Podcast appearances and mentions of David Abbott

We're picking up where we left off with the Abbott brothers, the two farm boys from Vermont who went on to achieve high levels of success in two different parts of the dairy business: Tim Abbott and David Abbott.We talk about tough decisions, taking risks and what it takes to be successful as a leader. Dave reflects on his experiences as CEO at Purina Mills, as well as stepping outside of the agriculture industry and into various other leadership roles, and Tim talks about taking the leap from corporate to entrepreneurship in dairy cattle breeding with St. Jacobs, and now, Showbox Sires.There's more than 130 years combined of wisdom and lives well-lived in this episode of the Uplevel Dairy Podcast.This Episode is Brought to you by AdisseoThis episode is sponsored by Uplevel Dairy Podcast Founding Partner Adisseo, a global leader in nutritional solutions and premier provider of rumen-protected methionine for dairy producers who want to optimize milk production, capture more value from components, and maintain the health of their high-performing herds. Learn more at https://www.adisseo.com/en/

It's a special father & son edition as Andrew Abbott and father David join to talk about the special dynamic of baseball dad & baseball son. Learn more about your ad choices. Visit megaphone.fm/adchoices

We're talking country music, career paths, and most importantly, courage, character, and the common bond of two brothers from Cabot, Vermont, here on the Uplevel Dairy Podcast.Tim Abbott is back, and he's brought his big brother David Abbott onto the show.We get to hear David's story, from graduating in the top third of his high school class of 10, to his 25-year career with Purina Mills, where he eventually became CEO, before stepping out of ag to grow and consult across other industries.Through the brotherly banter, you will hear a story of pursuing your dreams, perseverance and staying true to your path and your purpose.This Episode is Brought to you by AdisseoThis episode is sponsored by Uplevel Dairy Podcast Founding Partner Adisseo, a global leader in nutritional solutions and premier provider of rumen-protected methionine for dairy producers who want to optimize milk production, capture more value from components, and maintain the health of their high-performing herds. Learn more at https://www.adisseo.com/en/

This week, we sit down with the Joe Rogan of advertising himself - Dave Dye. One of the most awarded creatives, a blogging Jedi and the kind of podcaster who probably has a mic built into his soul.We cover everything from: 

Creating is different to managing.Creators try to break rules, managers set them.Creators look inward, managers look outward.Creators are introverts, managers are extroverts.Not 100%, but most, AMV/BBDO once Myers Briggs tested their creative department.The results came back - fifty people were rated ‘I' (introvert), one was ‘E' - the creative boss (Peter Souter).I's are ‘more likely to be successful in careers like writing, science and art'.Makes sense.“I's are predominantly concerned with their own thoughts and feelings rather than with external things. Give an extrovert a problem and they'll share it with others, give it to an introvert and they'll ‘go into a cave alone to solve it'.(Try finding a cave these days. In Soho. Nightmare.)Today, creatives are often described as being “on the spectrum”.Whether their diagnosis is right or wrong, it's true, our brains are wired differently.It's fine when they need someone to look at a problem from a new angle.More difficult when they need someone to play the role of manager.That dark, cosy cave is swapped for bright, stranger-filled boardrooms.Primarily to pitch, possibly the furthest distance from that cave.You may be told to ‘have chemistry' with six strangers from the world of moist wipes.Or to present your funniest ‘jokes' to some folks about to spend £6m persuading the public that their product has isn't a cake, as its name suggests, it's actually a biscuit.It's an adjustment.Some adapt quicker than others.I found it tough.In the early days of CDD, clients having just left after a pitch, Peter Mead looked up at me and sighed “You should've seen David Abbott present creative work”.Heartbreaking.What did Abbott do?How did he present?I'd love to have seen him present creative work.But agencies rarely invest in training or mentoring, they lob you in and hope you can swim.It's like telling a footballer to “Put this helmet and shin pads on, you're now a Cricketer'.How do you make that transition less record scratchy?I thought it'd be helpful for those about to go through it to have a bit more understanding of where they're headed.To do this, I managed to pin down someone who knows more about pitching than anyone else; Martin Jones.He's sat on both sides of the table - he ran new business at the biggest agency in Britain at the time; J. Walter Thompson,then ran the biggest intermediary in the Country for the last thirty years; The AAR.Personally, he's run over a thousand over the last thirty years.It's meant that he's seen every agency and senior person pitch.I've known Martin since Arsenal's Invincibles team, over the years he's given me endless advice, but hearing him talk about his experience was a revelation.If you have anything to do with new business; listen, you'll be better at the end.Hope you enjoy it.

What happens when an adman with the swagger of a rockstar and the creative chops of a legend shakes up the communications industry? You get Robert Campbell, the mind behind some of advertising's most iconic campaigns. From shaping ads for Virgin, Lego, BMW, Jaguar, The Times, L'Oréal, and more, to co-founding Rainey Kelly Campbell Roalfe, one of the UK's most successful independent agencies before being bought by Y&R.  Robert's career is the stuff of industry folklore. Oh, and did we mention we've got the untold story of Uncommon Studios' Co-Founder Nils Leonard, who once worked under him? Yeah, you'll want to hear this.

DO NOT LISTEN IF YOU HAVE A WEAK SENSE OF HUMOUR OR STRONG MORAL COMPASSWelcome to Agency Tales—a rollicking dive into the weird, wonderful, and occasionally mind-boggling world of advertising. What you're about to hear might seem unbelievable, outrageous, or just plain absurd. And you'd be right.In this episode, we somehow managed to involve Princess Diana, King Charles, Prince William, Princess Kate, Prime Minister Gordon Brown, Dustin Hoffman, James Gandolfini, Andy Serkis, Spandau Ballet and David Abbott. (Yes, that David Abbott.)Big shoutout to this episodes contributors for spilling the beans: Robert Campbell, Paul Burke, Frank Walters, and Jon Webb.Important Deadlines & Links (No, we're not joking—some of this is actually useful):

Via Sky is an American alternative metal band formed in 2023 in Nashville, TN. The group features the powerful vocals of Rich Stadtlander, alongside Nick Conroy on guitar and vocals, David Abbott on drums, and Blake Goodwin on guitar.With their breakout single “Lullaby,” Via Sky has quickly gained recognition, earning radio airplay on Sirius XM's Octane Station.“The message behind our band is about finding the strength to overcome life's battles together. We believe in creating community and connection in a world increasingly plagued by isolation and fear. Via Sky serves as a guiding light for anyone who feels cracked or broken inside. We stand united as we forge ahead into uncharted territory, navigating these unprecedented times.”+I4:I6You can keep up with them at:Via Sky:https://www.instagram.com/viasky.bandhttps://www.youtube.com/@viaskybandCheck out their music videos for Lullaby here:https://youtu.be/iAUNrnB1QXE?si=aMbOgySNuMFCpPrnhttps://youtu.be/uiFmXk1k-9g?si=0zvvqj_MS1cUkSeGThank you for your continued support!Brett Johnsonhttps://linktr.ee/brettjohnson#ViaSky #Lullaby #brettjamesjohnson #threecrowsclub #musicpodcast #bsidebreakdown

 “Please, Please, Let us Give” Mark 5:21-43 Sunday, August 18, 2024 Rev. David Abbott 

What I Want to see from the Bengals first Preseason game and we have some bad news out of Bengals Training Camp. David Abbott needs to stop complaining about how bad the Umps are and just pitch and Chad Brendel on the Bearcats.

What I Want to see from the Bengals first Preseason game and we have some bad news out of Bengals Training Camp. David Abbott needs to stop complaining about how bad the Umps are and just pitch and Chad Brendel on the Bearcats.

Joining me on the show today is David Abbott. David didn't start running until he was 35. He qualified for the Boston Marathon at the age of 36… Now, he's helping runners from around the world to hit their running goals using a training philosophy and system that he's developed. I talk to David about: - Why his first marathon didn't go to plan - How seven months later he ran another marathon over an hour quicker - Why running slow will help you run fast - How his unique approach to training could help you hit your running goals - The role strength training plays for runners - Sleep, nutrition and recovery - Barefoot running - & much more Connect with David: https://twitter.com/runliftrunlift https://lnk.bio/davidabbott Connect with me: https://www.twitter.com/samuelcwhart https://www.instagram.com/samuelcwhart https://www.facebook.com/samuelcwhart https://www.youtube.com/@samuelcwhart

We're back for another go around with our friend David Abbott. Today, we talk about how our faith unites us more than it should divide us!

Join us for an enlightening episode of as we delve into the intriguing concept of “Purple Jesus” with our special guest, David Abbott. In this conversation, we explore how the teachings of Jesus can transcend political divisions, offering a unifying perspective in today's polarized world.

Leaving the world in a better place is the underlying principle for David Abbott to maintaining a healthy work-life balance. Educated at Oxford, David has run businesses from start-ups to UK brands of $1b distribution companies and has held a variety of senior marketing roles. He now works directly with businesses on their pricing, achieving dramatic improvements in their profitability. With a focus on joy and fun across all areas of his life, David has created an intentional and purposeful portfolio.   KEY TAKEAWAY “For me, having a portfolio of different things, different interests socially and different things from a work point of view, having that mixture keeps it all kind of fresh. It makes it easy to get out of bed in the morning.”   BOOK RECOMMENDATION* Will it Make the Boat Go Faster? by Ben Hunt-Davis and Harriet Beveridge - https://amzn.eu/d/hiZ0fnO           ABOUT DAVID David Abbott is an international pricing speaker, author of How to Price Your Platypus, and is one of the leading 99 global thought leaders on pricing. Frequently gaining accolades such as ‘the best speaker we have ever had', David introduces audiences to simple ways to present their prices in a way that makes higher prices stickier… and he does so with infectious enthusiasm and an engaging style.   CONNECT WITH DAVID https://twitter.com/davidatinsight https://www.linkedin.com/in/diabbott/ https://www.david-abbott-speaker.co.uk/   ABOUT THE HOST - AMY ROWLINSON Amy is a Life Purpose Coach, Podcast Strategist, Top 1% Global Podcaster, Speaker and Mastermind Host. Amy works with individuals to improve productivity, engagement and fulfilment, to banish overwhelm, underwhelm and frustration and to welcome clarity, achievement and purpose.   WORK WITH AMY Amy inspires and empowers entrepreneurial clients to discover the life they dream of by assisting them to focus on their WHY with clarity uniting their passion and purpose with a plan to create the life they truly desire. If you would to focus on your WHY or launch a purposeful podcast, then please book a free 20 min call via www.calendly.com/amyrowlinson/enquirycall   KEEP IN TOUCH WITH AMY Sign up for the weekly Friday Focus - https://www.amyrowlinson.com/subscribe-to-weekly-newsletter   CONNECT WITH AMY https://linktr.ee/AmyRowlinson   HOSTED BY: Amy Rowlinson   DISCLAIMER The views, thoughts and opinions expressed in this podcast belong solely to the host and guest speakers. Please conduct your own due diligence.  *As an Amazon Associate I earn from qualifying purchases.

Visuals: https://getbehindthebillboard.com/episode-62-peter-souterRarely have we had such a talented, humble and unanimously respected guest as Peter Souter. Our teaser earlier this week had an amazing response with many waxing lyrical about his creative talent and what a great person he is. So we're hoping this episode lives up to the hype.We talked about any and everything. And managed to fit in some OOH along the way

In the 1970's Mike Everett went straight from secondary school into advertising, starting in the mail room and eventually trying his hand at copywriting, at which he became an expert. In 1973, he began a 14 year stint at Collett, Dickenson, Pearce and Partners - one of Britain's most outrageously creative and prolific advertising agencies. He worked at Lowe International with Sir Frank Lowe as worldwide creative director. He's still at it, as creative partner at Anatomised - a digital, display and TV advertising consultancy. He's on the show to discuss his incredible career and also his book Methods of the Madmen, a behind-the-scenes look at some of the ads that made Britain great, giving a detailed look at the creative process and the struggles to bring some of the most adventurous adverts to life, working with the best film, art and creative directors of the time. Starring: Tony Brignull, Paul Collins, Mike Cozens, Graham Fink, Steve Harrison, John Kelly, Tim Lindsay, Dave Dye, Terry Lovelock, Sir Frank Lowe, Sir John Hegarty, David Abbott, David Hughes, Bill Bernbach, Sam Delaney, Peter Matthews, Sir Alan Parker, Sue peters, John Salmon, Paul Smith, Mike Townend, Alan Waldie, Graham Watson, Paul Weiland, Peter Souter, Martin Galton and many, many more. Buy the book and be amazed! https://a.co/d/gnF25Er Learn more about your ad choices. Visit megaphone.fm/adchoices

In the world of true crime, new technologies and investigative techniques often played a crucial role in solving crimes. Genetic genealogy, in recent years, helped investigators crack cases. In this episode of All Things Crime, Jared Bradley is joined by Barbara Rae-Venter and Tom Myers as they delve into the world of DNA and its role in capturing the Golden State Killer.Barbara Rae-Venter shares the story of her quest to trace her family history to Scotland, which led her to discover DNA testing and connections with adoptees seeking relatives.Tom Myers also sheds light on the process of using DNA to identify perpetrators and victims. Their work extended to solving the Bear Brook Four case in New Hampshire, where the killer employed aliases and stole identities to leave an unknown trail. Through DNA analysis and investigation, the team identified victims and the perpetrator.This episode discusses that even rootless hair, believed to yield no nuclear DNA, can provide vital clues in solving crimes. Additionally, use of aerial photography to locate burial sites and the challenges posed by introduction of tiny DNA fragments during hair growth are explored, revealing the techniques used to crack these complex cases.Barbara Rae-Venter is a New Zealand-born American genetic genealogist, biologist, author of the book “I Know Who You Are”, and retired patent attorney best known for her work helping police and investigators identify Joseph James DeAngelo as the Golden State Killer. She is also the Founder of Firebird Forensics Company, a non-profit company that focuses on assisting law enforcement in identifying suspects in violent crimes and identifying unidentified human remains.Tom Myers is a retired FBI ERT leader, and has had an extensive background in law enforcement. He has been a CSI extraordinaire and a ranger.TakeawaysEmbrace the power of genetic genealogy.Explore innovative techniques.Discover your own roots.ConnectBarbara Rae-Venter: www.linkedin.com/in/barbara-rae-venterWebsite: www.firebirdforensics.orgTom Myers: www.facebook.com/tom.myers.9235Jared Bradley: www.linkedin.com/in/jaredvbradleyDNA Retrieval: www.m-vac.comSupport the showAll Things Crime is a new, comprehensive video series that will explore every aspect of crime and the ensuing investigation, one video interview at a time. The host, Jared Bradley, is the President of M-Vac Systems, which is a wet-vacuum based forensic DNA collection system, and has experience traveling the world training all levels of law enforcement and crime lab DNA analysts in using the M-Vac to help solve crime. Along the way he has met people from all walks of life and experience in investigating crimes, so is putting that knowledge to use in another way by sharing it in these videos. If you are interested in more videos about the M-Vac, DNA and investigations, also check out the M-Vac's channel @https://www.youtube.com/c/MVacSystems...

In the world of true crime, new technologies and investigative techniques often played a crucial role in solving crimes. Genetic genealogy, in recent years, helped investigators crack cases. In this episode of All Things Crime, Jared Bradley is joined by Barbara Rae-Venter and Tom Myers as they delve into the world of DNA and its role in capturing the Golden State Killer.Barbara Rae-Venter shares the story of her quest to trace her family history to Scotland, which led her to discover DNA testing and connections with adoptees seeking relatives.Tom Myers also sheds light on the process of using DNA to identify perpetrators and victims. Their work extended to solving the Bear Brook Four case in New Hampshire, where the killer employed aliases and stole identities to leave an unknown trail. Through DNA analysis and investigation, the team identified victims and the perpetrator.This episode discusses that even rootless hair, believed to yield no nuclear DNA, can provide vital clues in solving crimes. Additionally, use of aerial photography to locate burial sites and the challenges posed by introduction of tiny DNA fragments during hair growth are explored, revealing the techniques used to crack these complex cases.Barbara Rae-Venter is a New Zealand-born American genetic genealogist, biologist, author of the book “I Know Who You Are”, and retired patent attorney best known for her work helping police and investigators identify Joseph James DeAngelo as the Golden State Killer. She is also the Founder of Firebird Forensics Company, a non-profit company that focuses on assisting law enforcement in identifying suspects in violent crimes and identifying unidentified human remains.Tom Myers is a retired FBI ERT leader, and has had an extensive background in law enforcement. He has been a CSI extraordinaire and a ranger.TakeawaysEmbrace the power of genetic genealogy.Explore innovative techniques.Discover your own roots.ConnectBarbara Rae-Venter: www.linkedin.com/in/barbara-rae-venterWebsite: www.firebirdforensics.orgTom Myers: www.facebook.com/tom.myers.9235Jared Bradley: www.linkedin.com/in/jaredvbradleyDNA Retrieval: www.m-vac.comSupport the showAll Things Crime is a new, comprehensive video series that will explore every aspect of crime and the ensuing investigation, one video interview at a time. The host, Jared Bradley, is the President of M-Vac Systems, which is a wet-vacuum based forensic DNA collection system, and has experience traveling the world training all levels of law enforcement and crime lab DNA analysts in using the M-Vac to help solve crime. Along the way he has met people from all walks of life and experience in investigating crimes, so is putting that knowledge to use in another way by sharing it in these videos. If you are interested in more videos about the M-Vac, DNA and investigations, also check out the M-Vac's channel @https://www.youtube.com/c/MVacSystems...

This week, thriller author Mark David Abbott joins the show from half-way around the world to discuss traveling, his writing style, and why he loves to dive deep into research when writing. Mark was born in Cyprus but spent most of his formative years growing up in New Zealand. A love for travel has meant that he has spent much of his life living and working in different countries around the world and currently calls India home. Mark has worked variously as a barman, a factory hand, a supermarket shelf stocker, and a real estate salesman, but now devotes his time to writing and traveling. Mark is a keen runner and in between runs is slowly building an impressive collection of Gin. The John Hayes books are a series about an ordinary man put in extraordinary situations. 3:00 - Military Commission Board 8:00 - Living In India 11:45 - Gin Collection 16:50 - Writing 26:30 - New John Hayes Novel 28:00 - New Thriller Series 31:00 - Traveling 34:00 - Narcotics Research Find out more about Mark at: markdavidabbott.com Follow for more: ⁠⁠⁠⁠⁠⁠jeffclarkofficial.com⁠⁠⁠⁠⁠⁠ or... IG ⁠⁠⁠@⁠⁠officialJSClark⁠⁠⁠⁠ ⁠ FB ⁠⁠⁠⁠⁠⁠@officialJSClark⁠⁠⁠⁠⁠⁠ Twitter ⁠⁠⁠⁠⁠⁠@officialJSClark⁠⁠⁠⁠⁠⁠ Full Episodes at: YouTube.com ⁠@jeffclarkofficial⁠ ApplePodcasts.com/CourseofAction Spotify.com

David Abbott only started running seven years ago, aged 35, but within a year he had qualified for the Boston Marathon and he's gone on to complete several sub-three hour marathons. The American, who now lives in Japan, has also become a coach - not least through the prism of Twitter where under the moniker Mr Slow Easy Comfortable (search for @runliftrunlift) he offers reams of advice on everything from how running slower makes you faster, the benefits of weight training and what to do if you're a new runner. Running Tales also spoke to David about how he grew his Twitter following and running in Japan...   ---------------------------------- Subscribe to our Substack newsletter at https://runningtales.substack.com If you like this episode please consider donating to help us keep going: https://www.buymeacoffee.com/stepforward

HOUR 1Tom Steigleman substitute hosts today's program and interviews Sgt. David Abbott from the Anchorage Police Department about APD openings and the upcoming June Academy.  Find more information and apply at www.JoinAPD.org or call 907-786-8811.Gary from East Anchorage calls in to wish Tom Anderson well during his recovery. Thinking about traveling to Mexico?  Tom S. talks about President Biden's planned trip to the border, immigration, and plays this clip from Fox News about the arrest of El Chapo's son and the riots the arrest have started. https://www.foxnews.com/video/6318282672112Tom S. discusses the firing of one of his children. HOUR 2Adam Holz from Plugged In calls in with his weekly entertainment update, including Avatar, A Man Called Otto, & M3gan.Dave Stieren from the Governor's Office calls in with his weekly update.

About a year ago I was listening to a podcast called The Plot Thickens. The subject was the messy production of the movie The Bonfire of the Vanities. As the story unfolded I realised that the format – a documentary of a subject told over several episodes, with interviews featuring the participants – might lend... Read More

This is the sixth episode of my series of podcasts about the great David Abbott. This one is called ‘David’s Department’ and explores what it was like to be a creative working under David. I'll link to the episode here, but you can also find the whole series on Soundcloud.

This week, we're up all night to get Lucky General, Andy Nairn.   One of the world's most respected brand strategists, Andy is a founder of one of the UK's most successful agencies, Lucky Generals, and author of Go Luck Yourself. Boasting a client roster including Amazon, Virgin Atlantic and Yorkshire Tea, they've been shortlisted for Campaign's Agency of the Year five years in a row.  Andy chats to us on manipulating the UK music charts, chopping thistles and weeding wild oats, working for David Abbott, giving out really bad legal advice, the early days of Lucky Generals, the rainbow laces campaign, defining, acknowledging and creating your own luck, why he hates big tables, and loads more. Feeling lucky? Click play.  ///// Follow Andy on Twitter and LinkedIn  Here's Lucky Generals  Stack the odds in your brand's favour with his book Go Luck Yourself  Or wait for the soon-to-be-released deck of cards version by emailing luckycards@luckygenerals.com Support Commercial Break  Listen Up by Andy Nairn on ISOLATED Talks  Thank you to everyone who has lent their ears and their brains for over 100 episodes of the Call To Action® podcast. It's a real privilege. Please do share and review the podcast to help more marketers feel better about marketing.     Timestamps (01:46) - Quick fire questions (02:56) - First ever (slightly medieval) job (04:06) - His first agency job at AMV with David Abbott (11:06) - Why did he want to set up his own shop?  (12:47) - The chaotic story behind the name Lucky Generals  (15:04) - Early days at Lucky Generals and rainbow laces campaign  (18:38) - Defining luck  (23:10) - Practicing being lucky  (30:05) - Brands born lucky  (33:01) - Supporting Commercial Break  (37:21) - Listener questions  (46:15) - 4 pertinent posers  Andy's book recommendations are: Run with Foxes by Paul Dervan  Brandsplaining by Jane Cunningham and Philippa Roberts  /////

Collective Soul just released their 11th studio album, "Vibrating" and played at Mission Ballroom in Denver on August 14th.  The band has been together since the early 1990's and has maintained largely the same lineup over almost 30 years.  Will Turpin, who has played bass for Collective Soul since 1992, first started working with lead singer Ed Roland at a recording studio owned by Turpin's father in their Georgia hometown. He talked with Dave O'Brien on 99.5 The Mountain KQMT Denver about the new album, the history of the band, the massive success of the song "Shine" and the changing landscape of "alternative" music that was coming out of Georgia and the southeast in the early 90's.  Photo credit: David Abbott

Ad agencies often claim to have no set style, that each campaign is created from scratch, bespoke for every client.It may be true for the mediocre ones, but not the great ones.Nobody used to confuse the work of AMV, BBH and GGT.The same with Wieden, Chiat and Fallon.Today, stick me in front of a tv and I'd fancy my chances at picking the Droga5.Or spotting the Uncommon on a tube platform.Because although ad agencies use the same ingredients, like chefs, they favour some more than others.We fight the idea of having a certain style in our business, ‘I thought that was one of yours' can feel like a slap in the face.Why?Most creative industries embrace it.Architects aren't chosen because they have no particular style.Clothes aren't bought because the designer covers the whole map.Does anyone confuse Quentin Tarantino films with Wes Anderson's?No, that's the point, their style is the attraction.Their philosophy, which has been honed over the years by everything they've consumed, the films, tv, magazines, conversations, experiences, comic books, even ads, that's what you're buying.It's the same with good Creatives.They have likes and dislikes, that creates a style.If asked you to spoof an ad by David Abbott, Tom McElligott, or John Webster, you probably could, because you'd recognise their patterns. Cabell Harris is the same.Whatever the agency or size of budget, he manages to create work that feels personal.Quirky, human with a hint of mischief.Take his One Show 1997 cover, (for my money – the best awards cover annual full stop).One Show Annuals are highly coveted by creatives, sometimes too coveted - getting coveted out of offices and are never seen again.Cabell came up with a great solution: a thief resistant cover.So dull it repels would-be Creative thieves.He spoofed a giant science book - The Giant Book of Spores'.Brilliant insight.Brilliant idea.Beautifully executed.We had a great chat about this and the rest of his work, and, by the end, I was even pronouncing his name correctly. (Cab-ell, not K-ball.)Hope you enjoy.

Intro: Final Draft is conspiring against us, Beastie Boys' Adam Horowitz, Doris the dog loves the vet, Jim Croce, The Cure. Let Me Run This By You: storytelling, Risk Podcast, The MothInterview: We talk to the creator and producer of You're Being Ridiculous, Jeremy Owens, about offending people, porn, Samantha Irby, Roosevelt University, University of Arkansas, The URTAs, King Lear, Greg Vinkler, Barbara Gaines, Plautus' The Rope, P.F. Changs, Kyogen, Threepenny Opera, Steppenwolf, Brene Brown, Marianne Williamson.FULL TRANSCRIPT (unedited): 2 (10s):And I'm Gina Pulice.1 (11s):We went to theater school together. We survived it, but we didn't quite understand.3 (15s):At 20 years later, we're digging deep talking to our guests about their experiences and trying to make sense of it all.1 (21s):We survived theater school and you will too. Are we famous yet?2 (34s):Yeah.1 (35s):It was one of these things where it's like, final draft will not let you restart your computer. I'm like, fuck you. Final draft. What did you ever do for me? Final draft writer, duet. They're all, they're all plotting against me,2 (47s):But what is, what is, what does final draft have to do with your camera working on this?1 (53s):So in order to, to be okay, the bottom line is I need a new computer. Okay. Let's start there second. Okay. That's the first level of problems. It's like the deepest level. And then we, if we go up a little bit into the level of problems, it is that final draft that I might camera in order to use my camera. Sometimes I have to restart my computer because it's so old. Right. So I need to restart,2 (1m 19s):You know, I want to do any one thing in the morning I got, are really rev my engine.1 (1m 26s):So like, I'm like, okay, well, in order to restart the computer, it's like not letting me restart it because final draft is this because probably final draft is so advanced and my computer is so Jack.2 (1m 39s):Totally. And that's how they get you mad. I feel like they all conspired to be like, okay, well let's make it. So this will work on this version. So then,1 (1m 49s):So anyway, I see you, you look great. I look like shit. So it's probably better my camera's up.2 (1m 57s):So a couple of things I keep forgetting to ask you on here, about how, how did it come to be that you were chatting in the parking lot with Adam Horowitz about your dogs, Volvo.1 (2m 12s):We never talked about that.2 (2m 14s):We did not.1 (2m 15s):Okay. So I rule up, so my dog, Doris, who everyone knows that listens to the podcast and by everyone, I mean, whoever listens to the podcast, you know what I mean? So hopefully it's growing and growing, listen and rate the podcast. Anyway, the point is I roll up to the vet, which I do oh about every other week, because my dog is a very high maintenance. And so she's just so she of course had an ear infection. Cause she has these huge ears that collect all this bacteria. So I roll up and there's an eye and because it's COVID and everything, you have to park outside and wait, but because it's LA all the windows are down and everyone's car and there's this dude sitting in his Kia has electric Kia.1 (2m 59s):Well,2 (2m 59s):My key.1 (3m 0s):Yeah, I know. I know. I did not recognize this human being. He looked like my husband, like fifties gray, maybe had glasses on.2 (3m 13s):Why would you like all our knowledge of them is when they were so, so young. Right,1 (3m 18s):Right. So young. And I like didn't, you know, keep up with the beast. So it was like, I had other things to do, you know? So I was doing other things. So I'm, I'm like trying to corral Doris out of the car. She's crazy. She's trying to get out. She loves the vet. The backdrop is my dog2 (3m 35s):Loves the,1 (3m 36s):Oh my God. She races towards the vet with a fury that is unmatched, loves it. I2 (3m 43s):Never once heard of this in my entire life. So1 (3m 45s):She's really, really excited about the bet. So she's an extra crazy. And I get her out of the carrier to let her sniff around in the parking lot. And I see this gentleman who is the interesting thing about him is that his leg is out the window. Like he's like resting his leg. And I'm like, well, that's kind of weird for like an older dude, but whatever, it's, it's LA like, you know2 (4m 8s):That sound's going to say, I imagine that kind of thing happens in LA.1 (4m 11s):Yeah. And plus he's probably weighed been waiting and waiting for his dog forever. And so, cause you, you have to wait out there, like they don't want you to leave in case they need you and blah, blah, blah, blah, blah. Okay, fine. So I, and I say, and he says, oh, a cute dog. And I'm like, oh, she's a pain in the ass. And then he's like, what's her name? And I'm like, oh, her name is Doris. And he's like, oh, that was my mom's name. And I was like, oh, that's interesting. And then we talked about the origin of Doris, cause it's from a Jim Croce song. And Jim Croce is someone, my husband adores the singer. The folks there yeah. Died when he was 29. Looked like he was about 60. When he died.2 (4m 47s):He was 29.1 (4m 49s):Yes. You know, he looks like David Abbott, Holly, if you ever look at me2 (4m 56s):Like a hole, I see it.1 (4m 59s):But just bringing it back to the old theater school. So, so yeah. And so he's like, we talked about Jim Croce and he's like, Jim Croce is the first person I remember dying. I had that album. And I said, yeah. And he said, that's in a Jim Croce song. And I said, yes, Leroy brown, Friday about a week ago, Leroy shooting dice. And at the end of the bar sat a girl named Doris and who that girl looked nice. And that's why we named Doris Doris. He was like, I don't remember Doris being in that song. So we get into that. Right. Okay. And then he's like, I'm like, oh, is your dog okay? And he's like, well, she, she, she got a cut on her neck and I'm like, oh shit. And I'm like, is that2 (5m 38s):A knife fight in a bar?1 (5m 39s):I was like, how did that happen? And he goes, I don't know. But like, you know, since I'm not a doctor, I figured I'd take, bring her to the vet. I'm like good plan, my friend, good plan. So he's like, I'm waiting for him and waiting for her. And I'm like, oh, okay. And then he said, what's wrong with your dog? And I said, oh my God, what? Isn't wrong with my dog? And I said, my dog has a dermatitis of the vulva and an ear infection. And he's like, wait, what? And I'm like, yes, she just she's out. She's got a lot of allergies because she's a friend. She and I did this to myself by getting a friendship. But like, yeah, she's got, and he said that his dog was really licking her butthole and he had dermatitis of the bottle. And I was like, it's the same I heard of my friend, Morgan has a Frenchie who has dermatitis of the butthole because all Frenchie owners talk about these things.1 (6m 26s):And he's like, oh, well, my dog has dermatitis of the bottle. I'm like, well, mine's got dermatitis of the Volvo. They both have, they both have like private parts itching. Right. And so then we started talking and we talked about a lot of things. Cause you have to wait forever. And then right. And so we talk and talk and talk and no clue who this person is. And he's like,2 (6m 47s):Did you say cut? There's something about that voice?1 (6m 52s):No.2 (6m 52s):No. Okay.1 (6m 54s):'cause he was kinda mumbly and also just looked so natural.2 (6m 60s):Aiming, sabotage.1 (7m 1s):No, not screaming and also not jumping around with his other two cohort. And then I just, I felt like, anyway, it just didn't cross my mind. And his shoelaces were untied. I don't know. It was like a real casual situation.2 (7m 15s):Yeah. Honestly, I would never assume somebody in a key is famous. That's my snobbery, but I wouldn't.1 (7m 21s):Yeah. I mean, I, it was a very, very, very nice camp, but it still, it was a key I said to you like, oh, that was her talking about cars. I mean, we talked about kids, cars, Manhattan. Then he said, I'm from it. I said, oh, I'm from Chicago. And he said, I'm from Manhattan. And I said, oh, I said, oh my God. I launched into this thing about how I could never live in New York because I was like to own like the most unhip like fat and ugly human and like, not in a bad way, but just like, kind of like I'm. So I just feel like, I didn't know what the fuck was going on ever in New York. Like, I didn't know which way to go, who to talk to, where to turn I was lost. And he's like, yeah. Do you know what I like about LA is like, nothing ever happens here.1 (8m 2s):That's not2 (8m 2s):True.1 (8m 3s):No. But I was like, what do you mean? He's like, I need to just like New York, like you have like a million things are always happening at any given time. Right?2 (8m 11s):Sure. It's a lot too. Like you have to do a lot of processing living in New York, you're taking your, you know, you're just taking in so much information1 (8m 19s):And that does not happen in LA and LA you're like sometimes starved for like,2 (8m 25s):Right.1 (8m 26s):But we talked about that. And then, and then by like end of conversation almost. I was like, oh, I'm Jen. I'm so sorry. And he was like, oh, I'm Adam. And I was like, okay, still, no, I had no2 (8m 40s):Adam common name,1 (8m 41s):Common name, whatever. And mom named Doris, whatever. Like, okay. And then we started talking, he said, his wife, what did he say? Oh, he bought a house in south custody. Anyway, all this stuff. He has a kid. And at the end I say, he was talking about what we, what we do. And I'm like, oh, I'm a, I'm a writer. And I'm like trying to write TV, but I also consult, I just started this business, but I wasn't, you know, I was a therapist and for felons and like, and then he got really into that. And then I said, oh, what are you doing? And he's like, oh, I was, I think he said I was in the I'm in the music business. I said, oh, that's cool. I thought he was like a producer, like maybe a classical composer or something. I don't know. That's where my mind went. And I'm like, oh, like, what do you do?1 (9m 22s):And then he said, I was in and I said, oh, what kind of music? He's like, I was in a rap trio. And I was like, wait a minute, a rap tree endorsed by this. By this time it was like, biting me. You know, it's like a whole, I'm like, oh, a rap trio. And I couldn't the only rap trio I could think of was run DMC. And I'm like, oh, he's not in that. You know, he's a white dude. There's no way. And I'm like, oh crap trio. And I was like, house of pain, Cypress hill. Like I couldn't get it together. And then I was like, and then it dawned on me. And I said, oh, and he said something, like I said, I don't remember how it came up. And he's like, oh, I'm Adam Horwitz. And I was like, oh, I was like, of course.1 (10m 2s):I said, oh my God. And then I didn't know what to say. So I just said, cause he just moved. He actually, he moved to south Pasadena, wait before I moved to Pasadena. But I said welcome to Pasadena.2 (10m 16s):Right. Because the minute, you know, it's a celebrity. It's like, it changes the ions. Wait. Yes.1 (10m 21s):Thank you. You welcome to you too.2 (10m 24s):So what I think is so interesting and must be so well, I don't know. I don't know if it's annoying or whatever it is, celebrities. You, they must have to always be in a process of deciding with when they're interacting with people, they don't know what are we going to do with this fact, like, do you know who I am? Do you not know who I am? If you know who I am, just, what does that mean? Is that why you're talking to me? And then, but he opened one of the first things you said that he said was that his mom's name was, I mean, I guess that's not unusual, but I was thinking to myself when you said that I was thinking, oh, was he hoping That would confirm not that his dad is famous.2 (11m 10s):His dad is1 (11m 10s):Trail horo. Israel.2 (11m 12s):Yeah. He's a kind of a terrible guy though.1 (11m 16s):I heard is there. I think they're both dead. I mean, from what I got, I don't know. I know he has a sister. I don't know. But like he seemed like the kind, yes, you're right. Like it must be so weird. And also I literally was so into my own world. It's like, so Los Angeles, like I, when I found out that he was, I was super excited because I wanted to say, oh, I saw you at the Metro in Chicago and stuff like that. But then I was like, oh, I can't. And so I got excited, but I also, it was literally like talking to your husband or my husband in that they're old people. Like I wanted to be more excited about the, the youthful version.2 (11m 56s):Right? You want it to be 19 year old, you eating Israel, horrible1 (12m 2s):Adam Harz and being like, let's go on a date or something. But that is not what I, that was not my inclination this time. And also his he's married to this amazing punk hero, Kathleen Hanna from bikini kill who I adore. And I know that, but I didn't bring that up either. But anyway, the point is we exchanged information because we were like, let's walk our dogs. His dog is Terry. It really hairy dog, little girl, dog named Terry. And I said, well, what kind of dog is Terry? And he goes, I don't know, very hairy. And I was like, okay, well, okay. So we may go on a dog-walking adventure. I have no idea, but lovely human, but just like soup. We are super middle age.1 (12m 43s):This is what the moral of this thing was actually not the celebrity. Part of it was the, what hit me the most Gina was the middle age in this of it all. So the other thing is like, nobody gives a shit now about the things that we give a shit about. So the BC boys, I was talking to my niece, she didn't know who that was. And so I was like, oh right. Meaning I still care who they are, but2 (13m 16s):Right. Yeah.1 (13m 17s):Time moves on timeframe.2 (13m 20s):Yeah. Periodically we have kids periodically, they'll come up to you and they'll be like, have you ever heard of this bay? Or like, my son was listening to something and I'm like, and I go, he goes, oh, I've got to play this song for you. It's this band. This is like obscure band or something like that. It was the cure. I go, are you kidding me, dude? I put white face makeup on and wore black and tried to hang my two years in junior high. I knew the cure is okay. So that was one thing. And the other thing was last time.1 (13m 52s):It super nice though. I got to say, if anybody cares, he was not a Dick head.2 (13m 56s):I care. Yeah. That's nice. I'm happy to hear that. But just one last thing about that whole, like being a celebrity, you're damned if you do, and you're damned if you don't, because on the one hand you, you could have somebody say, oh, it's like pretentious to not say who you are. And on the other hand, people would say, you know, you can't win. You can't, you1 (14m 14s):Can't win. That is the bottom line. Yeah. Yeah.2 (14m 17s):So the other thing was last time we talked, you said, oh, I want to save it for the podcast, but about showcase. So you were talking about getting your kids ready for showcase.1 (14m 28s):Okay. So here's the deal with that. So I, because of this podcast, I'm like, okay, is there a way to make a showcase? Not the shit show that I feel it was now, there may not be, it might be inherent in the thing. Okay. But so I'm teaching fourth year. I like, basically don't even, I don't know what I'm teaching at this point, but not even teaching anymore. I'm done. And my, my, my, my co-teacher took over, but I started noticing as I always do that, that, that the students are like, you know, crazy nervous about the showcase and also crazy nervous about agents and managers and all the things.1 (15m 9s):Now, there is no showcase in LA. There was only a quote meet and greet. There is no showcase in New York. There was only quote, a meet and greet. Look, it gets weirder in Chicago. There was a live showcase and a meet and greet. Now, I don't know what went down, but the bottom line is the ball has been dropped so many times about this showcase and about graduation and about launching that at this point, the ball is just dead in a heap deflated. Okay. So I said, okay, well, what can I do to make this fucking situation better? Because I know what it's like to be there and be like, oh my God, I'm falling behind. What if so then I'm like, okay, everybody, here's what we're going to do.1 (15m 52s):I am going to email everyone I know in LA and everywhere and say, come to this showcase and watch your digital link. They have a virtual showcase. But the problem with that is nobody. If nobody gets sees it, it doesn't matter. And so it was made in a form beans where it looked like spam. So it went to everybody's spam. So no casting directors and no agents got the fucking link. And I realized that because I told a student of mine, I said, listen, you want to be repped by this one agency, let's create a letter to them. Let's pitch them. And so then I get a call from the agent saying, we loved this letter.1 (16m 33s):Also, thank you for including, we didn't think there was a showcase.4 (16m 37s):Oh my gosh.1 (16m 39s):And I said, what's,2 (16m 41s):This has to do with just the fact that like, there's been all this administrative,1 (16m 45s):I think it's, COVID meets the problem with conservatories, which is that they do not think that launching their students is an important part part of their job. Right? Right. So it falls to nobody. And so the person in charge bless her heart is one marketing person that knows nothing. I don't believe about acting or the entertainment industry at all. There is no Jane alderman. There, there is no, at least. So I stepped in to be like the proxy, Jane alderman with another adjunct. And we were like, okay, well, how do we do this? So I am happy to say that after literally making maybe 43 phone calls, everyone has the link.1 (17m 26s):People are coming to the showcases. Now my thing is to do the meet and greet in LA to try to get people there because these, these kiddos are coming to LA, there is no showcase. I'm like, well, we, what are we doing? Like we have to have something like, so, and I also just, you know, and I know these kids, like these are my students. So like, I want to meet them. And then, so now I'm getting everyone I know to come to the meet, greet in the business and2 (17m 51s):The money thing. Like, they're like, oh, well we have, we can do it online. And so we don't have to pay for, to rent the space for,1 (17m 59s):So they wouldn't even tell me, they wouldn't even tell me. They didn't even want to give me the invite to the LA thing. I had to like fight to get the, I don't understand what is going on. But I was like, listen, all right,2 (18m 11s):DePaul, I'm going to tell you something right now in DePaul. You want to be well-regarded you want to be number one. You want to always talk about your, your alum or even not your alum. People who, who went and got kicked out about their great successes. And you don't, but you don't want to do anything to get there. And that is not how it works, how it works is you put a lot of energy and I'm not saying at the expense of teachers or whatever, but you put a lot of energy and effort into not just hyping your students, but hyping your school.2 (18m 51s):Like it should be that your school is saying, have we got a crew for you? Yeah.1 (18m 56s):And which is what I then stepped in and had to do and be like, these kids are dope. Come see this, look at this link and then come to the thing. And so all the casting and agents in Chicago are now coming. Thank God, because guess who, there was one person RSVP2 (19m 14s):Girl, and you need a bonus1 (19m 16s):Stroke. Here's what we're doing. So then I said, okay, because I'm always thinking, I'm like, okay, well, here's what I'm doing. I'm developing a launching curriculum, which I think I told you about, like, I'm developing a day, one BFA for day one of the fourth year. Here's what we're going to do to launch you. And it's not just about the showcase. It's about mentorship. It's about how can we hook you up with somebody that's in what you want to do? How can we do that? And I'm going to pitch it. I'm going to say, here you pay me $120,000. And I will sell you this program and, and hook you up with teachers and people. I know that can step in and do this with me. Like you like people in the business, like people who are on different coasts, like duh, and then we will.1 (19m 58s):So, and if you don't want to buy it, DePaul theater school, we're selling it to Northwestern or NYU or any anyone.2 (20m 4s):Well, I was going to ask, do you know, if other conservatories are doing showcases and doing,1 (20m 9s):And they are, and they are doing it and they are, they are doing it. I, from what I can see, Gina, they're doing it better. I don't know if it's, you know, how good it is. But I do know that like other showcases released their digital showcase because of the pandemic on actors, accessing and town and casting networks, which DePaul did not do. Oh2 (20m 30s):My God.1 (20m 32s):So here's, so that is not okay with me because I went there and I, I do care about it because of this podcast. I also know that these kids having watched them at, you know, 21 year olds, 22 year olds, max, they're busting their ass, just like you. And I we're busting our ass. Like, look, they're busting their ass more than we were, but you and I busted her ass too. And I feel like we didn't get what we needed from the launch process. And what, what will happen is no one will people and people stopped going to theater school. Is that what you want? Or do you want to upgrade like level?1 (21m 13s):Let me run this by. There's a lot of people I hate.2 (21m 24s):Exactly, exactly. Okay. So the thing I wanted to run by you is about storytelling. I signed up for this workshop in my town. We have a little community theater and they sometimes have little workshops and I did improv there one time. And actually by the way, doing improv there, I I'm, I still am terrified of it. And I still don't feel like I'm I do well, but add it. But I reduced my fear somewhat by just aging within, and then we had a performance and my whole family came and yeah, it was, yeah.1 (22m 3s):Why don't we talk about what2 (22m 5s):She like two years ago or three years ago, actually. Yeah. Three or maybe even four years ago now. But anyway, on Sunday I went to, they ha they had a workshop led by a storyteller from the moth and she taught us, you know, how to, so there was only five of us there. One person, only one person absolutely knew when he came in. Exactly what story he wanted to tell. The rest of us were like, I have certain things that are coming to mind. Of course my thing. And I said, I was, I just owned it from the beginning was I've written essays. And I've, you know, written a lot about my life.2 (22m 46s):And yet I somehow feel like I don't have a story to tell. And she said, that's so common. She was telling this great story about somebody. Cause she does corporate stuff too. She was telling the story about somebody in a workshop, in a corporate workshop who just kept saying, I just, I don't have a story. I don't have a story. The day goes on. And he goes, well, I might have something, my family and I fled Vietnam right before this. And she goes, yeah, that's a story. That's a, that's a story you could tell. Anyway, point being, we're putting these stories together and we're going to perform them on Friday.2 (23m 34s):And the I'll say there is something about the process of working on it. That has been, it's not exactly healing, cause this is not a, for me at all. It's something I'm telling a story about when I lived in that apartment on Lil and Libby got me this job at the bakery and while we were, and she was very assiduous about being to work on time. And1 (24m 9s):I remember the, was it the red hen? Oh, we shouldn't say it out loud.2 (24m 12s):I actually, I really don't remember the name. I think it might have been called great Plains. I don't know. Okay. I don't think it's there anymore. And one of the things that was our task was to deal with the mice that inevitably came into the, in the flour sacks and stuff like that in the back. And, but I never she'd said to me, we have to deal with the mice, but I somehow, I hadn't really, really thought that through. And the way we were meant to deal with the mice was hit them over the head with a shovel.1 (24m 47s):Oh. So, so murder of the mice2 (24m 50s):Were into the mice. And so my story is about watching this five foot tall, gorgeous little, just, I mean, she looks like a bird, this girl, woman now, but she was a girl. Then I'm just swinging the shovel over her head and bringing it down. And then just very like with, with zero expression, taking paper towels and picking it up and throw it in the trash, washing her hands and making it back to the register in time for the next customer who came in. And my point of it, of the story is that's. That was one of my most important lessons about the difference between being poor and being broke because I was broke, you know, and always looking for jobs and always working through school.2 (25m 35s):But if it came to smashing a mouse over the head with a shovel, I'm just going to quit that job and go find another job, selling clothes at express. But Libby did not have such luxuries. She had to take the jobs that she could get. And she had to guard them with her life because as even, even with the amount of time she worked, there was a period of time where she would tell me, like, I'm going to bed hungry a lot of nights. And I couldn't help her, you know, because I was broke. I just, I didn't have we bought ramen. I mean, we right. Like six days a week.2 (26m 16s):And so it's about that. And so there's something about, but, but the fact that it's about this epoch in my life yeah. Which I haven't really written that much about, I've written about my childhood and I've written about things that are more contemporary, but you have a lot of experience with storytelling. And I'm curious to know what role that has played in sort of, you know, for one thing, the ability to string together, kind of the, of your life into a cohesive narrative. If, if1 (26m 47s):That's2 (26m 47s):Something that has been helpful or if maybe you have healed in some way, maybe from your one person show,1 (26m 53s):I am Gina. What comes to mind? Like what first came to mind when you were talking about your experience with this storytelling thing? Is it, what, what is the coolest thing to me about storytelling? Like this live lit as we like to call it in Chicago, just because I, storytelling people think it's like, we started calling it live live because people thought it was like, you know, Renaissance fair storytelling. Right. We had like a cheese ball, it's it doesn't matter. It's storytelling. So storytelling, bridges the gap for me. And maybe you have acting and writing. So it is both performance and writing, which I think is brilliant. I think acting is for the birds.1 (27m 35s):Like I just do. I think acting is really hard. I'm not very good at it. Not because I'm not a good person, but that's what I'm saying. I'm not very good at it because I don't like it as much as I like telling a story. That's my story. That also has a performance aspect to it. And it heals the acting thing for me. So you are acting, you are acting, you're not like you in your kitchen, just like when we do a podcast where there's a part of us, that's acting, it's not, you know, it just is what it is. So I think that that is extremely healing. And what, I wonder if it's extremely healing for you, because I feel like in terms of the acting thing, I know that post-graduation from an acting conservatory, you talk about just completely shutting down, completely not shutting down to the acting part of yourself.1 (28m 25s):And I think like through your son and then through this podcast and through writing television and now through storytelling and like your dip into improv, you're, you're healing, the actor part of yourself.2 (28m 37s):That's right. That's right. It1 (28m 38s):Wouldn't surprise me. If you went on to do acting like started acting in plays and stuff. Again,2 (28m 44s):I'm not going to lie. I'm really thinking about it at this point in time. I still feel like it's a bridge too far, just because I have nobody to spell me at home. You know, I can't ask my husband to leave his job so I can go to a play. But at some point, I mean, you know, they're not going to be this age forever. At some point I will be able to do that. And I do have designs on doing that actually.1 (29m 8s):Yeah. And I think, and I think you, I think this storytelling is brilliant because I think the cool thing about storytelling, as well as like you could go to New York city and do them off one night. It's not a, it's not a commitment like the play. In fact, you could do the risk thing that I did in New York. Like the rest of the podcast is live performances in New York. So all this to say that I think storytelling is a fantastic way to heal the part of ourselves that wants to be a performer, but definitely doesn't want, is not ready to take all the trappings and bullshit. That is a professional acting career, which is garbage. Like I got to say, like I just tell my students is to like the part of the business, which is why this is so fraught because it's garbage.1 (29m 55s):That's why you don't like it. But that doesn't mean it's not worth it to you. If you can find a way to make it worth it to you, the competition, the rejection, the then go for it. But what if that is bothersome? And like, you don't want to deal, like what about live lit? Like what about improv? What if there's so many other things? And so like, wouldn't it have been awesome. Gina. If someone had come to us fourth year and been like, Hey, you know what, maybe you get really nervous and that panic attacks when you have to audition. But what about like writing this thing and telling your story on, you know, on a stage somewhere where you get to hold the piece of paper2 (30m 34s):Today on the podcast, we are talking to Jeremy Owen. Jeremy is a storyteller and the creator of a storytelling show called George being ridiculous, which is premiering ask Stephanie, I think tomorrow or the next day, check it out. Please enjoy our conversation with Jeremy Owens. Wow. Congratulations. Jeremy Owens. You survive theater school. I want to hear this fabulous story. I missed the beat.1 (31m 11s):Yeah. So Gina, miss the beginning. So I was just basically saying that everyone's rusty and it's really good. We're talking about this because also Gina's performing storytelling this weekend and we were just talking about rusty. It was, everyone was after two years of not doing live lit stuff. And then Jeremy tells me that he did a show and of course we can, you don't have to use names and all that, but like did a show and it went south and by south, he's going to tell us what that means. It really went south. So7 (31m 41s):It really, when up it's like so complicated. Okay. So I was doing a fundraiser first off. I was like, I there's no way, like, who wants to watch me talk on zoom? Like we're doing that all the time. Like who even cares? How can this benefit anyone? But it's a fundraiser. My sister-in-law asked me amazing. I love it. Amen. Let's go. Let's do it. So we're doing it. And I, okay. I was not as cautious. And as careful as I should have been the show, I mean, you done the show, you did a show. I don't know if I can talk about your story, but you like got your tooth knocked out. That's1 (32m 22s):Oh, I believe me. I did. I gave a blow job and my back lower fell out. Yeah.7 (32m 28s):That's a story2 (32m 28s):Story. I7 (32m 31s):Share that story, but That's good. That's the, but that's like kind of the fuel it's like, you don't know what's going to happen. Some things are like, you know, super lovey Dubby. Sometimes somebody tells a story about a blow job and their tooth gets knocked out. It's like not a big deal. Like this is the world we live in. But I mean, if you're doing a corporate fundraiser for someone and I just, Alex, if you're listening, I love you. I just was not clued in. And that's my fault. That's not her fault. It's my fault. I accept responsibility for all those things. This is my disclaimer for my, for my sister-in-law. I accept all the responsibility for that. I just should have been more cautious.7 (33m 11s):Right. So if you're up for doing show or tea, fall out from low jobs, it's not that maybe not the best for like a board. Like those are the stories that people,1 (33m 20s):I7 (33m 20s):Didn't know1 (33m 21s):It is. If I'm on the fucking board, I'd probably not get,7 (33m 24s):I know, same for me. I mean, we went to theater school and I've decided like, as that has passed me by that we're not the same as like Bob down the street who is like wildly offended by anything, you know, sexual or1 (33m 42s):Anything2 (33m 42s):You ever get used to that, by the way, I, I I'm always like, oh really? We have to do this thing where I have to pretend like I'm talking to my grandma. Like you're a full grown adult standing in front of me. What's that?1 (33m 53s):What's your story about, please tell me something amazing. Gross, please.7 (33m 56s):I didn't even get to my story. That's the thing. Okay. So It wasn't even me. I wish it were me. It was like six or seven people. And I think we got like three or four in. And so as they're happening, I'm like, oh wow. That person said, fuck, oh no, this person's talking about porn. Oh, wow. Like things that like, just don't register for me. Right. Because I guess theater school. It's like, none of that registers for me. I'm not offended by anything other than like racist, white assholes.7 (34m 38s):Anything else? It doesn't register me. I don't. I know. I just don't care. I'm not bothered. So2 (34m 45s):Charity though. I mean,1 (34m 47s):It was like, there was it like the nuns of like a sister.7 (34m 50s):Oh, I don't want to say there. I don't want to say their name. I'll tell you1 (34m 54s):What Sater7 (34m 56s):Well, they're like1 (34m 58s):Healthcare, charity. He doesn't want7 (35m 1s):. Yes. I mean, it's a great charity. They do wonderful things. It's awesome. Right. But they weren't ready for1 (35m 12s):Me. So what happened? It just went blank.7 (35m 15s):Like we're just plopping along and I'm like so excited. Cause it's like July 20, 20. I have only been like talking to my dog and my husband. Right. So this is happening and I'm listening to stories. I'm having a great time. This is like amazing loving life porn who cares, you know, whatever. And then all of a sudden it stops working. Like I don't see anything. And I'm like, oh my God, this is my brother-in-law. I was like running the tech. I'm like, oh no,1 (35m 44s):He thought it was a tech thing. Of course.7 (35m 46s):I was like, well, this happened to me. I was taking this class online this weekend and the internet I had and I was like, oh shit. Like in the middle of class, I'm like, great. So now they think I'm an asshole. I just left class early. So I'm just like, this is dead. Right. Then they come, my sister-in-law calls me and tells me what's happening. And they're all furious. And they just, instead of like a conversation or something, or like this is coming or we're so disappointed, it was just like, this is over now. Like just totally dead. The bad part about that is that none of us knew. And there was no communication with me. Other if it hadn't been my sister-in-law, I don't know if I would, I would still be here on my computer.7 (36m 31s):Probably.1 (36m 32s):That's hilarious right there. Like, are you there yet?7 (36m 36s):Hello? Hi. Hi. They just didn't communicate at1 (36m 40s):All.2 (36m 43s):We're like, really? I'm getting irritated about this. Listen to the story is like, I don't know any of the players, but I feel like, I feel like we're the people we're pretending people are pretending that they don't watch porn or that they don't swear or, you know, like, why do I have to do this? Pretending I just love unless there was children in the audience and maybe there were,7 (37m 4s):I don't think so. Like, you know, it's like, I had like friends who1 (37m 8s):I curated it. Where you did you7 (37m 10s):Find, I mean, it's all, basically this entire thing is my fault. But like1 (37m 15s):You, you found everybody.7 (37m 17s):I found everybody, I got everybody. This was like a great in my mind was this is like a greatest hits. This is like, awesome.1 (37m 24s):It's the one time I'm so grateful. I was not asked to do anything. Like7 (37m 29s):It was just so weird. And there's like, I don't know it. Yeah, it was. But again,1 (37m 37s):I do the story for the ages. I love it. All of a sudden, it just goes blank.7 (37m 41s):I'm in the home. This is a story I'm going to, I just went blank. I didn't know what to do. Everything was gone. Just talking about those things. It doesn't, I don't find that if, when I say porn, I'm not like, this is the butthole. Like it wasn't like, you know what?2 (37m 59s):I7 (37m 59s):Watched porn. Right. That's not offensive to me.1 (38m 5s):I'm not sure. I'm not sure. Yeah. Like Gina was saying like we're okay. So that went south. Like if did you feel I'm really concerned? Like, cause I would have probably had to check in somewhere because I would have been like, I curated this motherfucker and now I caused this whole fucking7 (38m 23s):I'm still like T like we have a show coming up in like a week at Steppenwolf. And I had one of the storytellers from that show sent me a is doing the show at Steppenwolf. And I like had a moment because his story is like, because of that. And because I'm like wildly triggered, I was like, Hey, maybe you could do this story about tennis or whatever. And he's like, do you need a PG story? Like what's going on? And then I was like, and then I re-read a story. And I was like, I do not his stories about sex.7 (39m 5s):I do not find this offensive. This is okay. I'm person totally traumatized. And then I had to go back and be like, oh God, remember that thing that happened in 2020, I'm just totally melted from that. And your story is great and everything's fine. I'm just having a moment. I'm going to calm down2 (39m 24s):And see what happens to me though. When I hear w whenever my antenna go up, whenever I hear like, oh, that's offensive to me. That just automatically means you're doing behavior that you feel really ashamed of. And so you want to shame me instead of just own the truth of whatever it is you're doing. This is exactly what happens on the Handmaid's tale. You know, it's all about the Bible, but then they're just like holding people down and raping them. So I just think it's a little bit of a soft sign for you've got trouble. If adults are saying that referencing the fact that there is porn is7 (39m 58s):Troublesome. Yeah.1 (40m 2s):Oh my God. I can just, okay. I would have been so traumatized. So I hear you. And I also think that, like, it's interesting, I've had a similar thing where like, on this podcast, I've mentioned my husband's job. I have mentioned. And so Gina and I always talk about, well, we will not always, but we've had to talk about this of like, what is the, and it's like a bigger thing in our society right. In the world. Like, where do I draw the line of like, can I stand behind this? I guess that's what it is. It's like, can I stand? If I'm called to the carpet, whoever God, the board, whoever, and say, stand behind this show. These words can.1 (40m 43s):And that's when, if I can stand behind it and I am willing to answer for it. And I'm like, I'm all in. If I feel like I'm wishy washy, then I feel like it's going to go south. And then I it's weird. It's a weird thing. It's like when to cut, when to not cut, now, you didn't have the ability I'm fucking lives to do7 (41m 6s):That. What1 (41m 7s):Happens in live television, right? When someone who goes bonkers or has a stroke, God forbid, or it's like, you don't know what to do. So live is a different thing. Like it's different with a podcast. We can cut. We can, but like a live show, whether zoom or on stage, there is this moment. So when I did my solo show, Samantha Irby, Sam Irby opened for me. Right. Ramus. Now wasn't famous then. But it was always a Reverend and a bad-ass right. But data story at my show and my uncle were there about SAC,7 (41m 38s):Right.1 (41m 38s):Eight leakage and fluids. And I was like, oh. And then I thought, oh, I wanted to run on stage and be like, ah, this is too much. But then I thought you invited this person. This is their jam. This7 (41m 54s):We love. Right.1 (41m 58s):What, what, okay, sit, sit, and just deal with it. And if my uncle and my uncle was really offended and like, fuck that. Okay. So, but it's hard to do. I was squirming. So you must've been squirming when you, when your, when your person called you and was like, cause you, you found these people. But I think sometimes we squirm, right? Sometimes we squirm,7 (42m 21s):Oh my God, I was dying. Cause it's like, I don't, I don't want to disappoint any of, either of you, this computer, this desk. And I just want to make everyone so happy all the time. And I don't want anyone upset with me or like, I don't want to cause any problems, nothing. I want you all happy.1 (42m 42s):And sometimes despite our best people, pleasing efforts, like shit goes south. Like that is the story of shit going south. Despite Being a good person, having gone to college, go to it, shit still goes south. So7 (42m 55s):I vote like1 (42m 58s):You're very active, like socially.2 (43m 2s):So let's, let's talk about you and your experiences. Did you go to DePaul?7 (43m 7s):I wish I had gone to DePaul, but I, from listening to this podcast, I get that. I don't know. I went to Roosevelt university for grad school.2 (43m 17s):Cool. Tell us everything. Tell us, like, when you decided you wanted to be an actor and when you decided you wanted to go to theater school, tell us everything.7 (43m 25s):Well, for me, I grew up in Arkansas. So I went to the university of Arkansas and I started out as like a journalism and a political science major. But then they, the department, the journalism department had us take a speech class. Like how does speak in theater class, you know, to get rid of your accent basically. Cause we're all Arkansans. We sound like, you know, we're in God, but the wind or whatever. So we took this class and I had growing up and like my small town, I always loved theater. I'd done community theater and the whole thing. So when I took that class and like, everyone in there is like, you know, so alive and so like interesting and like, like real, I was like, well, this is going to be a problem.7 (44m 17s):So then I, like, I signed up for, you know, the second semester of the class. And then I was like, oh, I'm gonna audition for these one acts. And then so slowly I just migrated into the theater department and completely dropped journalism, political science, all of it. And disappointed my parents ruined their lives, you know, the whole thing. So I didn't really understand, like by the, by the end of my time in undergrad, I was like, I don't really, it's like, you're young. It's like, I don't understand grad school. I don't know. But that seems to be thing that I, there was a grad program that had just started there, like, like near the end of my time there.7 (44m 59s):And I was like, I guess that's what I'm supposed to do. And so everyone told me to go to Chicago. I hadn't ever been to Chicago. I knew nothing about it. Never even visited, but I was like, okay. They're like funny people should go to Chicago. And I'm like, oh, I'm funny. So I guess that's where I'll go.1 (45m 15s):You are funny. So it's good. You went there.7 (45m 17s):Thanks. So, so I auditioned at IRDAs and did that whole thing. And then I got a call back from them and I, it was like weird. Like I thought there was going to be like some like bigger process or something. Like, am I going to, I was like, ready, you know, with like my other, like, do you want 16 bars? Do you need other other monologues? Like, well, what's the deal? And it was just kind of like a done thing. So I was like, Yeah, it's like at the callback, there was like, it was an IRDAs. And it's like, you'd go to the person's hotel room, which now seems really creepy what, with a couple other people.7 (45m 57s):And it just seemed like I liked the person who did the interview and I was like, they're in Chicago. This seems great. I2 (46m 7s):Like to act in a hotel room. I've never7 (46m 9s):Done. Like, the audition was in, like, I don't even know where it was like the ballroom. It was like, there was like a black box sort of like made up situation. So you audition and then like the next day or a few hours later, you get like a sheet with a little list of the schools that want to like talk to you or whatever. And we have been like through the ringer with my undergrad teacher and she's like, okay, you need to have, like, you had like your folder with your monologues. And like, if someone wanted a song, like your whole thing, it's like bootcamp and you're ready. So I'm like prepared for somebody to ask me to do anything. And I don't know, I got called back to like a lot of places, which I was like, oh my God, none of them asked me for anything.7 (46m 54s):Which maybe looking back, maybe that was like, not a great situation. I don't know what that means.2 (46m 60s):They were just the, and the call back. They were just meeting you. Right. They were just wanting to know if you were like,7 (47m 4s):Yeah, I guess1 (47m 6s):You're acting probably wow. Like really? They probably would have if they were on the fence, but that probably wasn't that they probably wanted to do what, you know, they, they, a chemistry breed or whatever the fuck they call it. Right.7 (47m 18s):Yeah. I guess. But this meaning with the person at Roosevelt, it's like, she was nice. It was great. It felt good. So I was like, all right, maybe that's where I'm going. And I knew I wanted to get Chicago. So like, that was, that was the deal.2 (47m 36s):It's an undergrad. You were not thinking this at all. I'm guessing you don't come from a performing family or you, you weren't doing this in high school.7 (47m 44s):Oh my God. Well, there was like the junior play or whatever that like pays for the prom, you know, like that kind of a situation. But otherwise, like I did community theater and I'm from a town of like 10,000 people. So there wasn't like really a community theater. I did Annie and Mike, I don't know, 10th grade or something.1 (48m 3s):Amazing.7 (48m 4s):Really upset. I couldn't be Annie. I was like a Senator. And like the apple salesman. I was like that guy I'm like running around doing whatever anybody wanted me to do.1 (48m 20s):Funny. That's why he could do a lot funny.2 (48m 23s):Yeah. Interchangeable. Okay. So day one, you're at Roosevelt. Is this the education that you thought you were going to get7 (48m 32s):Funny? You should ask. So this, when I went, which was, this was 2000 yes. 2000. So it was their first year of their MFA program.1 (48m 44s):Oh shit.7 (48m 46s):Oh shit is right. They accepted 30 people take that in verse1 (48m 54s):307 (48m 55s):MFA. Oh yeah.1 (48m 57s):It's too many people that just like five.7 (49m 0s):Thank you. I think that if I'm being kind, I think they accepted a huge amount of people thinking that, you know, with everything going on that like maybe 10, which is still too many would accept. So there were 30 of us. So we're there on the first day. And I'm just like, this seems , I don't know anything about what this experience is supposed to be, but 30 people that's like, that's like an entire MFA program, you know, that's like three years of people or more So immediately.7 (49m 44s):I was just like,1 (49m 45s):Hmm,7 (49m 47s):This doesn't seem right. But you know, I was like 24. So I'm like so happy to be there. I'm living in my friend's base. My friend's mom's basement until I find an apartment just like, you know, desperate twenties times. So immediately. I was like, I, this is hi. All right.1 (50m 11s):I think I should get off this rollercoaster right now, but it's already going, right?7 (50m 16s):Yeah, totally. I just like was on. And because I didn't have like necessarily the support of my parents where this entire thing, I was like, fight or flight. Like I will do this. If I have to hang on to the side of the building and sleep like that, or like, whatever it is, I'm gonna do this. So I did it.2 (50m 49s):And is it a typical curriculum, voice and speech and movement and all that stuff?7 (50m 54s):Yeah. I was sort of surprised by all of it. The program that I did in undergrad, I felt, I don't know. I guess everyone in undergrad, if you're doing theater stuff there, you think that like, what you're doing is like enough and great. And that's how everything's going to go. So to spend like three hours a day in a movement class, suddenly when you're like, God damn it, let me do a monologue or a scene or sing a song. Like let me work. You know, I understand that that is also work and it's fundamental, but it was really shocking to me.1 (51m 37s):You know, what's interesting is like, and you're not the first person that I've, I felt this, that we've had on the show is like, what I would eat. Like you should have maybe gone right to second city and just done that call that five-year conservatives And gotten the fuck out, but it's not accredited. It's not like a real university that would probably make your parents even more like unhappy. And so, but like you needed like a professional program, like there's conservatory training for actors and then there's professional programs. And I wish I had done, so. Okay. But you're in this. How long was the Roosevelt MFA program?7 (52m 15s):Three years. Oh,1 (52m 16s):Fuck. Right.2 (52m 18s):And was it the thing where you can't perform the first year, but then you do and you're in the casting pool with VFS.7 (52m 26s):Yeah, I, we couldn't perform in the first year though, at the end of the first semester, they opened up an audition to be an intern at Chicago Shakespeare, which was like super exciting. So I auditioned and then I was doing the second semester, I got to be an intern and be on stage and do king Lear, Chicago, Shakespeare. I mean, I was like, you know, a dude, a homeless person running around. Oh, we got it. Yeah. So then I was like, oh no, this is great. I'm like with like these amazing people that I don't know who they are yet, but I will.7 (53m 9s):And there, those people are amazing2 (53m 12s):In that7 (53m 13s):Greg VIN CLER.1 (53m 15s):Oh yeah. was Barbara Gaines directing7 (53m 18s):Barbara Gaines director.1 (53m 20s):Yeah. She's amazing. She's she's famous for, for me, for my one audition I had there, she yawned during my whole model to be fair, but to be fair, it was really boring. Like, it was really boring. She was basically doing what I wish I could have done. It was boring. My shit was boring. She was like this. Can't see. But yeah, she was rude, but apropos I sucked anyway. Okay. So you were, you got to work at shakes and so you were like, okay, but did you make friends? What was the vibe like? BFA was the BFA program established at that time?7 (54m 2s):I think so. Oh, and that part. Okay. Like whatever I'll say about Roosevelt, which I don't have, I don't know necessarily great things to say about the program. It doesn't even exist anymore, PS, by the way. But the BFA program, the program for undergrads, I thought that was like, excellent. Like, I was like happy for those kids. Like that seemed like good. And they were having a good time, but for us it was just, I don't know. It just felt kind of sad and different.2 (54m 26s):So your parents were psyched about the idea of you being a journalist. That's what they thought you were going to.7 (54m 32s):I think the imaginary plan was that I would, or what I sold them at the time was I'm gonna get this journalism degree and then I'm gonna go to law school.1 (54m 43s):Oh,2 (54m 45s):Right. That's everybody's, catch-all hilarious.7 (54m 48s):So that's what I'm going to do. But then I was like, but these plays, these people, it's really the people that are purchased more fun.2 (54m 57s):I actually got dressed so many people in for exactly that reason. It's just something that's like tribal feeling that you don't know that you don't have it until you find it. And then you go, oh my God.7 (55m 8s):Yeah. It was really, it was really all encompassing. I was like, well, I can't not be with these people.2 (55m 15s):What kind of shows did you do there at Roosevelt?7 (55m 18s):I all right. So, so there was that first year experience. And then I don't know. I let's see, I did my last year.1 (55m 30s):Yeah. It just sticks out in your brain7 (55m 33s):Threepenny opera. And then there was this weird Asian adoptation of the rope by whatever old Greek guy,2 (55m 47s):Asian adaptation.7 (55m 48s):So here's one of the weird things about the program. So there were a couple of classes that made zero sense that we were taking as actors. One was, we all had to take a stage management management course. I don't know. Did you guys have to know1 (56m 5s):I7 (56m 5s):Was like1 (56m 5s):Crew, but I don't even know. No.7 (56m 8s):Well, yeah, like working on a cruise, like that's normal, but in an entire semester demo devoted to stage management just seems kind of rude.2 (56m 18s):It sounds like they needed stage managers for their shows1 (56m 22s):Teachers. Yeah.7 (56m 25s):And then there is a professor there who white lady who loved Asian theater. And so, yeah. Pause for that1 (56m 37s):PF chains of, she was trying to be the PF Chang's PF J7 (56m 44s):God lover. I mean, yes. I'm interested in Asian theater too, but everyone was required as part of the MFA program to take an Asian theater class. So, which is interesting. I'm not knocking like any of that, but the PA I don't know the possibility of me being in an Asian.2 (57m 7s):Yeah. Like what's the really,1 (57m 11s):It just sounds like she had a thing for her thing was Asian theater and she wanted everyone else's thing.7 (57m 16s):Total your thing. She had studied in, I don't know, Japan, I think, and had done this whole program and it was like her, she may even have like a PhD on it. I don't really know, but that was her thing and good for her. Awesome.1 (57m 31s):Why are you teaching? But it's7 (57m 33s):Not practical. Yeah. It just seems like weird. So the play I did, I did the, the rope, which is like a Greek play. Never2 (57m 42s):Heard of it.1 (57m 43s):I wish you had done the rain anyway.7 (57m 48s):So she translated the play into a Kyogen style thing, which is a very specific Asian theater style play. Not only that, not only that, but like, I have always been openly unapologetically sort of who I am, which means, hello, I'm a homosexual and it's clear and I'm not like afraid of that as an actor or a person. So I played the, yeah, get ready. I played the, I don't want to call it like the evil sister, but I played like the villain in the play, which was like an older, which type woman in the play.7 (58m 40s):And that was supposed to be hilarious.1 (58m 48s):That's really where we're headed in the arts. I'm also saying the arts in the logs shit went down. Not that7 (58m 56s):Some weird shipments out. Yeah. So it's like thinking about that now you would like wants to like light all of Chicago on fire. Right? Correct. But at the time, this I guess was like, cool, cool. And inventive to make the one gay guy that you were Sure was gay play a woman Asian drag. Oh my gosh. The whole thing is like Asian themed rides. and the whole thing I don't, I can't say for sure, but I don't think1 (59m 39s):So. What the fuck?7 (59m 42s):So just a bunch of white people running around and kimonos speaking in a very like, you know, meter to style Asian thing. And I'm a woman also.2 (59m 53s):I wish we had a video. I really want to watch this play. I mean, just like for a snippet, because you know, when you think of yourself and how seriously you took a role when you were young and you and you, and you just in your mind's eye, even if there's no video and you just imagine, like, what does this actually look like? And that's always looks funny, no matter what or sad. If it's a comedy, it looks sad. And if it's True. So that was one. Did you have any roles that you liked?7 (1h 0m 29s):I mean, kind of, well, there was like a, a directing project that one of my friends did. It was like a Steve Martin one act. And I was like, yeah, right. Like it was like a legit play that was like funny and good. And I had like the lead and I was like, it was like us, like a straight man that I was playing. And I like felt excited because it felt like I was like reaching. I'm not reaching, but you know what I mean? You're like, oh, this is a play. I'm like, yeah. I was like, do a thing. And I like am working for this goal to do. And I felt like I was successful in it and it felt good.7 (1h 1m 9s):But like, that was probably the one, even in my thesis role, which was like, I was like a random chorus person in Threepenny opera, literally it's my third year. I'm like, Hmm. I have to write 30 pages now on yeah. That's, it's like that.1 (1h 1m 27s):The thing like that, I just, and maybe you guys could chime in. And in terms of the curriculum, there doesn't seem to be an actual curriculum for these programs. Like now that I'm teaching, I'm like, wait, what, what is the7 (1h 1m 42s):Tactical?1 (1h 1m 43s):And what is the piece of paper that you can point to, to say, this is the mission of these three years for these MFA actors. There is no plan. What is the plan? That's what I feel about a lot of this is, and it's still to this day in, in conservatories, what is the fucking plan? Because there doesn't seem to be one and there's not a plan. We shouldn't be charging dollars to these people. I just, I, it should be, then it should be camp, a freak out where we go when we, I don't know. Anyway. So2 (1h 2m 15s):I mean, honestly, like it's, it needs to be treated a little bit more like a school and pass fail, right?7 (1h 2m 23s):Yeah. Like the goal it's like, if you're a journalist, like, can you do these things? Can you write a bituaries? Can you write a news story? Can you do the, you know what I mean? So it's like, when I leave this place, am I going to be able to get a job? And I know that like, everyone's like, theater's like, oh gosh, you're never going to work or whatever, but that, it's just not true. It's like, everything is the same. There are basic skills. Do you have them,1 (1h 2m 50s):There are milestones to meet along the way. And if you, I mean, anyway, I it's just, the more we interview folks, the more I'm like, oh, this whole higher ed situation, fine arts needs a whole overhaul. I don't know what it's going to take, but we'll probably be extinct on the planet before it happened. So I just feel like maybe that's the way it's going to go and okay. But like, okay, so you graduate, you then are like, okay, I have this MFA. Then what happens to you7 (1h 3m 21s):By the end of the program? I was really like, I don't know. I feel like it kind of, it kind of broke me because things like that were happening, which in a way is like, I mean, at the time we didn't have the language for like, you know, playing an Asian woman in a play, like it's offensive. And it's like, not furthering me. It's racist. It's not furthering me as an actor. I'm not going to leave here and like run around and Komodo and place for the rest of my life. It just kind of broke me. And a lot of the, I would say some of the teachers, the whole situation just didn't make me feel good.7 (1h 4m 4s):So at the end, I was like, you know what, maybe? Hm. I don't know. I need, I needed a break from that whole world. I mean, I did audition for awhile, but the shortest while1 (1h 4m 21s):How short,7 (1h 4m 26s):Maybe it was a couple years1 (1h 4m 28s):Because we have Gina's trajectory and mine, mine too. Like I stopped after I stopped after three.7 (1h 4m 35s):Yeah. I was probably three years. Like slowly, just petered out. I mean, I got to the point where I'm like going. So I went on a few theater auditions in the beginning and then I had an agent and I would go on these, like on camera calls. And I would just be like, oh my God, I'm in this giant room with a hundred people that are dressed and look just like me. This is the most pressing thing. Like, I just was like, I can't, this isn't, this doesn't feel good either.2 (1h 5m 6s):I want to hear how eventually, how we get to storytelling. But before we do, I just, I didn't want to leave the whole Roosevelt thing without, I don't think I've really asked anybody this before, but you're not the first person who basically says to us, like, I'm gay. They didn't know what to do with me in theater school. Right.7 (1h 5m 30s):So2 (1h 5m 32s):I don't know if this is a question or a comment or what, or like just a prompt for discussion, but what is the barrier there? I mean, it seems like what you're saying about this role that you got cast, it's like, you're gay. So you'd like to wear drag. Is that what the thinking was?7 (1h 5m 47s):I don't know. For me, it's two things. It's like, there's the gay thing for sure. But also I'm funny. So if you're in a serious theater program, please understand I'm doing some heavy air quotes because every theater program thinks they're a serious theater program. They really do not know what to do with people who are fitting into the definition of serious. And so I think yes, there is like me, the stereotypical gay person or whatever, if I am so there's that person, but that's usually a funny person.7 (1h 6m 28s):And so then they don't like it totally. This is serious. We're doing real serious work here. How can this work?1 (1h 6m 38s):It makes that, that makes me, it makes sense. And it also makes me so angry, just Raging, also like fucking pick different motherfucking material. You've that fits your mother fucking class. You dumb fucks. That is what we're supposed to be doing is picking material that highlight our students and help them grow in a way and not the pick different place.7 (1h 7m 3s):Well, that's really where in that and the whole situation, I feel like that's, that's what sort of killed me is that there wasn't a place for me. No one cared to create one and you are, I already felt like I don't fit here. I don't belong. And so it's just like that slowly, just really like sinks in. So you've got that going on. You've got your there with 30 actors and it was kind of, honestly, it was sort of like easy to just like hide, you know, unless I'm being called to play the Asian lady on the play. So it's just like a kind of just was like, eh,1 (1h 7m 43s):Yeah, you gave up. But they gave up on at first.7 (1h 7m 48s):It is honestly,1 (1h 7m 50s):We give up when people give up on us first, especially as young people.2 (1h 7m 53s):That's true. That's true. So you're in audition rooms after school. You're, you're feeling like this is depressing. There's 5,000 mess and we all look the same. How, how did, how did you evolve from that to what you're currently doing, which I'm going to go on a limb and say is fulfilling to you artistically fulfilling to you what you're doing?7 (1h 8m 13s):I would say yes. Okay. How did that happen? I mean, after, you know, just deciding I'm not going to go on these calls anymore. I just, like, I was like, okay, then I'll, I'm working in a restaurant. So that's what I'm, I'm gonna work in. I work in restaurants now. That's what I do. And I did that for a while. And then I was just like, okay, but wow, this can't be it. Like, even if you, as an actor, like whatever level you achieve as an actor, I think there's always that part of you. Who's like, yeah, but like, can I talk somewhere?7 (1h 8m 54s):And people just like to listen to me or just let me tell, you know, just get really enthusiastic with storytelling at a party. Or like, whatever. I, I didn't know about the moth or a storytelling or any of that stuff. I really was just like this theater experience, grad school was so bad for me. And I'm too afraid to go to second city to do improv because I had sat through, you know, the first year of friends doing that. And I was like, well, I'm not doing this terrifying. So I thought, Hey, what if I get some actors together?7 (1h 9m 37s):And we will write monologues, which is how I thought of it at the beginning, it'll be like loosely based on a theme and we'll do a monologue show. I think I had just seen Nora Ephron's play love loss and what I wore. And so there's all these women on stage telling this like, story. And I was like, oh my God, I'm not a playwright. I can never like, make this happen necessarily. But like, if there are people on a stage and then they're just like one by one, like telling a story based on a theme, like, oh my gosh, this is revolutionary. I've just invented this whole new thing. So that is sort of where I started.1 (1h 10m 14s):When was that? I

‘I've just done a Volvo ad with no car in it, it doesn't get any better than that!'Those were the first I heard on day one at AMV/BBDO.It was the Art Director's way of saying 'it's good here'.I appreciated the intent, but thought it was weird.Who cares if the ad has a car in it? Is it a good ad?But that's how a certain group of creatives think.For them wins are - running an ad word-free, securing hot director X to shoot their ad, getting the word 'dick' approved in a headline, keeping a logo as small as it was on the initial rough, and yes, whether they can avoid showing the product.Those kind of things can be helpful, but they shouldn't be the goal.But, to them, they're just doing their job, which they see as being creative.Innovating.Breaking rules.Going crazy.‘Fucking around with shit'.Being lead by what's new, different and of course, their own instincts.Clients are viewed as obstacles. Research is for dullards.They often create interesting work, but not much of it runs.Why? ‘The client bottled it!' or ‘The agency rolled over'.Maybe if they were called 'Communicators' rather than 'Creatives' they wouldn't feel the need to appear so damned creative all the time?Instead of spending all their waking hours with their noses in Japanese animation, Dutch deconstructed typography or surrealist photography, maybe they'd offset if with subjects linked to communication? Rather than just look forward, maybe they'd look back at what worked, what didn't and why?Maybe they'd ask people outside the creative department what they thought?Maybe they'd see data, psychology and research as helpful?There are people in creative departments like this, I've worked with them.Tom & Walter, Rich & Andy, David Abbott, John Webster, they tend to do better work than the first group.But if you feel your gang is the first group, check out the trailer by South Korean animator Seunghee Kim for her film 'The Realm of Deepest Knowing'. It's cool.If you feel that second group is more you, you may enjoy this chat with Orlando Wood.He's the Chief Innovation Officer at System1, where he forensically observes links between advertising, psychology and the creative arts.We chat about his findings on what's working, not working and why (which have been published with the IPA in two volumes; 'Lemon' and 'Look Out').Hope it's useful.

Welcome to Episode 416 of the Yeukai Business Show. In this episode, Peter Mead discusses How to build a business by doing the right thing – being nice! So, if you want to know more about Building A world-class business, tune in now! In this episode, you'll discover: how to build a world-class business the right wayhow to recruit, motivate and retain staffhow to start a business on the right foot. About Peter Mead Peter is currently Vice Chairman of Omnicom Group Inc, the biggest advertising agency in the world with a value of $13 billion. He left school at 16 and went to work in the despatch department of a large advertising agency, from where he rose quickly. In 1977, he co-founded Abbott Mead Vickers (amvbbdo.com) with David Abbott and Adrian Vickers, which became, and remains, the most successful British advertising agency ever. In 2013 he received a CBE for services to the creative industries. Thanks for Tuning In! Thanks so much for being with us this week. Have some feedback you'd like to share? Please leave a note in the comments section below! If you enjoyed this episode on How to build a business by doing the right thing, please share it with your friends by using the social media buttons you see at the bottom of the post. Don't forget to subscribe to the show on iTunes to get automatic episode updates for our "Yeukai Business Show !" And, finally, please take a minute to leave us an honest review and rating on iTunes. They really help us out when it comes to the ranking of the show and I make it a point to read every single one of the reviews we get. Please leave a review right now Thanks for listening!

In early 2021, and after 18 years of service, David Abbott announced his retirement as president of the George Gund Foundation. He is one of several long-time leaders in the philanthropic, public, and private sectors to announce their departure over the last several years-evidence that the next era of Cleveland leadership has arrived. And Dave is ready to pass the baton.rnrnAbbott began his career as a Cleveland Plain Dealer reporter. He moved on from there, earning a law degree from Harvard University and spending 10 years in county government. As county administrator, he played a key role in the creation of the Gateway project, now home to two professional sports team and a strong business community. Dave also served as the executive director of the Cleveland Bicentennial Commission, overseeing the opening of the Great Lakes Science Center. He then served as director of the Rock and Roll Hall of Fame & Museum before taking the helm at University Circle Inc.rnrnHe has worked in just about every part of the community, working to make Cleveland, and our country, a better place to live for everyone.rnrnSo what are the lessons of this storied tenure? And what does he see as the opportunities and challenges for Cleveland's next generation of leadership? Join us, in-person at the City Club as we sit down in conversation with one of Cleveland's biggest champions.

David Abbott announced his retirement as president of the George Gund Foundation. Detailed show notes at https://www.ideastream.org/programs/city-club-forum/an-exit-interview-with-dave-abbott.

DescriptionAn inclusive and inspiring podcast! The goal to give creators from different backgrounds and experience levels a hub to showcase their personalities and work to the world! Professionals, talented students and more.Welcome to the second episode of season 2! The SINGERS, ACTORS, WRITERS and INFLUENCERS showcase on a global scale!WARNING: Performance extract includes STRONG LANGUAGE - Viewer discretion advised.MARK DAVID ABBOTT is the author of ten thrillers and one travelogue but he wasn't always a writer.Born in Cyprus to an Army father, and after a short stint in Germany and the United Kingdom, he then moved to New Zealand where he grew up. At the age of eighteen he took off to explore the world and has since lived in England, Hong Kong (twice) and India (twice) as well as travelling extensivelyMark has worked variously as a barman, a factory hand, supermarket shelf stocker, and a real estate salesman, but since giving up his Real Estate career in Hong Kong, Mark has devoted his time to writing and traveling.Due to Covid travel restrictions, Mark is based in India again, where coincidentally two generations ago, his grandfather, while stationed there as a soldier under British rule, met and married his grandmother, a nurse of mixed Indian and Dutch descent.Mark is a keen runner and in between runs is slowly building an impressive collection of Gin.This episode contains conversation with the man himself plus an exclusive extract from his first book VENGEANCE performed by myself and music by Mamoune Taleb.Direct link to his channel. https://www.youtube.com/channel/UCp1wTaLlKs5WbZ1fCIkyq4QEverything seen and heard here has full copyright protection - Please DO NOT reuse and or CLAIM THIS WORK AS YOUR OWN.Mark's details Email: mark@markdavidabbott.comMark's IG account: https://www.instagram.com/thekiwigypsy/Facebook: https://www.facebook.com/markdavidabbottauthorProfessional enquiries: Book series link: https://www.amazon.com/dp/B07MDWH67LFor more details on Mark's work or to say hi go toWebsite: https://markdavidabbott.com/Host Warren Adams - Warren Telling TalesWebsite https://www.engagetheatre.com/IG: https://www.instagram.com/warrentellingtales/ or https://www.instagram.com/warrenadamsactor/Facebook : https://www.facebook.com/warren.adams.351/If your enjoying the content, Like, share and download and please help with any small donation.. See below.You can now support the show through this link.  www.buzzsprout.com/1446487 Just click the the heart shaped coin in the top right hand corner.Or here Support the show (https://www.paypal.com/donate?hosted_button_id=UF2KW28X2SVPY)Support the show (https://www.paypal.com/donate?hosted_button_id=UF2KW28X2SVPY)

SUPPORT CUTTING FOR SIGN David Abbott is an author and illustrator. In 2020 he completed a circumnavigation of the globe via sailboat. Check out his lifelong music project, https://toomanydrummers.com/ CONTACT DAVID ABBOTT Website: https://toomanydrummers.com/ Facebook: https://www.facebook.com/david.abbott.520357 CONTACT RON CECIL Website: https://www.roncecil.com/ Instagram: https://www.instagram.com/rcecil/ Facebook: https://www.facebook.com/ron.cecil CONTACT DANIEL PENNER CLINE Instagram: https://www.instagram.com/dpennercline/ Facebook: https://www.facebook.com/profile.php?id=1498866808 --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/cutting-for-sign/message Support this podcast: https://anchor.fm/cutting-for-sign/support

Dave plays games and chats about memories as well as gives a comprehensive review of all his random injuries.

There may even be another one, along with Paul Burke I’m trying to track down the 100 best radio ads. (If you have any send them in.) But onto this one, one of the surprising joys of doing this blog is unexpected things that turn upon my doorstep. Proofs, agency brochures, old DVDs, all manner of ephemera. (Or ‘crap’ as my wife calls it.). It’s lead me to post blogs on David Abbott’s BT Pitch, Fallon McElligott’s Rolling Stone campaign (thanks for the tear-sheets Brian Burch, posting soon), and this one: ’21 Years Of Radio Advertising’. A one celebration of the best of the U.K’s radio advertising, it includes advice and reflection from some of its best practitioners; Tim Delaney, David Abbott, John Hegarty and more. Interestingly, it says on the cover ‘Commercial Radio. It’s time has come.’ I wasn’t aware of that in 1994. I have no idea who sent me this, whoever you are; thank you. For the rest of you; enjoy.

 There have been a couple of recurring themes in our Behind the Billboard series to date: our guests always seem to reference Dave Dye and cite The Economist work as their favourite. So we thought we’d bring the great man and great campaign together in EP10 for an Economist special, where we’ve delved deep into what goes behind possibly the most famous billboard campaign of all time.Follow along with the visual here: https://getbehindthebillboard.com/2020/03/18/dave-dye One of Dave’s recent favourites in the billboard world creatively has been Oatly - “it stands out, it’s funny, and it’s done it’s job of teaching us about Oatly”. Also Spotify from Who Wot Why. Of course. Dave thinks the good Outdoor really stands out, mainly because there’s so much average [and below] work out there. We’re not in a golden age of Outdoor, but there is a nice semi renaissance of good applications of Outdoor. His first billboard was for Appletiser… 5 points for anyone who can find a pic of it online! Given this is the Economist special…. We moved quickly onto the enormous body of work, the account and the history of the famous billboards. He talked about the pressure he felt taking on the client given the rich history of award winning work… but the need to help it evolve and to get his stamp on the work to ‘push it on a bit’. One of the first things Dave implemented was opening the creative process to the teams… no more creative direction behind closed doors. Dave brought in ‘the wall’ - where work would go up… and teams could come in and see where the work was and help push it on. Briefs from the Economist came in each quarter… but to Dave the briefs seamed quite similar: Read it, get more intelligent. The responses to brief were open to the entire agency. Top to bottom. When Dave came in there was around 4 campaigns a year and it had been running for 10 years. Fag packet maths said there would have been over 8000 concepts seen, with 320 sold over the 10 years. Creatively Dave felt it needed a kick. One of the first posters we talked about was the Venn diagram, the first campaign since taking over the Economist responsibility. Inspired by a Vanity Fair piece that featured a Venn diagram, and Dave thought it looked like an Economist ad. The plan was to do 8 in this style for the campaign. Dave likened the writing of the ads to some sort of Mensa test. Unfortunately the CEO Andrew Robertson [and as it turns out ‘King of the Pun’] came in at the 11th hour and said it couldn’t run for all 8 elements of the campaign. Mainly out of respect for AMV founder David Abbott, and the fact that his ‘Red Campaign’ was his ‘parting gift to the agency’. We moved on to the Too Many words example. A bottom drawer idea that was held back and got in eventually following some extra direction… and won a Gold at Campaign the following year. We also talked about the Jigsaw creative. For weeks Dave walked around the teams trying to find out who’s mockup had landed on his desk. Dave had done some development on the concept and worked it up into the full idea…. But he couldn’t locate the initial scamp artist. Eventually Dave Abbott scuttled in and saw it worked up… ‘Oh you liked it then’. Something we’ve spoken about before on the show is a piece of work for reception showing the ‘Funnel’ of work through from ideation to delivery on the Economist. We wrapped up on the Economist with some of the work post Dave and we talked about how it’s changed over the years. Thanks so much Dave for your fascinating insight into the work. And for Dave Dye fans out there wanting to hear more about his other Billboard work - Adidas, Adnams and Merrydown among others - we will be doing a Dave Dye part 2 later in the year. So we’re running a competition for you listeners out there to guess what you think Dave’s top Billboard campaign of all time is. Comment on our social and the winner will win a signed copy of Mark Danton’s book. [Hugh’s copy - he’s gonna buy another one].    ———————— #behindthebillboard #outdoor #ooh #posters #billboards #theeconomist #amvbbdo

David facilitates TAB - within the Thames Valley Region.  TAB operates as a Mastermind Group providing business owners the opportunity to share, advise and support each other on various business matters.  In this Episode we get to understand what a Mastermind Group is, the purpose of it, how important it is to have passion in what you do, cash flow and that all important Work Life Balance.  A great ending....the reason for being in business... our Personal Vision.

David Abbott stormed in here in a tank-top for number three, and provided a sincere amount of sincerity while speaking of his history with fashion, with art, and his numerous bouts with cancer. We also get to learn what ‘turns his crank’ musically.

My 7th boss. Former hitch-hiker, copywriter, Frankenstien re-animator, ECD, David Abbott replacement, D&AD President, ITV sitcom creator, Radio 4 drama writer and cousin of Showaddywaddy lead singer Dave Bartram.

Read any article on good copywriting and you’ll find the same names appear. David Abbott and Tony Brignull usually battle for the top two slots, Tim Delaney and John Salmon fight it out for third place. But talk to writers about the same subject and another name appears; Richard Foster. Richard is the only one of the five who has worked under the other four. (He may well be the only writer to have worked under the four?) For a number of reasons, the other four are better known. Two have agencies named after them. They were all Creative Directors, (or Chief Creative Officers as we call them today). Each took on the title of Chairman. All four became President of D&AD. With those roles came P.R. Whereas Richard wrote. He wrote for everyone, from 14 year old girls (Lil-lets) to Captains of Industry (The Economist). He wrote for products from 1p up to £100k. He wrote ads that featured in 29 D&AD annuals. He wrote the best section in D&AD’s ‘THE COPY BOOK: How 32 of The World’s Best Advertising Writers Write Their Advertising’. We had a great chat, hope you enjoy it. Dx

Welcome to the #IIEX Europe Conference Series 2019. Recorded live in Amsterdam, this series is bringing interviews straight to you from exhibitors and speakers at this year’s event. In this interview, host Jamin Brazil interviews David Abbott, Commercial Director and Head of Product Management at Take Note. This Episode’s Sponsor: GreenBook Contact David Online: LinkedIn Take Note [00:00] IIeX, we are live on the show floor. How is the event going for you? [00:07] It’s my first time here. It’s been a great event, great talks, and great to meet so many of our customers and co-suppliers in the industry. Yes, it’s been a strong event for us. [00:19] Where are you guys based? [00:22] In London. Yes, by London Bridge. [00:25] My guest today is David Abbot, with Take Notes? [00:30] Take Note. [00:31] I love that. Tell me about Take Note. [00:37] We’re a transcription business. It’s called Take Note because, originally, a couple of ladies, our founders, started up on their own, taking more professional notes, at meetings, particularly market research meetings which meant the moderator, or whoever was leading the meeting, could fully focus on having the best meeting possible and expect a professional transcript afterward. [01:02] That’s brilliant. [01:03] That’s growing and we still do a lot of that. That’s still a growing business for us, but the larger part of our business is now transcription and particularly where it’s market research transcription. We specialize heavily in there. Focus groups tend to be too complicated for a less quality-driven service, and a couple of our friends in the business at the moment are monitoring speech-recognition. Every time I tell people what I do, they say, “Oh, what about speech recognition?” I’ll talk about that a bit in a moment. The other theme, especially with video becoming so prominent now is that video and audio are the right ways to create the best content or discussion, essentially, and with video facial recognition, et cetera. They’re not always the best way for people to digest the content, because they might want to skim-read through. If you create a one-hour video, for instance, the person knows they’ve got to invest an hour in consuming that. Whereas, with our transcripts, you can go very quickly, go to the part that you want to. Or, the five minutes you’ve got now, you can skim-read maybe 20 minutes of audio. That’s a big thing for us. We’re working with market researchers and brands, not only on their research content but on their internal comms. Customer insights is a big area for internal comms, getting everybody on board, et cetera. They’re starting to create more podcasts, more videos. As I say, that’s the right way to create them. Might not be the most engaging way to digest them for everybody around the business. [02:47] That’s really interesting that you’re moving, not just in research but it sounds like you get a much broader footprint inside of the corporation. [02:56] Yes, absolutely. It’s from talking to customer insight teams about their pains and their challenges. It’s the age-old one with customer insights of everyone around the old stakeholders, understanding what they do. That’s where that corporate piece came in as well. [03:13] You do the actual transcription piece of it. Do you then have a system for saving/retrieving that type of relevant information? It seems like you could almost apply some machine learning or AI or something fancy to that at a corporate level because you’re the keeper of the conversations. [03:36] Absolutely. At the moment, they are all in our secure portal. With Beta security, we make that number one priority, closely followed by customer service. If you want us to provide transcripts, you upload to our portal. You don’t email any of your data anywhere. Then, once we’ve completed the transcript for you, it’s human transcription, but they also work within our portal. You just get sent a link,

Tony and Dwight talk to Herald Davis Head Coach of Desales, David Abbott for Mayor, and Executive Director of Metro Animal Services Ozzy Gibson and Susanna Westerfield Executive Director of Friends of Metro Animal Services

Tony and Dwight talk to Herald Davis Head Coach of Desales, David Abbott for Mayor, and Executive Director of Metro Animal Services Ozzy Gibson and Susanna Westerfield Executive Director of Friends of Metro Animal Services

Tony and Dwight talk to Herald Davis Head Coach of Desales, David Abbott for Mayor, and Executive Director of Metro Animal Services Ozzy Gibson and Susanna Westerfield Executive Director of Friends of Metro Animal Services

A portion of our Young Turks Main Show from September 24, 2015. For more go to http://www.tytmembership.com. Cenk hosting. The Pope spoke to Congress today and Cenk admits he kind of loves him. Reading through some of his progressive stances that clearly line up with Catholic belief. After the speech, the Pope greeted the huge crowd from a balcony and while standing next to him, Boehner couldn't hold back tears. Video of this crying session as well as one moment where Marco Rubio appeared to be crying during the speech. Cenk doesn't believe Rubio was crying when the subject was on immigrants. Just late last year, Rubio criticized the Pope for his stance on America working toward an agreement with Cuba. One Republican Congressman refused to attend the Pope's appearance, claiming that since he's acting like a Leftist politician, he'll treat him like one. Ana joins Cenk for SCS. After Kanye West mentioned that he wanted to run for president one day, Vanity Fair followed up on that assertion in a new interview. He pointed out that he's really going to do it and needs to do his research in the next 5 years. He also said that Ben Carson is a brilliant guy, which prompted Cenk to determine that Kanye isn't very bright. A young Mexican girl fought through adoring crowds to get a note to the Pope during his visit. Her letter detailed her concerns over deportation of her parents even though she's an American citizen. Cenk can't get over how this girl didn't write this sophisticated letter. Former UFC fighter David Abbott is challenging Ronda Rousey to a match.

Hear the IPA's Director General Paul Bainsfair talk with newly appointed IPA President Tom Knox about how he got into advertising, his adland heroes like David Abbott, his role in forming DLKW Lowe and what he is looking to achieve in his two-year term agenda focusing on societal good and diversity #AdValues

In this interview, David Abbott shares what he learnt from David Ogilvy and Bill Bernbach. He explains what makes a good copywriter, he reveals his writing process and what he looks for in creatives.

Hören Sie diesem Monat in unserem Podcast einen Auszug aus dem Porträt von Henry Cage, einem Mann, der, erst als er alles verliert, begreift, was er besitzt. Die späte Ernte des Henry CageEs ist, als habe sich ein Fluch über das Leben von Henry Cage gelegt. Hatte er sich den Ruhestand nach langem, erfolgreichem Berufsleben […]