is it, is the, it is the fire show of America. Yes, it was. Yes. It was really fun. It was actually super good to, and it was super rewarding because I got to work with a student who I, it was his first job on camera. We had our scene together, a female director that I had worked with before, and it was written by a woman and a woman
Kiki Ball-Change has a conversation with Castrata (@castratanyc) about the recent viral tweets accusing Rosé and Denali of "weaponizing their BFAs." Make sure to subscribe to Backstage Ball-Change and follow us on Instagram @backstageballchange, or Kiki's personal account, @kikiballchange. You can also check out www.kikiballchange.com for merch and more! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Alison “men disappoint me” Gropi joins me this week to talk about the PULITZER WINNING play “Fairview”. We go through the plot, scripts in hand, and get into the characterization and themes. Yeah, we have BFAs. --- Support this podcast: https://anchor.fm/annamcgary/support
Not every story is ours to tell- let's discuss. Welcome to the second installment of our student panel series; last week we spoke with three black BFA theatre majors to hear their experiences with bias in higher education. This week, we invited three white BFA theatre majors to share their experiences on the same topic. How can we hold each other accountable for bias and discrimination at school? Is there a right way to stand up to the malpractices of a theatre program? What must we do as students and friends to empower and amplify our BIPOC brothers and sisters? What the hell does “ethnically ambiguous” mean? We’re asking these questions and more on this episode of Fourth Wall: the podcast. Do you have an experience to share about diversity in higher education or any other topics we’ve discussed on 4W? We wanna read that shit! Send it to us so we can get your perspective and possibly share it on the show! → hello@fourthwallpod.com. FIND THE STUDENTS ONLINE: Ryan Matthew Petty: @ryanmpetty Emma Diner: @emmadee333 Adrian Beck: @adrian.beck.73 FIND FOURTH WALL AND YOUR HOSTS ONLINE: Fourth Wall on Instagram: @thisisfourthwall 4W Community Inbox: hello@fourthwallpod.com Abigail Brazier: @thenameisabstract Alaina Newell: @alainanewell ~~~ Fourth Wall: the podcast is created with TLC by hosts Alaina Newell (@alainanewell) and Abigail Brazier (@thenameisabstract) Produced with grace and elegance by Tyler McKenzie Creative Studio (@tylrmckenzie, tmcreativestudio.com) Audio editing done by Daniel K Stanley (danielkstanley.com) With original music by Ben Bailey (@benianbailey) And assistance from Production Consultants Nick Buchholz (@nicholas_buchholz) and Sara Flatow (saraflatow.com). --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/fourthwall/support
Last week we heard the perspective of diversity in higher education from the educators- this week, we hear the same topic from students Jackson Alexander, David André, and Phillip Johnson Richardson (students from Penn State, BoCo, and CCM). These experiences you are about to hear are intimate and authentic. They have a right to listening ears, empathy, and understanding. Period. Today, we urge our listeners to do just that; press play. Listen intently to what these students have to say. Then reflect on what these true experiences mean for the students who lived them and what accountability must be claimed from their peers and faculty as we pursue actionable change in the education, craft, and industry of theatre and beyond. Do you have an experience to share about diversity in higher education or any other topics we’ve discussed on 4W? We wanna read that shit! Send it to us so we can get your perspective and possibly share it on the show! → hello@fourthwallpod.com. FIND THE STUDENTS ONLINE: Jackson Alexander: @jackthecapn David André: @da_go Phillip Johnson Richardson: @philsgoodmusic FIND FOURTH WALL AND YOUR HOSTS ONLINE: Fourth Wall on Instagram: @thisisfourthwall 4W Community Inbox: hello@fourthwallpod.com Abigail Brazier: @thenameisabstract Alaina Newell: @alainanewell ~~~ Fourth Wall: the podcast is created with TLC by hosts Alaina Newell (@alainanewell) and Abigail Brazier (@thenameisabstract) Produced with grace and elegance by Tyler McKenzie Creative Studio (@tylrmckenzie, tmcreativestudio.com) Audio editing done by Daniel K Stanley (@daniel_keaton_stanley, danielkstanley.com) Original music by Ben Bailey (@benianbailey) And assistance from Production Consultants Nick Buchholz (@nicholas_buchholz) and Sara Flatow (saraflatow.com). --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/fourthwall/support
On our first episode of What's Your Backup Plan?, we discuss our inspiration behind the podcast, the years of being asked "what's next?" in college classrooms, COVID-19's effect on our industry, and how we are feeling inspired this week. Check us out on Instagram @backupplanpodcast or send us an email at backupplanpodcast@gmail.com. If you enjoy today's episode, please rate, review and subscribe! Learn more about your ad choices. Visit megaphone.fm/adchoices
This week, the Stumblejohns are graced with the wit and wisdom of SMJ, a playwright/mime/eternal multihyphenate as they discuss physical theater, BFAs and BAs, and the "right way" to approach rehearsal. Find SMJ at http://www.stevenmeekerjr.com/ and https://newplayexchange.org/users/27083/smj-steven-meeker-jr Submit your questions: Insta/Twitter: @stumblejohns E-mail: stumblejohnspodcast@gmail.com Support us! https://anchor.fm/stumblejohns/support --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/stumblejohns/support
Dan Gets Rich Episode 25Special Guest Willie Savoie of Game on EventsGame on Events is bringing the newest triathlon to Jacksonville - learn why Mickler's Landing, race course details and why Game On will make your race day specialTour De France UpdatesIronman AustriaChallenge RothHand and Stone TriathlonCheating runner found deceased after LA Marathon3 Questions
What a great show we got for y'all today! Welcome back BFAs! We think we found the name for your guys now. Our listeners will BFAs (Better Fantasy Agents) and we can not thank you ENOUGH for the support!We welcome a very special guest on the show, a very good friend of the Bureau, before the Bureau was even the Bureau, when we're just HitList, Andy "The Peoplez Pen" Singleton joins the program. He is well known for his fantasy expertise and bring his knowledge to this episode to give great advise on what should be taken into consideration when drafting your baseball team this year.You can follow Peoplez for his fantastic input on twitter @ThePeoplezPenMarquetti and FLX then go into their fantasy mock draft for a brand new dynasty team. With the NFL draft just a few weeks away, a lot of Dynasty rookie draft will start as well as new start up dynasty leagues, which is a very fast growing market. Let us know who you believe drafted the better team.FOLLOW US:IG - @BFBPODCASTTWITTER - @PODCASTBFB See acast.com/privacy for privacy and opt-out information.
The last thing you want to happen is that you work hard throughout your whole career, invest successfully and then lose a large amount of your wealth due to an unexpected event. Therefore, asset protection is just as important as asset accumulation. Asset protection is a subject that most investors fail to consider, don’t get good advice on and/or take the wrong advice. The goal of this blog is to give you an overview of the key risks people typically need to consider and what to do about them.Be careful who you ask for adviceOver the past few months I have come across a few people that have paid a lot of money (over $5,000) to lawyer or accountant for asset protection advice. In every case, they ended up with a complex and convoluted structure which they arguably didn’t need.My advice is simple. Get independent advice before paying anyone a lot of money for asset protection advice. Someone is independent when they have no asset protection services to offer you other than their advice. Independent financial advisors are typically the best source of advice as they rarely set up structures (such as companies and trusts) or provide legal services. That is, they have no vested interest in the advice given.Asset protection risk: Self employedIf you are self-employed, you might be exposed to additional risks. There are two important points to consider:§ Firstly, your risk is that you get sued. You must ensure that you have the correct business insurances in place including, product liability, warranty and indemnity, business interruption, WorkCover insurance, professional indemnity, public liability and so on. Also, you must ensure that your business is structured correctly so that your liability is limited (e.g. trading company with the shares owned by a discretionary trust). Make sure that you don’t leave any retained profits in the trading company – the company must have as fewer assets as possible.§ Secondly, typically, there are only two risks that directors of companies can be held personally liable for being; trading whilst insolvent and not maintaining a safe workplace. Therefore, if you are a director of a trading company make sure you receive up-to-date financial reports and if you don’t understand them, ask questions or get advice. If your business maintains a higher risk workplace (e.g. manufacturing, construction, etc.), make sure you are confident that you are maintaining a safe workplace.Asset protection risk: Occupational risksIt is true that certain occupations carry a higher level of risk. A good example is obstetrics because an error or mistake whilst practicing could result in a lost life. Even so, it is important to consider the depth and history of professional indemnity insurance cover. This cover is typically very deep, and the experience of personal loss is very limited – almost non-existent – even for the highest risk occupations. The most likely situation where personal loss could be experienced is if one’s actions were considered ‘criminally negligent’. Therefore, if you conduct yourself in a prudent and professional manner it is probably unlikely that you need to be concerned about suffering loss because of your occupation.Asset protection risk: Property investorsProperty investors could be exposed to additional risks such as a tenant or guest suffering an injury whilst attending your property. Also, certain properties carry higher risks such as unsafe balconies and properties with pools.Therefore, it is important to maintain adequate landlord insurance as this will provide public liability cover, damaged caused by tenants, loss of rent, legal fees and so on.Asset protection risk: Relationship breakdownsIn Australia, approximately one-third of marriages end in divorce. Therefore, statistically, this is probably your most significant asset protection risk if you are married or in a de facto relationship. The family court has very wide-ranging powers and will typically look through structures such as companies, trusts and super funds. So, those asset protection measures won’t work here.Whether you are considered to be in a de facto relationship depends on your individual circumstances. The things that will be considered include the length of the relationship, whether you are cohabitating, the sharing of household chores, amalgamation of finances (sharing of income and expenses, joint assets, etc), existence of children, common friends, sharing pastimes and so on.The best thing you can do before entering into a de facto relationship or getting married is enter into a Binding Financial Agreement (BFA). A BFA is a document that stipulates each party’s entitlement in the event of a relationship breakdown. These are often referred to as pre-nups (or pre-nuptial agreements). SBS’s program, Insight recently aired an episode about BFAs which featured lawyers and couple’s discussing the legal and practical issues. It was very informative – click here to watch it online. You can enter into a BFA at any time – even after you are married.Going through a divorce can be an emotionally and financially painful experience. One of the problems is that the court system was designed about 1000 years ago to resolve commercial disputes. They were not designed to adequately deal with family matters. Therefore, a new approach to resolving these matters is becoming more popular and it’s called collaborative law. Many people believe the adversarial legal system can sometimes aggravate, exacerbate and elongate the divorce process causing more emotional turmoil and large legal costs. The collaborative legal process aims to reduce any friction between the parties and mediate an agreement that both parties feel comfortable with. There are various legal practitioners that are trained in and practice collaborative law. It may not always be possible or appropriate to engage in a collaborative process. However, perhaps in addition to entering into a BFA, your partner and you can agree to engage a collaborative process in the event of a relationship breakdown.It should be part of your planAsset protection must be considered when formulating your financial strategy. This is one of the benefits of engaging a holistic financial advisory process. That is, there are many factors that need to be considered as a lot of factors are interrelated. The key factors that holistic advice must include are cash flow management, investment strategy, asset selection, asset protection, risk management, insurances, estate planning and wills. A well-rounded independent financial advisor should be able to address all these considerations and, where possible, avoid unnecessary complexity and cost whilst ensuring nothing is missed (often with the assistance from a trusted network of other advisors). Of course, if you need help don’t hesitate to reach out to us.Please note: The above blog is general in nature. ProSolution Private Clients is not licensed to provide legal advice. Please do not act on any of the information above without first obtaining specific and personalised independent legal and financial advice.
This Week: Saying goodbye to Patricia Morison, the new Gwen Verdon documentary, Rob explores Boston, Maltby and Shire become the heroes of all BFAs, and a public access show gives us a glimpse into days gone by. Every week director Robert W Schneider and actor Kevin David Thomas pull back the curtain on neglected, forgotten, and under appreciated musicals, as well as bizarre performances, endearing television appearances, and all things show business. Become a sponsor of Behind The Curtain and get early access to interviews, private playlists, and advance knowledge of future guests so you can ask the legends your own questions. Go to: http://bit.ly/2i7nWC4
Maria spoke with Best Friends' Co-Founder Faith Maloney about the sanctuary in Utah; Dogtown; adoptable animal sleepovers; Michael Vick's dogs; and more! (BFAS is one of Maria's favorite organizations!)Learn more at bestfriends.org. Subscribe to 'Maria's Mutts & Stuff' so you don't miss an episode!
The Actor CEO Podcast: Acting Business | Interviews | Motivation
Molly Mahoney and myself both went to Chapman University and earned our BFAs in performance. As most actors know, once you start working on making your living as an actor you realize that having other sources of income help level out the times when you're not making money being the amazing artist you are. Many of us end up working flexible jobs like waiting tables, temp jobs, or babysitting. Molly aimed to change that paradigm for herself. She found that when she shared her skills on social media, so many people outside of the industry loved her confidence in front of the camera and an audience and wanted to capture that same confidence for themselves. Any good performer knows to say yes to opportunities, so she did - and she's built a thriving business from there. The post Episode 54: Molly Mahoney The Prepared Performer appeared first on Actor CEO.
And, we're back! After a slight delay due to Darlena being stranded in the forests of Utah (or whatever), we have finally been able to discuss 2013's "The Conjuring" and the complex gender politics that it so astutely explores. I'm just kidding. This was the mayonnaise of horror movies. Sorry not sorry to the LL Fool Js who actually enjoyed "The Conjuring". Also, the word we were thinking of was "analyze". I guess two BFAs don't make a right.
David welcomes a fresh new voice to the show! It's Whitney Wegman! Whit hails from Missouri by way of Atlanta and Virginia and a brief stint in Los Angeles... She holds two BFAs and a Masters degree in Acting. Have a listen and get to know the podcast's newest co-host! She's got total geek cred folks... she's marrying a physicist who worked on the Higgs Boson project at the Large Hadron Collider! HOSTS: David S. Dawson (@theintellexual) Whitney Wegman (whitneywegman.com) NOTES: http://www.thisisthecenter.com/cmt.html http://dellarte.com/ http://link.springer.com/article/10.1007%2FJHEP09%282014%29087
Let's take it down a notch. No? All right. Let's do something really odd and incomprehensible. Good. That works better for us anyway. First, we do a science documentary. In a way. Sure we do that. It's a premise we don't know anything about, explaining phenomena we can't understand. Kool Aid molecules and yo-yos are mentioned. What do you want, we have BFAs. Then, it's time for SPACE PATROL! The beleaguered captain of a starship shouts at his first officer. He says her name many, many times. It's Judy. (But it's also kind of Sandwich Nurse Carol.) And finally, the Gianetti brothers will tantalize your tastebuds while confusing themselves and you with the menu for their new restaurant. We used an actual menu, but we don't know enough about fancy cuisine for it to have done any harm.
Pre-nups, mid-nups, and post-nups. Everything you every wanted to know about nups.
New York-based actress and Sexually Frank alum Maya Murphy joins to discuss hints and advice on pursuing an acting career, discussing bad student projects, musical theater BFAs, a number of useful resources and websites, and how to choose
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