Podcasts about Footlights

In this special episode of Unstoppable Mindset, I had the privilege of sitting down with the remarkable Ivan Cury—a man whose career has taken him from the golden days of radio to groundbreaking television and, ultimately, the classroom.   Ivan began acting at just four and a half years old, with a chance encounter at a movie theater igniting a lifelong passion for storytelling. By age eleven, he had already starred in a radio adaptation of Jack and the Beanstalk and went on to perform in classic programs like Let's Pretend and FBI in Peace and War. His talent for voices and dialects made him a favorite on the air.   Television brought new opportunities. Ivan started out as a makeup artist before climbing the ranks to director, working on culturally significant programs like Soul and Woman, and directing Men's Wearhouse commercials for nearly three decades. Ivan also made his mark in academia, teaching at Hunter College, Cal State LA, and UCLA. He's written textbooks and is now working on a book of short stories and reflections from his extraordinary life.   Our conversation touched on the importance of detail, adaptability, and collaboration—even with those we might not agree with. Ivan also shared his view that while hard work is crucial, luck plays a bigger role than most of us admit.   This episode is packed with insights, humor, and wisdom from a man who has lived a rich and varied life in media and education. Ivan's stories—whether about James Dean or old-time radio—are unforgettable.     About the Guest:   Ivan Cury began acting on Let's Pretend at the age of 11. Soon he was appearing on Cavalcade of America, Theatre Guild on the Air,  The Jack Benny Program, and many others.  Best known as Portia's son on Portia Faces Life and Bobby on Bobby Benson and The B-Bar-B Riders.    BFA: Carnegie Tech, MFA:Boston University.   Producer-director at NET & CBS.  Camera Three's 25th Anniversary of the Julliard String Quartet, The Harkness Ballet, Actor's Choice and Soul! as well as_, _The Doctors and The Young and the Restless. Numerous television commercials, notably for The Men's Wearhouse.   Taught at Hunter, Adelphi, and UCLA.  Tenured at Cal State University, Los Angeles.  Author of two books on Television Production, one of which is in its 5th edition.    Ways to connect with Ivan:       About the Host:   Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog.   Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards.   https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/   accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/       Thanks for listening!   Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below!   Subscribe to the podcast   If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can subscribe in your favorite podcast app. You can also support our podcast through our tip jar https://tips.pinecast.com/jar/unstoppable-mindset .   Leave us an Apple Podcasts review   Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts.       Transcription Notes:   Michael Hingson ** 00:16 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us.   Michael Hingson ** 01:20 Well, hi everyone, and welcome to another episode of unstoppable mindset where inclusion, diversity and the unexpected meet. And the fun thing is, most everything really deals with the unexpected. That is anything that doesn't have anything to do with diversity or inclusion. And our guest today, Ivan Cury, is certainly a person who's got lots of unexpected things, I am sure, and not a lot necessarily, dealing with the whole issue of disabilities, inclusion and diversity, necessarily, but we'll see. I want to tell you a little bit about Ivan, not a lot, because I want him to tell but as many of you know who listen to unstoppable mindset on a regular basis. I collect and have had as a hobby for many years old radio shows. And did a radio program for seven years, almost at UC Irvine when I was there on kuci, where every Sunday night we played old radio shows. And as it turns out, Ivan was in a number of those shows, such as, let's pretend, which is mostly a children's show. But I got to tell you, some of us adults listened and listened to it as well, as well as other programs. And we'll get into talking about some of those things. Ivan has a really great career. He's done a variety of different things, in acting. He's been in television commercials and and he is taught. He's done a lot of things that I think will be fun to talk about. So we'll get right to it. Ivan, I want to thank you for being here and welcome you to unstoppable mindset. Thanks. Thanks. Good to be here. Well, tell us a little bit about kind of the early Ivan growing up, if you will. Let's start with that. It's always good to start at the beginning, as it were,   Ivan Cury ** 03:04 well, it's sorry, it's a great, yes, it's a good place to start. About the time I was four and a half, that's a good time to start. I walked past the RKO 81st, street theater in New York, which is where we lived, and there was a princess in a in a castle kept in the front of this wonderful building that photographs all over the place. Later on, I was to realize that that Princess was really the cashier, but at the time, it was a princess in a small castle, and I loved the building and everything was in it. And thought at that time, that's what I'm going to do when I grow up. And the only thing that's kind of sad is it's Here I am, and I'm still liking that same thing all these years later, that's that's what I liked. And I do one thing or another, I wound up entertaining whenever there was a chance, which really meant just either singing a song or shaking myself around and pretending it was a dance or thinking it was a dance. And finally, wound up meeting someone who suggested I do a general audition at CBS long ago, when you could do those kinds of things I did and they I started reading when I was very young, because I really, because I want to read comics, you know, no big thing about that. And so when I could finally read comics, I wound up being able to read and doing it well. And did a general audition of CBS. They liked me. I had a different kind of voice from the other kids that were around at the time. And and so I began working and the most in my career, this was once, once you once they found a kid who had a different voice than the others, then you could always be the kid brother or the other brother. But it was clear that I wasn't a kid with a voice. I was the kid with the Butch boy. So who? Was who, and so I began to work. And I worked a lot in radio, and did lots and lots of shows, hundreds, 1000s,   Michael Hingson ** 05:07 you mentioned the comics. I remember when we moved to California, I was five, and I was tuning across the dial one Sunday morning and found KFI, which is, of course, a state a longtime station out here was a clear channel station. It was one of the few that was the only channel or only station on that frequency, and on Sunday morning, I was tuning across and I heard what sounded like somebody reading comics. But they weren't just reading the comics. They were dramatized. And it turns out it was a guy named David Starling who did other shows and when. So I got his name. But on that show, he was the funny paper man, and they read the LA Times comics, and every week they acted them out. So I was a devoted fan for many years, because I got to hear all of the comics from the times. And we actually subscribed to a different newspaper, so I got two sets of comics my brother or father read me the others. But it was fun reading and listening to the comics. And as I said, they dramatize them all, which was really cool.   Ivan Cury ** 06:14 Yeah, no doubt I was one day when I was in the studio, I was doing FBI and peace and war. I used to do that all the time, several it was a sponsored show. So it meant, I think you got $36 as opposed to $24 which was okay in those days. And my line was, gee, Dad, where's the lava soap. And I said that every week, gee, Dad, where's the lava soap. And I remember walking in the studio once and hearing the guy saying, Ah, this television ain't never gonna work. You can't use your imagination. And, yeah,   Michael Hingson ** 06:52 well, except you really don't use your imagination near especially now I find that everything is way too spelled out, so you don't get to use your imagination.   Ivan Cury ** 07:03 Radio required you to use your radio required you to use it. Yeah, and, and if you had a crayon book at the time, well, and you were 12 or No, no, much younger than that, then it was and that was what you did, and it was fun.   Michael Hingson ** 07:17 So what was the first radio program that you were   Ivan Cury ** 07:20 it was very peculiar, is it New Year's Eve, 19 four? No, I don't know. I'm not sure. Now, it was 47 or 48 I think it was 48 Yeah, I was 11, and it was New Year's Eve, and it was with Hank Severn, Ted Cott, and I did a Jack and the Beanstalk. It was recording for caravan records. It became the number one kids record. You know, I didn't, there was no he didn't get residuals or anything like that. And the next day I did, let's pretend. And then I didn't work for three months. And I think I cried myself to sleep every night after that, because I absolutely loved it. And, you know, there was nothing my parents could do about this, but I wanted, I wanted in. And about three months later, I finally got to do another show. Peculiarly. The next show I did was lead opposite Helen Hayes in a play called no room for Peter Pan. And I just looked it up. It was May. I looked it up and I lost it already. I think, I think I may know what it is. Stay tuned. No, now, nope, nope, nope, ah, so that's it was not. This was May 1949, wow. What was it? Well, yeah, and it was, it was a the director was a man named Lester O'Keefe, and I loved Barry Fitzgerald, and I find even at a very early age, I could do an Irish accent. And I've been in Ireland since then. I do did this, just sometimes with the people knowing that I was doing it and I was it was fine. Sometimes they didn't, and I could get it is, it is pretty Irish, I think, at any rate, he asked me father, who was born in Russia, if we spoke Gaelic at home, we didn't. And so I did the show, and it was fine. Then I did a lot of shows after that, because here was this 11 year old kid who could do all this kind of   Michael Hingson ** 09:24 stuff. So what was no room for Peter Pan about,   Ivan Cury ** 09:27 oh, it was about a midget, a midget who is a young man, a young boy who never grows up, and there's a mind. He becomes a circus performer, and he becomes a great star, and he comes back to his town, to his mother, and there's a mine disaster, and the only one who can save them is this little person, and the kid doesn't want to do it, and it's and there's a moment where Helen Hayes, who played the lead, explained about how important it is the to give up your image and be and be. Man, be a real man, and do the thing, right thing to do. And so that was the   Michael Hingson ** 10:04 story. What show was it on? What series?   Ivan Cury ** 10:07 Electric Theater, Electric Theater, Electric Theater with Ellen Hayes, okay,   Michael Hingson ** 10:10 I don't think I've heard that, but I'm going to find it.   Ivan Cury ** 10:14 Well, yes, there's that one. And almost very soon afterwards, I did another important part with Walter Hughes, Walter Hamden. And that was on cavalcade of America, Ah, okay. And that was called Footlights on the frontier. And it was about, Tom about Joseph Jefferson, and the theater of the time, where the young kid me meets Abraham Lincoln, Walter Houston, and he saves the company. Well, those are the first, first shows. Was downhill from there. Oh, I don't   Michael Hingson ** 10:50 know, but, but you you enjoyed it, and, of course, I loved it, yes, why?   Ivan Cury ** 11:00 I was very friendly with Richard lamparsky. I don't even remember him, but he wrote whatever became of series of books. Whatever became of him was did a lot, and we were chatting, and he said that one of the things he noticed is that people in theater, people in motion pictures, they all had a lot of nightmare stories to tell about people they'd work with. And radio actors did not have so much of that. And I believe that you came in, you got your script, you work with people you like, mostly, if you didn't, you'd see you'd lose, you know, you wouldn't see them again for another Yeah, you only had to deal with them for three or four hours, and that was in the studio. And after that, goodbye.   Michael Hingson ** 11:39 Yeah, what was your favorite show that you ever did?   Ivan Cury ** 11:42 And it seems to me, it's kind of almost impossible. Yeah, I don't know,   Michael Hingson ** 11:51 a lot of fun ones.   Ivan Cury ** 11:54 I'll tell you the thing about that that I found and I wrote about it, there are only five, four reasons really, for having a job. One of them is money, one of them is prestige. One of them is learning something, and the other is having fun. And if they don't have at least two, you ought to get out of it. And I just had a lot of fun. I really like doing it. I think that's one of the things that's that keeps you going now, so many of these old time radio conventions, which are part of my life now, at least Tom sometimes has to do with with working with some of the actors. It's like tennis. It's like a good tennis game. You you send out a line, and you don't know how it's going to come back and what they're going to do with it. And that's kind of fun.   Michael Hingson ** 12:43 Well, so while you were doing radio, and I understand you weren't necessarily doing it every day, but almost, well, almost. But you were also going to school. How did all that work out   Ivan Cury ** 12:53 there is, I went to Professional Children's School. I went to a lot of schools. I went to law schools only because mostly I would, I would fail geometry or algebra, and I'd have to take summer session, and I go to summer session and I'd get a film, and so I'd leave that that session of summer session and do the film and come back and then go to another one. So in all, I wound up to being in about seven or eight high schools. But the last two years was at Professional Children's School. Professional Children's School has been set up. It's one of a number of schools that are set up for professional children, particularly on the East Coast. Here, they usually bring somebody on the set. Their folks brought on set for it. Their professional school started really by Milton Berle, kids that go on the road, and they were doing terribly. Now in order to work as a child Lacher in New York and probably out here, you have to get permission from the mayor's office and permission from the American Society of Prevention of Cruelty to Children. And you needed permits to do it, and those both organizations required the schools to show to give good grades you were doing in school, so you had to keep up your grades, or they wouldn't give you a permit, and then you couldn't work. PCs did that by having correspondence. So if a kid was on the road doing a show out of town in Philadelphia or wherever, they were responsible for whatever that week's work was, and we were all we knew ahead of time what the work was going to be, what projects had to be sent into the school and they would be graded when I went, I went to Carnegie, and my first year of English, I went only, I think, three days a week, instead of five, because Tuesdays and Thursdays Were remedial. We wrote We were responsible for a term paper. Actually, every week, you we learned how to write. And it was, they were really very serious about it. They were good schools   Michael Hingson ** 14:52 well, and you, you clearly enjoyed it. And I know you also got very involved and interested in poetry as you went along. Too do. Yes, I did well, yeah, yeah. And who's your favorite poet?   Ivan Cury ** 15:07 Ah, my favorite poets. If that is hard to say, who my favorite is, but certainly they are more than one is Langston, Hughes, Mary, Oliver, wh Jordan, my favorite, one of my favorite poems is by Langston Hughes. I'll do it for you now. It's real easy. Burton is hard, and dying is mean. So get yourself some love, and in between, there you go. Yes, I love that. And Mary Oliver, Mary Oliver's memory, if I hope I do, I go down to the shore, and depending upon the hour, the waves are coming in and going out. And I said, Oh, I am so miserable. Watch. What should I do? And the sea, in its lovely voice, says, Excuse me, I have work to do.   Michael Hingson ** 15:56 Ooh. That puts it in perspective, doesn't   Ivan Cury ** 16:00 it? Yes, it certainly does.   Michael Hingson ** 16:03 So So you, you went to school and obviously had good enough grades that you were able to continue to to act and be in radio, yes, which was cool. And then television, because it was a television Lacher, yeah, yeah. It's beginning of television as well. So I know one of the shows that you were on was the Jack Benny show. What did you do for Jack? Oh, well,   Ivan Cury ** 16:28 I'm really stuffy. Singer is the guy who really did a lot of Jack Benny things. But what happened is that when Jack would come to New York, if there was a kid they needed, that was me, and so I did the Benny show, I don't know, two or three times when he was in New York. I, I did the Jack Benny show two or three times. But I was not so you were, you were nice, man. It came in. We did the show. I went   Michael Hingson ** 16:51 home. You were a part time Beaver, huh?   Ivan Cury ** 16:54 I don't know. I really don't know, but I was beaver or what? I don't remember anything other than I had been listening to the Jack Benny show as a kid. I knew he was a star and that he was a nice man, and when he came into the studio, he was just a nice man who who read Jack Benny's lines, and who was Jack Benny, and he said his lines, and I said my lines, and we had a nice time together. And there wasn't any, there wasn't any real interplay between us, other than what would be normal between any two human beings and and that was that. So I did the show, but I can't talk very much about Jack Benny.   Michael Hingson ** 17:32 Did you? Did you primarily read your scripts, or did you memorize them at all?   Ivan Cury ** 17:37 Oh, no, no, radio. That was the thing about radio. Radio that was sort of the joy you read. It was all about reading. It's all about reading, yeah. And one of the things about that, that that was just that I feel lucky about, is that I can pretty well look at a script and read it. Usually read it pretty well with before the first time I've ever seen it, and that's cold reading, and I was pretty good at that, and still am.   Michael Hingson ** 18:06 Did you find that as you were doing scripts and so on, though, and reading them, that that changed much when you went in into television and started doing television?   Ivan Cury ** 18:22 I don't know what you mean by change.   Michael Hingson ** 18:24 Did you you still read scripts and   Ivan Cury ** 18:26 yeah, no, no, the way. I mean the way intelligent show usually goes as an actor. Well, when I directed television, I used to direct a lot of soap operas, not a lot, but I directed soap operas, but there'd be a week's rehearsal for a show, danger, I'm syndicated, or anything, and so there'd be a week's rehearsal. The first thing you do is, we have a sit down read, so you don't read the script, and then you holding the script in your hand walk through the scenes. Sometimes the director would have, would have blocking that they knew you were going to they were going to do, and they say, here's what you do. You walk in the door, etc. Sometimes they say, Well, go ahead, just show me what you'd like, what you what it feels like. And from that blocking is derived. And then you go home and you try to memorize the lines, and you feel perfectly comfortable that as you go, when you leave and you come back the next day and discover you got the first line down. But from there on, it's dreadful. But after a while, you get into the thing and you know your lines. You do it. Soap opera. Do that.   Michael Hingson ** 19:38 The interesting thing about doing radio, was everything, pretty much, was live. Was that something that caused a lot of pressure for you?   Ivan Cury ** 19:51 In some ways, yes, and in some ways it's lovely. The pressure is, yes, you want to get it right, but if you got to get it but if you get it wrong, give it up, because it's all over. Uh, and that's something that's that isn't so if you've recorded it, then you start figuring, well, what can I do? How can I fix this? You know, live, you do it and it's done. That's, that's what it is, moving right along. And this, this comment, gets to be kind of comfortable, you know, that you're going to, there may be some mistakes. You do the best you can with it, and go on one of the things that's really the news that that happens, the news, you know, every night, and with all the other shows that are live every day,   Michael Hingson ** 20:26 one of the things that I've noticed in a number of radio shows, there are times that it's fairly obvious that somebody made a flub of some sort, but they integrated it in, and they were able to adapt and react, and it just became part of the show. And sometimes it became a funny thing, but a lot of times they just worked it in, because people knew how to do that. And I'm not sure that that is so much the case certainly today on television, because in reality, you get to do it over and over, and they'll edit films and all that. And so you don't have that, that same sort of thing, but some of those challenges and flubs that did occur on radio were really like in the Jack Benny shows and burns and Allen and Phil Harris and so on. They were, they just became integrated in and they they became classic events, even though they weren't necessarily originally part of the plan.   Ivan Cury ** 21:25 Absolutely, some of some of them, I suspect some of them, were planned and planned to sound as if they would just happen. But certainly mistakes. Gosh, good mistakes are wonderful. Yeah, in all kinds of I used to do a lot of live television, and even if we weren't live television, when we would just do something and we were going to tape it and do it later, I remember once the camera kind of going wrong, video going wrong. I went, Wait a minute. That's great. Let's keep it wrong like that, you know. And it was so is just lovely that that's part of the art of improvisation, with how   Michael Hingson ** 22:06 and and I think there was a lot more of that, certainly in radio, than there is on television today, because very few things are really live in the same   Ivan Cury ** 22:17 sense. No, there. There are some kinds of having written, there are some type formats that are live. The news is live, the news is live. There's no, you know, there are. There used to be, and there may still be some of the afternoon shows, the kind of morning and afternoon shows where Show and Tell Dr whatever his name is, Dr Phil, yeah, it may be live, or it's shot as live, and they don't, they don't really have a budget to edit, so it's got to be real bad before they edit. Yeah. So do a show like that called Woman of CBS. So there are shows that are live, like that, sport events are live. A lot of from Kennedy Center is live. There are, there are lots of programs that are live, concerts, that are that you are a lot of them. America's Got Talent might as well be live. So there's a lot of that. And certainly things go wrong in the ad lib, and that's the way, because, in fact, there's some lovely things that happen out of that, but mostly, you're absolutely right. Mostly you do show it's recorded. You intend to edit it, you plan it to be edited, and you do it. It's also different when you shoot multiple camera, as opposed to single camera, yeah, single camera being as you say, again and again and again, multiple camera, not so much, although I used to direct the young and the restless, and now there is a line cut which is almost never used. It's it's the intention, but every shot is isolated and then cleaned up so that it's whatever is, whatever is possibly wrong with it gets clean.   Michael Hingson ** 24:03 Yeah, it's, it's a sign of the changing times and how things, everything   Ivan Cury ** 24:09 is bad. It's just, it's different. In fact, that's a kind of question I'm really puzzled with right now for the fun of it. And that is about AI, is it good or bad?   Michael Hingson ** 24:20 Well, and it's like anything else, of course, it depends. One of the one of my, my favorite, one of my favorite things about AI is a few years, a couple of years ago, I was at a Christmas party when there was somebody there who was complaining about the fact that kids were writing their papers using AI,   Ivan Cury ** 24:43 and that's bad   Michael Hingson ** 24:44 and and although people have worked on trying to be able to detect AI, the reality is that this person was complaining that the kids were even doing it. And I didn't think about it until later, but I realized. Is one of the greatest blessings of AI is let the students create their papers using AI. What the teachers need to do is to get more creative. And by that I mean All right, so when children turn in and students turn in their papers, then take a day and let every student take about a minute and come up and defend the paper they wrote. You're going to find out really quickly who really knew the subject and who just let ai do it and didn't have any interaction with it. But what a great way to learn. You're going to find out very quickly. And kids are going to figure out very quickly that they need to really know the subject, because they're going to have to defend their   Ivan Cury ** 25:41 papers. Yeah, no, I think that's fine. I I don't like the amount of electricity that it requires and what it's doing to our to our needs for water, because it has to be cooled down. So there's some physical things that I don't like about AI, and I think it's like when you used to have to go into a test with a slide rule, and they you couldn't use your calculator. When I use a calculator, it's out of the bag. You can't put it back anymore. It's a part of our life, and how to use it is the question. And I think you're absolutely right. I don't even need to know whether. I'm not even sure you need to check the kids if they it. How will you use? How will we get to use? Ai, it is with us.   Michael Hingson ** 26:30 Well, but I think there's a the value of of checking and testing. Why I'm with you. I don't think it's wrong. I think, no, no, but I think the value is that it's going to make them really learn the subject. I've written articles, and I've used AI to write articles, and I will look at them. I'll actually have a create, like, eight or nine different versions, and I will decide what I like out of each of them, and then I will add my part to it, because I have to make it me, and I've always realized that. So I know anything that I write, I can absolutely defend, because I'm very integrally involved in what I do with it, although AI has come up with some very clever ideas. Yeah, I hadn't thought of but I still add value to it, and I think that's what's really important.   Ivan Cury ** 27:19 I did a I've been writing stuff for a while, and one of the things I did, I wrote this. I wrote a little piece. And I thought, well, what? What would ai do if they took the same piece? How would they do it? So I put it in and said, rewrite it. They did. It was kind of bland. They'd taken all the life out of it. It wasn't very Yeah. So then I said, Well, wait a minute, do the same thing, write it as if it were written by Damon Runyon. And so they took it and they did that, and it was way over the top and really ugly, but it I kind of had fun with what, what the potential was, and how you might want to use it. I mean, I think the way you using it is exactly right. Yeah, it's how you use it, when, when you when, I'm just as curious, when you do that, when you said, you write something, and you ask them to do it four or five times or many times. How do you how do you require them to do it differently.   Michael Hingson ** 28:23 Well, there are a couple different ways. One is, there are several different models that can use to generate the solution. But even leaving aside such as, Oh, let's see, one is, you go out and do more web research before you actually do the do the writing. And so that's one thing and another. I'm trying to remember there were, like, six models that I found on one thing that I did yesterday, and but, but the other part about it is that with AI, yeah, the other thing about AI is that you can just tell it you don't like the response that you   Ivan Cury ** 29:09 got. Aha, okay, all right, yep,   Michael Hingson ** 29:13 I got it. And when you do that, it will create a different response, which is one of the things that you want. So, so so that works out pretty well. And what I did on something, I wanted to write a letter yesterday, and I actually had it write it. I actually had it do it several times. And one time I told it to look at the web to help generate more information, which was pretty cool, but, but the reality is that, again, I also think that I need to be a part of the the solution. So I had to put my my comments into it as well, and, and that worked out pretty well. Okay, right? Yeah, so I mean, it's cool, and it worked. Right? And so the bottom line is we we got a solution, but I think that AI is a tool that we can use, and if we use it right, it will enhance us. And it's something that we all have to choose how we're going to do. There's no no come, yeah, no question about that. So tell me you were successful as a young actor. So what kind of what what advice or what kind of thoughts do you have about youth success, and what's your takeaway from that?   Ivan Cury ** 30:36 The Good, yeah, I There are a lot of things being wanting to do it, and I really love doing it, I certainly didn't want to. I wanted to do it as the best way I could Well, I didn't want to lose it up, is what it really comes down to. And that meant figuring out what it is that required. And one of the things that required was a sense of responsibility. You had to be there on time, you had to be on stage, and you may want to fidget, but that takes to distract from what's going on, so sit still. So there's a kind of kind of responsibility that that you learn, that I learned, I think early on, that was, that's very useful. Yeah, that's, that's really, I think that's, I wrote some things that I had, I figured, some of these questions that might be around. So there, there's some I took notes about it. Well, oh, attention to details. Yeah, to be care to be watch out for details. And a lot of the things can be carried on into later life, things about detailed, things about date. Put a date on, on papers. When, when did, when was this? No, when was this note? What? When did this happen? Just keeping track of things. I still am sort of astonished at how, how little things add up, how we just just noted every day. And at the end of a year, you've made 365 notes,   Michael Hingson ** 32:14 yeah, well, and then when you go back and read them, which is also part of the issue, is that you got to go back and look at them to to see what   Ivan Cury ** 32:23 right or to just know that they're there so that you can refer to them. When did that happen?   Michael Hingson ** 32:28 Oh, right. And what did you say? You know, that's the point. Is that when I started writing thunder dog, my first book was suggested that I should start it, and I started writing it, what I started doing was creating notes. I actually had something like 1.2 megabytes of notes by the time we actually got around to doing the book. And it was actually eight years after I started doing some, well, seven years after I started doing writing on it. But the point is that I had the information, and I constantly referred back to it, and I even today, when I deliver a speech, I like to if there's a possibility of having it recorded, I like to go back and listen, because I want to make sure that I'm not changing things I shouldn't change and or I want to make sure that I'm really communicating with the audience, because I believe that my job is to talk with an audience, not to an audience.   Ivan Cury ** 33:24 Yeah, yeah. I we say that I'm reading. There are three books I'm reading right now, one of them, one of them, the two of them are very well, it doesn't matter. One is called who ate the oyster? Who ate the first oyster? And it's a it's really about paleon. Paleological. I'm saying the word wrong, and I'm paleontological. Paleontological, yeah, study of a lot of firsts, and it's a lovely but the other one is called shady characters by Keith Houston, and it's a secret life of punctuation symbols and other typographical marks, and I am astonished at the number of of notes that go along with it. Probably 100 100 pages of footnotes to all of the things that that are a part of how these words came to be. And they're all, I'm not looking at the footnotes, because there's just too many, but it's kind of terrific to check out. To be that clear about where did this idea come from, where did this statement come from? I'm pleased about that. I asked my wife recently if you could be anything you want other than what you are. What would you want to be? What other what other job or would you want to have? The first one that came to mind for me, which I was surprised that was a librarian. I just like the detail. I think that's   Michael Hingson ** 34:56 doesn't go anywhere. There you go. Well, but there's so. There's a lot of detail, and you get to be involved with so many different kinds of subjects, and you never know what people are going to ask you on any given day. So there's a lot of challenge and fun to that.   Ivan Cury ** 35:11 Well, to me also just putting things in order, I was so surprised to discover that in the Dewey Decimal System, the theater is 812 and right next to it, the thing that's right next to it is poetry. I was surprised. It's interesting, yeah, the library and play that out.   Michael Hingson ** 35:29 Well, you were talking about punctuation. Immediately I thought of EE Cummings. I'll bet he didn't pay much attention to punctuation at all. I love him. He's great, yeah, isn't he? Yeah, it's a lot of fun. An interesting character by any standard. So, so you, you progressed into television, if, I guess it's progressing well, like, if we answer to Fred Allen, it's not, but that's okay.   Ivan Cury ** 35:54 Well, what happens? You know, after, after, I became 18, and is an interesting moment in my life, where they were going to do film with Jimmy Dean, James Dean, James Dean. And it came down and he was going to have a sidekick, a kid sidekick. And it came down to me and Sal Mineo. And Sal got it, by the way. Case you didn't know, but one of the things was I was asked I remember at Columbia what I wanted to do, and I said I wanted to go to college, and my there was a kind of like, oh, yeah, right. Well, then you're not going to go to this thing, because we don't. We want you to be in Hollywood doing the things. And yes, and I did go to college, which is kind of great. So what happened was, after, when I became 18, I went to Carnegie tech and studied theater arts. Then I after that, I studied at Boston University and got a master's there, so that I had an academic, an academic part of my life as well, right? Which ran out well, because in my later years, I became a professor and wrote some   Michael Hingson ** 36:56 books, and that was your USC, right? No, Cal State, Lacher State, LA and UCLA. And UCLA, not USC. Oh, shame on me. But that's my wife. Was a USC graduate, so I've always had loyalty. There you go. But I went to UC Irvine, so you know, okay, both systems, whatever.   Ivan Cury ** 37:16 Well, you know, they're both UC system, and that's different, yeah, the research institutes, as opposed to the Cal State, which   Michael Hingson ** 37:23 are more teaching oriented, yeah,   Ivan Cury ** 37:26 wow, yeah, that's, that's what it says there in the paper.   Michael Hingson ** 37:30 Yes, that's what it says. But you know, so you went into television. So what did you mainly do in the in the TV world?   Ivan Cury ** 37:44 Well, when I got out of when I got through school, I got through the army, I came back to New York, and I, oh, I got a job versus the Girl Scouts, doing public relations. I I taught at Hunter College for a year. Taught speech. One of the required courses at Carnegie is voice and diction, and it's a really good course. So I taught speech at Hunter College, and a friend of mine was the second alternate maker man at Channel 13 in New York. He had opera tickets, so he said, Look standard for me, it's easy, men seven and women five, and telling women to put on their own lipstick. So I did. I did that, and I became then he couldn't do it anymore, so I became the second alternate make a man. Then it didn't matter. Within within six months, I was in charge of makeup for any t which I could do, and I was able to kind of get away with it. And I did some pretty good stuff, some prosthetic pieces, and it was okay, but I really didn't want to do that. I wanted to direct, if I could. And so then I they, they knew that, and I they knew that I was going to leave if, if, because I wasn't going to be a makeup I didn't. So I became a stage manager, and then an associate director, and then a director at Channel 13 in New York. And I directed a lot of actors, choice the biggest show I did there, or the one that Well, I did a lot of I also worked with a great guy named Kirk Browning, who did the a lot of the NBC operas, and who did all of the opera stuff in for any t and then I wound up doing a show called Soul, which was a black variety show. But when I say black variety show, it was with James Baldwin and but by the OJS and the unifics and the delphonics and Maya Angelou and, you know, so it was a black culture show, and I was the only white guy except the camera crew there. But had a really terrific time. Left there and went and directed for CBS. I did camera three. So I did things like the 25th anniversary of the Juilliard stringer check. Quartet. But I was also directing a show called woman, which was one of the earliest feminist programs, where I was the only male and an all female show. And actually I left and became the only gringo on an all Latino show called aqui I ahora. So I had a strange career in television as a director, and then did a lot of commercials for about 27 years, I directed or worked on the Men's Warehouse commercials. Those are the facts. I guarantee it.   Michael Hingson ** 40:31 Did you get to meet George Zimmer? Oh, very, very, very often, 27 years worth, I would figure, yeah.   Ivan Cury ** 40:39 I mean, what? I'm enemies. When I met him, he's a boy, a mere boy.   Michael Hingson ** 40:45 Did you act during any of this time? Or were you no no behind the camera once?   Ivan Cury ** 40:50 Well, the only, the only acting I did was occasionally. I would go now in a store near you, got it, and I had this voice that they decided, Ivan, we don't want you to do it anymore. It just sounds too much like we want, let George do this, please.   Michael Hingson ** 41:04 So, so you didn't get to do much, saying of things like, But wait, there's more, right?   Ivan Cury ** 41:10 No, not at all. Okay, okay. Oh, but you do that very well. Let's try.   Michael Hingson ** 41:13 Wait, there's more, okay. Well, that's cool. Well, that was,   Ivan Cury ** 41:18 it was kind of fun, and it was kind of fun, but they had to, it was kind of fun to figure out things. I remember we did. We had a thing where some of those commercial we did some commercials, and this is the thing, I sort of figured out customers would call in. So we recorded their, their call ins, and I they, we said, with calls being recorded. We took the call ins and I had them sent to it a typist who typed up what they wrote that was sent to New York to an advertising agency would extract, would extract questions or remarks that people had made about the stuff, the remarks, the tapes would be then sent to who did that? I think we edited the tapes to make it into a commercial, but the tags needed to be done by an announcer who said, in a store near you were opening sooner, right? Wyoming, and so those the announcer for the Men's Warehouse was a guy in in Houston. So we'd send, we'd send that thing to him, and he'd send us back a digital package with the with the tags. And the fun of it was that was, it was from, the calls are from all over the world. The the edits on paper were done in New York, the physical work was done in San Francisco. The announcer was in Houston. And, you know? And it's just kind of fun to be able to do that, that to see, particularly having come from, having come from 1949 Yeah, where that would have been unheard of to kind of have that access to all that was just fun, kind   Michael Hingson ** 42:56 of fun. But think about it now, of course, where we have so much with the internet and so on, it'd be so much easier, in a lot of ways, to just have everyone meet on the same network and   Ivan Cury ** 43:09 do now it's now, it's nothing. I mean, now it's just, that's the way it is. Come on.   Michael Hingson ** 43:13 Yeah, exactly. So. So you know, one of the things that I've been thinking about is that, yes, we've gone from radio to television and a whole new media and so on. But at the same time, I'm seeing a fairly decent resurgence of people becoming fascinated with radio and old radio and listening to the old programs. Do you see that?   Ivan Cury ** 43:41 Well, I, I wish I did. I don't my, my take on it. It comes strictly from that such, so anecdotal. It's like, in my grandkids, I have these shows that I've done, and it's, you know, it's grandpa, and here it is, and there it's the bobby Benson show, or it's calculator America, whatever, 30 seconds. That's what they give me. Yeah, then it's like, Thanks, grandpa. Whoopie. I don't know. I think maybe there may there may be something, but I would, I'd want some statistical evidence about well, but   Michael Hingson ** 44:19 one of the things I'm thinking of when I talk about the resurgence, is that we're now starting to see places like radio enthusiasts to Puget Sound reps doing recreations of, oh yes, Carl Omari has done the Twilight Zone radio shows. You know, there are some things that are happening, but reps among others, and spurred back to some degree, yeah, spurred back is, is the Society for the Prevention, oh, gosh,   Ivan Cury ** 44:46 not cruelty children, although enrichment   Michael Hingson ** 44:49 of radio   Ivan Cury ** 44:50 drama and comedy, right? Society, right? Yeah, and reps is regional enthusiasts of Puget Sound, Puget   Michael Hingson ** 44:58 Sound and. Reps does several recreations a year. In fact, there's one coming up in September. Are you going to   Ivan Cury ** 45:04 that? Yes, I am. I'm supposed to be. Yes, I think I Yes. I am.   Michael Hingson ** 45:08 Who you're going to play? I have no idea. Oh, you don't know yet.   Ivan Cury ** 45:12 Oh, no, no, that's fun. You get there, I think they're going to have me do a Sam Spade. There is another organization up there called the American radio theater, right? And I like something. I love those people. And so they did a lot of Sam Spade. And so I expect I'm going to be doing a Sam Spade, which I look forward to.   Michael Hingson ** 45:32 I was originally going to it to a reps event. I'm not going to be able to this time because somebody has hired me to come and speak and what I was going to do, and we've postponed it until I can, can be the one to do it is Richard diamond private detective, which is about my most favorite radio show. So I'm actually going to play, able to play Richard diamond. Oh, how great. Oh, that'll be a lot of fun. Yeah. So it'll probably be next year at this point now, but it but it will happen.   Ivan Cury ** 45:59 I think this may, yeah, go ahead. This may be my last, my last show I'm getting it's getting tough to travel.   Michael Hingson ** 46:07 Yeah, yeah, I don't know. Let's see. Let's see what happens. But, but it is fun, and I've met several people through their Carolyn Grimes, of course, who played Zuzu on It's A Wonderful Life. And in fact, we're going to have her on unstoppable mindset in the not too distant future, which is great, but I've met her and and other people, which I   Ivan Cury ** 46:34 think that's part of the for me. That really is part of the fun. Yeah, you become for me now it has become almost a sec, a family, in the same way that when you do show, if you do a show regularly, it is, it really becomes a family. And when the show is over, it's that was, I mean, one of the first things as a kid that was, that was really kind of tough for every day, or every other day I would meet the folks of Bobby Benson and the B Barbie writers. And then I stopped doing the show, and I didn't see them and didn't see them again. You know, I Don Knotts took me to I had the first shrimp of my life. Don Knotts took me to take tough and Eddie's in New York. Then I did another show called paciolini, which was a kind of Italian version of The Goldbergs. And that was, I was part of that family, and then that kind of went away. I was Porsche son on Porsche faces life, and then that way, so the you have these families and they and then you lose them, but, but by going to these old events, there is that sense of family, and there are also, what is just astonishing to me is all those people who know who knows stuff. One day I mentioned Frank Milano. Now, nobody who knows Frank Milano. These guys knew them. Oh, Frank, yeah, he did. Frank Milano was a sound. Was did animal sounds. There were two guys who did animal sounds particularly well. One was Donald Baines, who I worked with on the first day I ever did anything. He played the cow on Jack and the Beanstalk and and Frank, Don had, Don had a wonderful bar room bet, and that was that he could do the sound effects of a fish. Wow. And what is the sound effect of a fish? So now you gotta be required. Here's the sound effect of a fish. This was what he went $5 bets with you. Ready? Here we go.   Michael Hingson ** 48:41 Good job. Yeah, good job. Yeah. It's like, what was it on? Was it Jack Benny? They had a kangaroo, and I think it was Mel Blanc was asked to do the kangaroo, which is, of course, another one where they're not really a sound, but you have to come up with a sound to do it on radio, right?   Ivan Cury ** 49:06 Yes. Oh my god, there were people who want I could do dialects, I could do lots of German film, and I could do the harness. Was very easy for me to do, yeah, so I did love and I got to lots of jobs because I was a kid and I could do all these accents. There was a woman named Brianna Rayburn. And I used to do a lot of shows in National Association of churches of Christ in the United States. And the guy who was the director, John Gunn, we got to know each other. He was talking about, we talked with dialects. He said Briana Rayburn had come in. She was to play a Chinese woman. And she really asked him, seriously, what part of China Do you want her to come from? Oh, wow. I thought that was just super. And she was serious. She difference, which is studied, studied dialects in in. In college not long after, I could do them, and discovered that there were many, many English accents. I knew two or three cockney I could do, but there were lots of them that could be done. And we had the most fun. We had a German scholar from Germany, from Germany, and we asked him if he was doing speaking German, but doing playing the part of an American what would it sound like speaking German with an American accent? You know, it was really weird.   Michael Hingson ** 50:31 I had a history teacher, yes, who was from the Bronx, who spoke German, yeah, and he fought in World War Two. And in fact, he was on guard duty one night, and somebody took a shot at him, and so he yelled back at them in German. The accent was, you know, I took German, so I don't understand it all that well, but, but listening to him with with a New York accent, speaking German was really quite a treat. The accent spilled through, but, but they didn't shoot at him anymore. So I think he said something, what are you shooting at me for? Knock it off. But it was so funny, yeah, but they didn't shoot at him anymore because he spoke, yeah, yeah. It was kind of cool. Well, so with all that you've learned, what kind of career events have have sort of filtered over into what you do today?   Ivan Cury ** 51:28 Oh, I don't know. We, you know. But one of the things I wanted to say, it was one of the things that I learned along the way, which is not really answering your question until I get back to it, was, I think one of those best things I learned was that, however important it is that that you like someone, or you're with somebody and everything is really terrific. One of the significant things that I wish I'd learned earlier, and I think is really important, is how do you get along when you don't agree? And I think that's really very important.   Michael Hingson ** 52:01 Oh, it's so important. And we, in today's society, it's especially important because no one can tolerate anyone anymore if they disagree with them, they're you're wrong, and that's all there is to it. And that just is so unfortunate. There's no There's no really looking at alternatives, and that is so scary   Ivan Cury ** 52:20 that may not be an alternative. It may not be,   Michael Hingson ** 52:23 but if somebody thinks there is, you should at least respect the opinion,   Ivan Cury ** 52:28 whatever it is, how do you get along with the people you don't   Michael Hingson ** 52:32 agree with? Right?   Ivan Cury ** 52:35 And you should one that you love that you don't agree with, right? This may sound strange, but my wife and I do not agree about everything all the time, right?   Michael Hingson ** 52:43 What a concept. My wife and I didn't agree about everything all the time. Really, that's amazing, and it's okay, you know? And in fact, we both one of the the neat things, I would say, is we both learned so much from each other when we disagreed, but would talk about it, and we did a lot of talking and communicating, which I always felt was one of the most important things about our marriage. So we did, we learned a lot, and we knew how to get along, and we knew that if we disagreed, it was okay, because even if we didn't change each other's opinion, we didn't need to try to change each other's opinion, but if we work together and learn to respect the other opinion, that's what really mattered, and you learn more about the individual that way,   Ivan Cury ** 53:30 yeah, and also you have you learn about giving up. Okay, I think you're wrong, but if that's really what you want exactly, I'll do it. We'll do it your way?   Michael Hingson ** 53:42 Yeah, well, exactly. And I think it's so important that we really put some of that into perspective, and it's so crucial to do that, but there's so much disagreement today, and nobody wants to talk to anybody. You're wrong. I'm right. That's all there is to it. Forget it, and that's just not the way the world should be.   Ivan Cury ** 53:59 No, no. I wanted to go on to something that you had asked about, what I think you asked about, what's now I have been writing. I have been writing to a friend who I've been writing a lot of very short pieces, to a friend who had a stroke and who doesn't we can't meet as much as we use. We can't meet at all right now. And but I wanted to just go on, I'm and I said that I've done something really every week, and I'd like to put some of these things together into a book. And what I've been doing, looking for really is someone to work with. And so I keep writing the things, the thing that I wrote just today, this recent one, had to do with I was thinking about this podcast. Is what made me think of it. I thought about the stars that I had worked with, you know, me and the stars, because I had lots. Stories with with people who are considered stars, Charles Lawton, Don Knotts, Gene crane, Maya, Angelou, Robert Kennedy, the one I wrote about today. I wrote about two people. I thought it'd be fun to put them together, James Dean and Jimmy Dean. James Dean, just going to tell you the stories about them, because it's the kind of thing I'm writing about now. James Dean, we worked together on a show called Crime syndicated. He had just become really hot in New York, and we did this show where there were a bunch of probably every teenage actor in New York was doing this show. We were playing two gangs, and Jimmy had an extraordinary amount of lines. And we said, What the hell are you going to do, Jim? If you, you know, if you lose lines, he's, this is live. And he said, No problem. And then what he said is, all I do is I start talking, and then I just move my mouth like I'm walking talking, and everybody will think the audio went out. Oh, and that's, that's what he was planning on doing. I don't know if he really is going to do it. He was perfect. You know, he's just wonderful. He did his show. The show was great. We were all astonished to be working with some not astonished, but really glad to just watch him work, because he was just so very good. And we had a job. And then stories with Jimmy Dean. There were a couple of stories with Jimmy Dean, the singer and the guy of sausage, right? The last one to make it as fast, the last one was, we were in Nashville, at the Grand Ole Opry Opperman hotel. I was doing a show with him, and I was sitting in the bar, the producer and someone other people, and there was a regular Graceland has a regular kind of bar. It's a small bar of chatter, cash register, husband, wife, team on the stage singing. And suddenly, as we were talking, it started to get very quiet. And what had happened is Jimmy Dean had come into the room. He had got taken the guitar, and he started to sing, and suddenly it just got quiet, very quiet in the room. The Register didn't ring. He sang one song and he sang another song. His applause. He said, Thank you. Gave the guitar back to the couple. Walked off the stage. It was quiet while a couple started to sing again. They were good. He started to sing. People began to chatter again. The cash register rang, and I, I certainly have no idea how he managed to command that room to have everybody shut up while he sang and listened to him. He didn't do anything. There was nothing, you know, no announcement. It wasn't like, oh, look, there's Jimmy. It was just his, his performance. It was great, and I was really glad to be working with him the next day well.   Michael Hingson ** 57:56 And I think that having that kind of command and also being unassuming about it is pretty important if you've got an ego and you think you're the greatest thing, and that's all there is to it. That shows too, yeah?   Ivan Cury ** 58:08 Well, some people live on it, on that ego, yeah, and I'm successful on it, I don't think that was what. It certainly   Michael Hingson ** 58:17 wasn't, no, no, no, and I'm not saying that. I'm sure it wasn't that's my point. Yeah, no, because I think that the ultimate best people are the ones who don't do it with ego or or really project that ego. I think that's so important, as I said earlier, for me, when I go to speak, my belief is I'm going to to do what I can to help whatever event I'm at, it isn't about me at all. It's more about the audience. It's more about what can I inspire this audience with? What can I tell the audience and talk with the audience about, and how can I relate to them so that I'm saying something that they want to hear, and that's what I have to do. So if you had the opportunity to go back and talk to a younger Ivan, what would you tell him?   Ivan Cury ** 59:08 Cut velvet? No, there you go. No, what? I don't. I really don't. I don't know.   Michael Hingson ** 59:18 Talk Like a fish. More often   Ivan Cury ** 59:20 talk like a fish. More on there. Maybe. No, I really don't know. I don't know. I think about that sometimes, what it always seems to be a question, what? Really it's a question, What mistakes did you make in life that you wish you hadn't done? What door you wish Yeah, you would open that you didn't? Yeah, and I really don't, I don't know. I can't think of anything that I would do differently and maybe and that I think there's a weakness, because surely there must be things like that. I think a lot of things that happen to one in life anyway have to do with luck. That's not, sort of not original. But I was surprised to hear one day there was a. It. Obama was being interviewed by who was by one of the guys, I've forgotten his name that. And he was talking about his career, and he said he felt that part of his success had been a question of luck. And I very surprised to hear him say that. But even with, within with my career, I think a lot of it had to do with luck I happen to meet somebody that right time. I didn't meet somebody at the right time. I think, I think if I were to do so, if you would, you did ask the question, and I'd be out more, I would be pitching more. I think I've been lazy in that sense, if I wanted to do more that. And I've come to the West Coast quicker, but I was doing a lot of was in New York and having a good time   Michael Hingson ** 1:00:50 Well, and that's important too, yeah. So I don't know that I changed, I Yeah, and I don't know that I would find anything major to change. I think if somebody asked me that question, I'd say, tell my younger self that life is an adventure, enjoy it to the fullest and have fun.   Ivan Cury ** 1:01:12 Oh, well, that's yes. That was the I always believe that, yeah, yeah. It's not a question for me, and in fact, it's one of the things I told my kids that you Abraham Lincoln, you know, said that really in it, in a way a long time ago. He said that you choose you a lot of what you way you see your life has to do with the way the choices you make about how to see it, right? Yeah, which is so cool, right? And one of the ways you might see it says, have fun,   Michael Hingson ** 1:01:39 absolutely well, Ivan, this has been absolutely fun. We've been doing it for an hour, believe it or not, and I want to thank you for being here. And I also want to thank everyone who is listening for being with us today. I hope you've enjoyed this conversation, and I'd love to hear what your thoughts are. Please feel free to email me. I'd love to hear your thoughts about this. Email me at Michael h i at accessibe, A, C, C, E, S, S, i, b, e.com, so Ivan, if people want to reach out to you, how do they do that?   Ivan Cury ** 1:02:10 Oh, dear. Oh, wait a minute, here we go. Gotta stop this. I curyo@gmail.com I C, u, r, y, o@gmail.com There you go. Cury 1r and an O at the end of it, not a zero. I curyo@gmail.com Yeah.   Michael Hingson ** 1:02:30 Well, great. Well, thank you again, and all of you wherever you're listening, I hope that you'll give us a great review wherever you're listening. Please give us a five star review. We appreciate it, and Ivan, for you and for everyone else listening. If you know anyone else who ought to be a guest on our podcast, love to hear from you. Love an introduction to whoever you might have as a person who ought to come on the podcast, because I think everyone has stories to tell, and I want to give people the opportunity to do it. So once again, I want to thank you, Ivan, for being here. We really appreciate it. Thanks for coming on and being with us today. Thank you.   1:03:10 You have been listening to the Unstoppable Mindset podcast. Thanks for dropping by. I hope that you'll join us again next week, and in future weeks for upcoming episodes. To subscribe to our podcast and to learn about upcoming episodes, please visit www dot Michael hingson.com slash podcast. Michael Hingson is spelled m i c h a e l h i n g s o n. While you're on the site., please use the form there to recommend people who we ought to interview in upcoming editions of the show. And also, we ask you and urge you to invite your friends to join us in the future. If you know of any one or any organization needing a speaker for an event, please email me at speaker at Michael hingson.com. I appreciate it very much. To learn more about the concept of blinded by fear, please visit www dot Michael hingson.com forward slash blinded by fear and while you're there, feel free to pick up a copy of my free eBook entitled blinded by fear. The unstoppable mindset podcast is provided by access cast an initiative of accessiBe and is sponsored by accessiBe. Please visit www.accessibe.com . AccessiBe is spelled a c c e s s i b e. There you can learn all about how you can make your website inclusive for all persons with disabilities and how you can help make the internet fully inclusive by 2025. Thanks again for Listening. Please come back and visit us again next week.

Tim Key is a poet, a comic and someone who I developed an unlikely friendship with through various television appearances together. A few months ago, I went to see The Ballad of Wallis Island and was totally blown away by Tim who not only starred in the movie, but wrote it too. He is a total star and I was excited to have him in the studio - his dry wit combined with my restless energy always makes for a fun time.Tim is quite a personal guy, and like many comics, uses humour to deflect, but he shared a side of him I'd never really seen.We cover:How Tim faked going to Cambridge to get into the Footlights theatre groupBrotherly relationships and how some memories shape usFilming and writing The Ballad of Wallis IslandThe loneliness of LABecoming a comedian and summers in EdinburghI loved this conversation - it's a little more lighthearted than other episodes, but within that light, we are still able to uncover the deep.Tim shared some poems from his new book, L.A. Baby! which you can find here: www.utterandpress.co.uk/And I've got a new book coming out, Boys Don't Cry which you can pre-order here: boysdontcry.co.ukIf you enjoyed the show, you can also follow us:Instagram - www.instagram.com/greatcompanypodcastTikTok - www.tiktok.com/@greatcompanypodcastAnd if you've got thoughts, questions and comments, you can email us at greatcompany@jampotproductions.co.uk--THE CREDITSExec Producer: Jemima RathboneEditor: Dan KingVideo: Jake JiAudio: Rafi AmsiliSocial Media: Laura Coughlan & Anthony BarterGreat Company is an original podcast from JamPot Hosted on Acast. See acast.com/privacy for more information.

Having a rant about class (again) and comedy (again) and also I read a page from Wikipedia. Essentially.

In this Hollyweird episode, we sit down with lighting designer, Wes Chew, to shine a spotlight on the paranormal side of Los Angeles theaters. From ghost lights that flicker without cause to cold spots backstage, Wes shares his firsthand encounters with the supernatural while working on some of L.A.'s most notoriously haunted stages. We dive into the eerie energy of century-old theaters, the strange sensations that hit once the house goes dark, and the unspoken rules every tech crew learns when the spirits start to stir. If you've ever wondered what happens after curtain call, when the ghosts take center stage then this episode is for you. Windy City Parafest Save 10% off of tickets when you use code HOLLYWEIRD at check for in person and live stream tickets!  Click HERE for more info and tickets

Perpendicular Futures: A Footlights CollegeIn this imaginative and thought-provoking episode, futurist and historian Dr. David Staley reads his latest blog article, “Perpendicular Futures: A Footlights College.” Known for his boundary-pushing scenarios for the future of higher education, Staley offers a bold and unexpected vision: What if colleges used performance arts—like theater and show choir—as a strategic enrollment tool, much like intercollegiate athletics?Drawing inspiration from high school show choir fervor and the storied Cambridge Footlights comedy troupe, Staley explores the idea of colleges investing heavily in performance opportunities not as academic programs, but as extracurricular recruitment strategies. This “perpendicular future” veers sharply from the typical trend lines of higher education planning and invites us to rethink what attracts students to campus in the first place.Whether you're a campus leader, a strategist, or simply someone intrigued by the unconventional, this episode will stretch your imagination about what's possible—and perhaps even probable—for the future of enrollment management.Perpendicular Change: What it means and why it matters for institutional planning.Theater and Show Choir as Enrollment Strategy: A new role for extracurriculars.The Passion Economy in Education: Students paying to perform—not for professional outcomes but for personal fulfillment.Footlights Reimagined: A nod to Cambridge's legendary troupe and a blueprint for creative placemaking.NIL Deals for Performers?: Imagining a future where artists, like athletes, earn incentives for their involvement.Disruption vs. Continuity: Why the future of college enrollment may not follow the path we expect.How embracing passion-driven participation could unlock new enrollment pathways.Why seemingly “fringe” extracurriculars might hold the key to student engagement and retention.A compelling case for reimagining institutional investments—from sports fields to stages.Dr. David Staley is a historian, futurist, and professor at The Ohio State University. He is widely known for his visionary writings and talks that challenge higher education to think differently about its future. In addition to his university teaching and consulting work, Dr. Staley regularly publishes articles on university design and innovation.

Nick and Angela welcome one of their favourite comics to Dish HQ. Broadcaster, comedian, writer and conductor Sue Perkins was born in South London. A Cambridge University graduate, Sue's journey into comedy began when she joined the prestigious Footlights, where she met her friend Mel Giedroyc. The duo quickly made a name for themselves, hosting Channel 4's Late Lunch and Light Lunch in the nineties, while also writing for the legendary French & Saunders and, later, Absolutely Fabulous in 2003. Her biggest TV job to date came in 2010, when she and Mel cohosted The Great British Bake Off for seven wildly successful series. Outside of television, Sue's broadcasting credentials include hosting Britain's best-loved radio comedy Just A Minute on BBC Radio 4. You can watch her new TV show Chess Masters: The Endgame on BBC iPlayer and listen to her new podcast Mel and Sue: Should Know By Now on Audlibe.  Nick pours Sue a Botivo, a non-alcoholic aperitivo, to start, while Angela prepares a mouthwatering Malaysian prawn laksa curry. The experts at Waitrose pair this with a La Val albariño and for dessert Angela makes Sue her favourite black forest gateau. Nick and Angela are (in their words) giddy at the sight of Sue Perkins sitting opposite them and our trio collapse into fits of laughter throughout this conversation. Sue loves to cook and recounts her best and worst food moments. She also talks about the time she met a shaman in a hot tub, and listen out for her incredible response to the End of Show Question. You can now watch full episodes of Dish on YouTube  All recipes from this podcast can be found at waitrose.com/dishrecipes A transcript for this episode can be found at waitrose.com/dish We can't all have a Michelin star chef in the kitchen, but you can ask Angela for help. Send your dilemmas to dish@waitrose.co.uk and she'll try to answer them in a future episode. Dish is a S:E Creative Studio production for Waitrose Learn more about your ad choices. Visit podcastchoices.com/adchoices

Dr. Seuss's The Cat in the Hat - Audio Footlights by The Children's Theatre of Cincinnati

If you grew up loving Not the 9 O'Clock News, Blackadder and Spitting Image, you will love this podcast! John Lloyd takes us behind the scenes of Blackadder, Not The 9 O'Clock News, Spitting Image, QI and many more award-winning comedy shows. Known as ‘The God of Comedy Producers' he is also a writer, director and presenter and he is every bit as hilarious as the shows he's created. This conversation is packed with humorous anecdotes but there are some important life lessons too and John generously shares the flip side of a career in comedy. I took many things from this conversation and I am sure you will too. Not to be missed!

Tony Slattery was known for his quick-witted improvisations on the popular Channel 4 show Whose Line Is It Anyway?, from 1988 onwards. He also played comedic and serious roles in films such as crime thriller The Crying Game, Peter's Friends and the dark comedy How to Get Ahead in Advertising.Tony died on 14th January 2025.For Last Word, Matthew Bannister talks to Sir Stephen Fry about his friend. Stephen and Tony met at Cambridge University and would go on to perform in the Footlights group together. They would remain lifelong friends.In his thirties, Tony suffered a nervous breakdown and disappeared from public view for twenty years. He was addicted to cocaine and alcohol and in 2020 was the subject of a BBC documentary called “What's the Matter With Tony Slattery” in which he tried to find out whether he was bipolar.Presented by Matthew Bannister Produced by Ed Prendeville

Santa Claus: The Musical - Audio Footlights by The Children's Theatre of Cincinnati

Funny guy Phil Wang joins Grace this week for another helping of Comfort Eating. Phil has a textbook comedy career: president of Footlights at Cambridge University, graduating with agents sniffing at his heels; sell-out Edinburgh shows; and now purveyor of two Netflix comedy specials. Phil and Grace talk about how to supermarket shop with crocodiles in the aisles, how garlic sauce pervaded his student days and his justice campaign for reheating rice. If you liked this episode then have a listen to Grace's conversations with Jayde Adams, David Baddiel and Jamie Demetriou

TCT's podcast, Audio Footlights, will ignite, impact and inspire all of our young listeners to have a lifelong love of theatre. Hear behind-the-scenes tidbits and delightful insights direct from the artists working on our shows. Each free podcast runs 5 to 8 minutes and is available on iTunes as well as Stitcher, SoundCloud, GooglePlay, TuneIn and Spotify! Listen in the car, in your home — or even in your classroom. Flex your imagination and join listeners from all over the world!

Comedian, actor, Pointless presenter and debut author Alexander Armstrong, grew up in rural Northumberland where his musical ability and joy at being able to entertain began at a young age. He went to both school and Trinity College Cambridge on music scholarships and after a Footlights' writing stint, he went on to become one half of the BAFTA-winning comedy duo Armstrong & Miller If you're wondering where his passion for classical music began...his Inheritance Tracks will provide the answer.Inherited: Minuetto Allegretto by the Wombles Passed on: It Must Be Love by MadnessProducers: Ben Mitchell and Noa Dowling

TCT's podcast, Audio Footlights, will ignite, impact and inspire all of our young listeners to have a lifelong love of theatre. Hear behind-the-scenes tidbits and delightful insights direct from the artists working on our shows.

Thomas Mullen on Embracing Change and Pursuing Passion Ever thought about making a major life change later in life? Meet Thomas Mullen, who started his playwriting career at 59 and has since earned a master's degree from the University of Cambridge. In this episode, Thomas shares his incredible journey from journalism to theatre, offering valuable lessons on creativity, resilience, and pursuing your passions. Hear about his unique experiences with the legendary Footlights and gain practical advice on embracing change and pushing your creative boundaries. Whether you're contemplating a new path or looking for inspiration to elevate your current projects, Thomas's story will leave you motivated and full of actionable insights. Tune in for a conversation that could spark your next big idea! This episode is sponsored by Tom Mullens and Flags: The Play. We're grateful for the support. Learn more about Flags: The Play Learn more about the Broadway Bound Theatre Festival   Support the show. Buy me a coffee. Listen on These Channels Apple Podcasts | Spotify | Stitcher | Google Podcasts | Podbean | MyTuner | iHeart Radio | TuneIn | Deezer | Overcast | PodChaser | Listen Notes | Player FM | Podcast Addict | Podcast Republic |

Dominic is joined by the inimitable Emily Howes, author of The Painters Daughters, who is currently writing her second book, Mrs Dickens,  all about the life of Catherine Hogarth and her marriage to Charles Dickens … Emily is an alumna of Cambridge University, where she was a member of the famous Footlights. After gaining a First in English, she studied Lecoq at the London School of Performing Arts. She then went on to create work for theatre, radio and television. Highlights including two series of her show The Ladies BBC Radio 4, and performing in Tim Minchin's Rocking On for BBC Radio 2. Emily is also a recipient of the Hans Cohn Scholarship for the study of existential pyscotherapy … Support the showIf you like to make a donation to support the costs of producing this series you can buy 'coffees' right here https://www.buymeacoffee.com/dominicgerrardHost: Dominic GerrardSeries Artwork: Léna GibertOriginal Music: Dominic GerrardThank you for listening!

The Children's Theatre of Cincinnati, the nation's oldest professional theatre for young audiences, invites the young (and young-at-heart) to take a peek behind the scenes. Tommi Harsch (Dory) and Aaron Marshall ((Marlin) chat about TCT's production of Disney's Finding Nemo JR. Visit https://thechildrenstheatre.com/shows/disneys-finding-nemo-jr/ to learn more about this TCT production.

Joining us today is an esteemed actor and writer whose incredible career has seen him star in some of the county's biggest films and TV shows, write a plethora of successful children books and inadvertently set himself on fire - it's the lovely Ben Miller!We chat to Ben about how his dream career seemingly unfolded before his eyes, his enduring fascination with the legacy of our childhood and lasting advice he's found from the most unlikely of sources - including fellow Footlights alumni and former Blue Peter presenters!Ben's new book, ‘Diary of a Big Bad Wolf' is available here. You can watch the brand new series of Professor T on ITVx.For all the latest news, click here to follow us on Instagram! ***Please take the time to rate and review us on Apple Podcasts or wherever you get your pods. It means a great deal to the show and will make it easier for other potential listeners to find us. Thanks!*** Hosted on Acast. See acast.com/privacy for more information.

rWotD Episode 2487: Murray Gold Welcome to random Wiki of the Day where we read the summary of a random Wikipedia page every day.The random article for Saturday, 24 February 2024 is Murray Gold.Murray Jonathan Gold (born 28 February 1969) is an English composer for stage, film, and television and a dramatist for both theatre and radio. He is best known as the musical director and composer of the music for Doctor Who from its revival in 2005 until 2017. In 2023, he was announced to be returning to the series. Gold's other television work includes Queer as Folk, Last Tango in Halifax and Gentleman Jack. He has been nominated for five BAFTAs.Born in Portsmouth to a Jewish family, Gold initially pursued drama as a vocation, while writing and playing music as a hobby, but switched to music when he became musical director for the University of Cambridge's Footlights society.This recording reflects the Wikipedia text as of 00:53 UTC on Saturday, 24 February 2024.For the full current version of the article, see Murray Gold on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm Salli Standard.

This episode provides a biographical profile of acclaimed British comedian John Oliver. It follows his life from childhood in England through his breakout as a writer and performer on The Daily Show to hosting his own late night HBO program Last Week Tonight. The description covers Oliver's background, early comedy career, rise to fame in America with a witty British charm, and how he ultimately pioneered his own blend of insightful investigative satire. Key topics explored include his education at Cambridge, involvement with the Footlights comedy troupe, becoming a viral Daily Show correspondent, getting his big HBO break, and the impact of his sharp commentary on modern culture and politics. The piece offers insight into the experiences that allowed Oliver to become an admired comedic voice taking a uniquely intellectual yet entertaining approach to news.

In this episode of LIGHT TALK, The Lumen Brothers (and Sister!) interview Lighting Designer and Author, Michael Chybowski. Join Michael, Ellen and Steve as they pontificate about:  From Math to Light; The "Polar Route"; Sage Advice from Pat Collins; "Going on the Bus" with Lauri Anderson; Visualizing the Essence of the Music; Design Processes for Lighting Dance; Working at European Opera Houses; Writing the Book: "What is Lighting Design? A Geneology of People and Ideas"; Researching the History of Lighting Design and Designers; "Light is Based on the Existence of an Idea"; Anticipating "The Fourth Paradigm"; Simulating Nature and Representing the Imagination; Tharon, the "Powerhouse"; "Nothing Gets Over the Footlights to an Audience as Speedily as Thought"; The Raw Power of Angle; and Advice to Young Lighting Designers.  Nothing is Taboo, Nothing is Sacred, and Very Little Makes Sense.

The Children's Theatre of Cincinnati, the nation's oldest professional theatre for young audiences, invites the young (and young-at-heart) to take a peek behind the scenes. Juno Brosas (Cinderella) and TCT's Creative Project Manager, Cal Harris, chat about Rodgers & Hammerstein's Cinderella: Youth Edition. Visit https://thechildrenstheatre.com/shows/cinderella-23-24/ to learn more about this TCT production.

This week we're excited to present a panel of critics and programmers to discuss the significance of the late French film critic Serge Daney (1944–1992)'s thought today, with a particular emphasis on how his politically driven analysis and radical enthusiasms of the 1970s might speak to our contemporary moment. Film at Lincoln Center was proud to recently present Never Look Away: Serge Daney's Radical 1970s, a series that celebrated French film critic Serge Daney and the films he championed in his book La Rampe, occasioned by its long-awaited English translation under the title Footlights. Complementing this program was a panel that featured The New Yorker's Richard Brody, translator of Footlights and series co-programmer Nicholas Elliott, and moderator FLC Assistant Programmer Madeline Whittle. This discussion considered the relation between mise-en-scène and moral perspective, the cinema as an antidote to advertising, and the critic's role as an ally to filmmakers. Never Look Away: Serge Daney's Radical 1970 was sponsored by MUBI.

This week we're excited to present two conversations, the first with programmers Madeline Whittle and Nicholas Elliot about our upcoming retrospective, Never Look Away: Serge Daney's Radical 1970s, and the second with Kleber Mendonça Filho, director of the NYFF61 Main Slate selection Pictures of Ghosts, opening in our theaters on January 26th. Beginning Friday, Film at Lincoln Center presents a series celebrating French film critic Serge Daney and the films he championed, occasioned by the long-awaited English translation of the critic's first book La Rampe, now titled Footlights. The series runs from January 26 through February 4 and will feature a robust selection of works by master filmmakers, with many presented on 35mm or in digital restorations, accompanied by guest introductions. The programmers of the retrospective, Madline Whittle and Nicholas Elliot, spoke with Digital Marketing Manager Erik Luers about how they curated the lineup and the importance of Daney's writing and views on cinema. Get tickets at filmlinc.org/daney Never Look Away: Serge Daney's Radical 1970s is sponsored by MUBI. Learn more at mubi.com/en/flc The life of a true cinephile is one constantly haunted by the dead, as the history of the movies is a corridor of ghosts. Brazilian filmmaker and unrepentant cinema obsessive Kleber Mendonça Filho's new documentary—Brazil's official entry for Best International Feature Film at the 2024 Academy Awards—serves as a poignant testament to the liminal state of movie love. It tells, in three chapters, the story of his cinematic world—namely the city of Recife, where his youthful film education took place. At theaters like the Veneza and the São Luiz, Mendonça discovered a popular art form that would change his life; today, with the landscape of the city altering drastically, he surveys its empty rooms now pregnant with memories. This moving and playful film, as much about the architectural and social structures of a city as about the movies that inspire and haunt us, honors the personal spaces that are also the communal lifeblood of our urban centers. Enjoy the conversation from the New York Film Festival between Kleber Mendonça Filho and FLC Vice President of Programming, Florence Almozini. Get tickets to Pictures of Ghosts at filmlinc.org/ghosts.

Writer, comedian and broadcaster Sandi Toksvig was born in Denmark to a Danish father and English mother and was brought up in Europe, Africa and the United States. She's done it all; politics, children's books, theatre plays, the great British Bake Off, and taken part in pretty much every panel show worth its salt, including of course hosting QI, the much loved and quite interesting panel show she's hosted on television since 2016. She was one of the members of the first all female comedy groups at Cambridge's Footlights whilst gaining a first class degree, and in 2015 she co founded the Women's Equality Party. President of the Writers Guild of Great Britain, her writing credits take in radio, television and the stage. Inherited: Secret Love by The Oscar Peterson Trio Passed on: Don't Rain on my Parade by Barbara StreisandProducer: Ben Mitchell

Kevin has been a fixture on our tellies for so many years that we feel like we know him. But, actually, I didn't have a clue about his life story, so this conversation was really interesting for me. He tells me about growing up in what he refers to as an ‘architectural zoo' of housing from different eras. We talk about his involvement with Footlights, the famous comedy troupe at Cambridge University, where he collaborated with Stephen Fry, Hugh Laurie and Emma Thompson. And he explains why he's spent years living in a camper van and why his future home will definitely have a view of the mountains. Kevin is one of the most engaging and fiercely intelligent guests I've spoken to on Homing In and he's full of amusing anecdotes and top tips. I hope you enjoy the episode!For more: Watch Grand DesignsSubscribe to The Modern House newsletter for weekly interiors inspirationFind out more about Matt Gibberd's latest book, A Modern Way To LiveProduction: Hannah PhillipsEditing and mixing: Oscar CrawfordGraphic Design: Tom YoungMusic: FatherThis episode is sponsored by Vitsoe. Hosted on Acast. See acast.com/privacy for more information.

The Children's Theatre of Cincinnati, the nation's oldest professional theatre for young audiences, invites the young (and young-at-heart) to take a peek behind the scenes. Elli Maddock (Susan) and Christian Arias (Ensemble) chat about how they began performing, their favorite part of NARNIA THE MUSICAL, speaking in an accent, themes of the show, and the Lightning Round! Visit https://thechildrenstheatre.com/shows/narnia-the-musical/ to learn more about this TCT production.

Welcome back to Private Parts, the podcast where nothing is off limits.We're back with another Friday episode and what a way to end the working week. We're joined by the hilarious comedian turned poet, Tim Key. You'll know him from Peep Show, Alan Partridge's Mid Morning Matters and Taskmaster. Tim first appeared on the comedy circuit after he pretended to be a student at The University of Cambridge in order to get into Footlights, which took him to the Edinburgh Fringe. He then started out as a stand-up comedian, and after a few bad shows, retreated and started writing poems. He speaks to Jamie and Tom about all of this and more, including where his love of comedy came from, and tells the story of when he and Jamie became the very best of friends. Plus, he gives us an exclusive reading from his new anthology of poems ‘Chapters', which is available for pre-order here. It is due for release on 6th November.Tim's poem playing cards are available to purchase here. To follow Tim on Instagram, click here. Don't forget to follow us on all our socials by clicking here, and make sure you don't miss out on our weekly episodes by subscribing! Hosted on Acast. See acast.com/privacy for more information.

Welcome back to Private Parts, the podcast where nothing is off limits.We're back with another Friday episode and what a way to end the working week. We're joined by the hilarious comedian turned poet, Tim Key. You'll know him from Peep Show, Alan Partridge's Mid Morning Matters and Taskmaster. Tim first appeared on the comedy circuit after he pretended to be a student at The University of Cambridge in order to get into Footlights, which took him to the Edinburgh Fringe. He then started out as a stand-up comedian, and after a few bad shows, retreated and started writing poems. He speaks to Jamie and Tom about all of this and more, including where his love of comedy came from, and tells the story of when he and Jamie became the very best of friends. Plus, he gives us an exclusive reading from his new anthology of poems ‘Chapters', which is available for pre-order here. It is due for release on 6th November.Tim's poem playing cards are available to purchase here. To follow Tim on Instagram, click here. Don't forget to follow us on all our socials by clicking here, and make sure you don't miss out on our weekly episodes by subscribing! Hosted on Acast. See acast.com/privacy for more information.

My guest today is a stand-up comedian, writer, radio host and podcaster. Born in South Africa, his family then moved to the Isle of Man in the Irish Sea. He studied Anglo-Saxon, Norse and Celtic languages at Cambridge University, where he became vice-president of the Footlights comedy society. In 2014 The Guardian newspaper described his debut show at the Edinburgh Festival as marking the “dawn of a major talent”. Since then, my guest has delighted audiences with his wry and quick-witted observational comedy, both on stage, on the radio as co-host of The Frank Skinner Show, and on television with appearances on The Mash Report and World's Most Dangerous Roads. He also co-hosts the smash hit podcast BudPod with his long-time friend, collaborator, and friend of the show, Phil Wang. Thank you for listening to My Perfect Console. Please consider becoming a supporter; your small monthly donation will help to make the podcast sustainable for the long term, contributing toward the cost of equipment, editing, and hosting episodes. https://plus.acast.com/s/my-perfect-console. Hosted on Acast. See acast.com/privacy for more information.

Our pal Gizmo stops by with members from Footlights Theater to discuss a new show called "Dead Celebrity Monologues."

The Children's Theatre of Cincinnati, the nation's oldest professional theatre for young audiences, invites the young (and young-at-heart) to take a peek behind the scenes. Hear from Rosvic Siason and Edrico Evans-Pritchett, two actors currently on the road with TCT On Tour and starring in PINOCCHIO: THE WOODEN BOY. Find out more about the retelling of the classic tale, including the Lightning Round! Visit https://thechildrenstheatre.com/shows/pinocchio-23-24/ to learn more about this production and how to bring it to your school or venue!

The Children's Theatre of Cincinnati, the nation's oldest professional theatre for young audiences, invites the young (and young-at-heart) to take a peek behind the scenes. Henry Howland (Squidward) and Makenzie Ruff (Karen) chat about their start in theater, what audiences can expect from THE SPONGEBOB MUSICAL: YOUTH EDITION, and the Lightning Round! Visit https://thechildrenstheatre.com/shows/the-spongebob-musical/ to learn more about this TCT production.

Actor, writer, comedian and broadcaster Stephen Fry first made his name as a comic performer as a Cambridge University undergraduate with the Footlights company. He went on to forge a television partnership with his university friend Hugh Laurie on the sketch show A Bit Of Fry and Laurie and later the comic drama series Jeeves and Wooster, adapted from the PG Wodehouse stories. Among many stage and screen roles, Stephen Fry starred as Oscar Wilde in the 1997 film Wilde, for which he was nominated for a Golden Globe. He received a Tony Award nomination for playing Malvolio in Twelfth Night on Broadway, and was Lord Melchett over several generations of Blackadder. He's written five novels and three volumes of autobiography, and has presented numerous documentaries. A familiar face on British television screens, he has hosted award ceremonies and panel shows including the long-running quiz series QI. For This Cultural Life, Stephen tells John Wilson about how he first read the Wodehouse story Very Good, Jeeves when he was 10 years old and was spellbound by the comic language. He says that seeing a film adaptation of the Oscar Wilde play The Importance Of Being Earnest led him to read all of Wilde's works, beginning a lifelong obsession with the playwright. He reveals how being an avid fan of Arthur Conan Doyle's Sherlock Holmes novels led to his expulsion from school. He also chooses E.M. Forster's 1910 novel Howard's End as a huge influence, with its central theme of 'only connect' helping him make sense of his own emotional turbulence and intellectual ambitions. He also talks about spending time in prison on remand for credit card fraud, and being diagnosed as bi-polar after prolonged struggles with his mental health. Producer: Edwina Pitman

Robert Webb first reached a wide audience as the co-star of Channel 4's longest running sitcom, the BAFTA-award winning Peep Show. With his long-standing comedy partner David Mitchell, he also created That Mitchell and Webb Sound for BBC Radio 4, which transferred to TV as That Mitchell and Webb Look, which also won a BAFTA. Robert was born in Lincolnshire and first became hooked on comedy when his impressions of teachers made his school friends laugh. After realising that many of his comedy heroes had studied at Cambridge University, and were members of the Cambridge Footlights, he decided to follow in their footsteps. He took his A levels twice in order to win a place to study English there, and went on to become vice-president of the Footlights - where he met David Mitchell. Their comedy partnership has lasted for 30 years, starting out with shows for the Edinburgh fringe and writing for other performers, before enjoying TV success as a double act. Robert has also written a best-selling memoir, How Not to be a Boy, in which he reflects on masculinity, and a novel. In 2019, a routine medical examination revealed that he had a congenital heart defect. He underwent heart surgery and is now fully recovered. Robert lives in London with his wife and two daughters. DISC ONE: Do I Move You? - Nina Simone DISC TWO: The Old Fashioned Way - Charles Aznavour DISC THREE: Fool if you Think It's Over - Elkie Brooks DISC FOUR: Get A Life - Soul II Soul DISC FIVE: Metal Mickey - Suede DISC SIX: Being Alive, composed by Stephen Sondheim, performed by Adrian Lester and cast of Company and recorded in 1996 at Donmar Warehouse, London DISC SEVEN: How to Disappear Completely - Radiohead DISC EIGHT: It's Corn - Tariq, The Gregory Brothers & Recess Therapy BOOK CHOICE: Cultural Amnesia by Clive James LUXURY ITEM: A top hat and tails CASTAWAY'S FAVOURITE: The Old Fashioned Way - Charles Aznavour Presenter Lauren Laverne Producer Sarah Taylor

Since 1962 World Theatre Day has been celebrated by International Theatre Institute Centres, ITI Cooperating Members, theatre professionals, theatre organizations, theatre universities and theatre lovers all over the world on the 27th of March. This day is a celebration for those who can see the value and importance of the art form “theatre”, and acts as a wake-up-call for governments, politicians and institutions which have not yet recognised its value to the people and to the individual and have not yet realised its potential for economic growth. Says the World Theatre Day website. In this episode of BIC talks, we invited a cast of Bangalore theatre makers to speak to us about what they considered essential to their practice, to describe a toolbox, as it were, for a theatre artist highlighting what they felt necessary for mindful involvement in theatre. A second prompt was to pick a piece of text that has had an influence on their work. Subscribe to the BIC Talks Podcast on your favourite podcast app! BIC Talks is available everywhere, including iTunes, Spotify, Google Podcasts, Castbox, Overcast and Stitcher.

Welcome to The Old Dog Pack Show — the world's premier podcast regarding the mind, body, soul, and money of the middle-aged man. In Episode 80, our heroes discuss noodling, canoodling, bull riding, and other shit that men might be shamed into doing in order to impress their friends. But wait—there's more! The boys are able to reach the incomparable Christina Rees on the ODP Guest Line. Besides being the sister of host Dr. Brian Rees, Christina is a purveyor, surveyor, and curator of the arts and is a prolific writer. During a time in which many are scared shitless to speak their minds, Christina has penned an article about self-censorship that is a reminder that the good ol' days were, in many respects, better. After listening to this episode, you will undoubtedly be inspired, impressed and wondering which one of these two Reeses was adopted. You can check out Christina's fine work at TexasWhenIDie.substack.com. If you would like to do us a big favor, go on over to Apple Podcasts or Spotify and leave a 5 star rating and/or a short review. We may not deserve it yet, but we will one of these days. Click ‘subscribe' while you're there.  We'd also appreciate if you would share us with a friend. You can also check us out at olddogpack.com, where you can sign up for The Old Dog Pack newsletter. It may not be great, but it don't cost nothing.

My guest today is a is a British-Malaysian stand-up comedian and comedy writer. Born in the UK, when he was one week old his parents moved to Malaysia, where he attended school until the age of sixteen. The family then returned to England, moving to Bath in Somerset, which my guest once described as “a spa town for people who find Cheltenham too ethnic'. While studying Engineering at King's College Cambridge, he joined the Footlights drama club, of which he later became president. Since graduating, Wang has performed with the sketch comedy group Daphne, and become a fixture on British televisions, appearing on Have I Got News for You, 8 Out of 10 Cats Does Countdown, and as a contestant on the seventh season of Taskmaster. He also co-hosts the podcast Budpod with his friend and fellow comedian, Pierre Novelli, where, among many other things, the pair often discuss video games. Thank you for listening to My Perfect Console. Please consider becoming a supporter; your small monthly donation will help to make the podcast sustainable for the long term, contributing toward the cost of equipment, editing, and hosting episodes. https://plus.acast.com/s/my-perfect-console. Hosted on Acast. See acast.com/privacy for more information.

My guest is an online course mentor and former BBC comedy writer, Glen Long. Currently, Glen is an online course mentor, helping individuals and small teams to create effective and engaging courses, cutting through the hype that surrounds online courses. Before that, he was the "Course Creation Guy" for a 7-Figure Entrepreneur creating courses that generated over $1 million in revenue and served 1,000+ paying students. And before that, he was a Writer, Editor and Producer for BBC Comedy Online and worked with new writers and performers to create viral comedy videos. We had a fabulous conversation about his very interesting career to date. Talk about the career ladder as a jungle gym! Glen's path has not been a straight line. We start with the Footlights at Cambridge University, and his (our) experiences at the Edinburgh Fringe (we both performed at the Bedlam Theatre there). Then how he pitched comedy ideas (good and bad!) to the BBC, with some success. Before moving on to his very successful online course creating career. If you have an interest in creating a course yourself then you really should have a listen. Find out more about Glen and online course creation on his website: https://www.glenlong.com/ Or follow him on LinkedIn: https://www.linkedin.com/in/glenlong/ To find out more about Power To Speak coaching follow Jackie Goddard on LinkedIn https://www.linkedin.com/in/jackiegoddardpowertospeak/ Or message her through the website: www.powertospeak.co.uk For tips and techniques on improving your public speaking and getting in front of your audience, sign up for the fortnightly Power To Speak newsletter: https://landing.mailerlite.com/webforms/landing/h0x0h8 And download the FREE How To Impact, Influence and Inspire Your Audience E-booklet: https://landing.mailerlite.com/webforms/landing/r4g3m0

The Children's Theatre of Cincinnati, the nation's oldest professional theatre for young audiences, invites the young (and young-at-heart) to take a peek behind the scenes. Spring Starr Pillow, who plays Queen Helene in TCT's world-premiere adaptation of PRINCESS & FROG THE MUSICAL, interviews Ranease Brown, who plays Princess Acrimonia. Find out what lessons can be learned from the show, what they are excited about audiences seeing, and the Lightning Round! Visit https://thechildrenstheatre.com/shows/princess-frog/ to learn more about this production.

The Children's Theatre of Cincinnati, the nation's oldest professional theatre for young audiences, invites the young (and young-at-heart) to take a peek behind the scenes. Chris Logan Carter, who plays Sam the Snowman in TCT's production of RUDOLPH THE RED-NOSED REINDEER JR. interviews Henry Howland, who plays Comet, one of Santa's famous reindeer. Hear about what it's like to be part of a TCT holiday show. Visit https://thechildrenstheatre.com/shows/rudolph-the-red-nosed-reindeer-jr/ to learn more about this production.

The Children's Theatre of Cincinnati, the nation's oldest professional theatre for young audiences, invites the young (and young-at-heart) to take a peek behind the scenes. BRITTANY “HARMONY” HAYES who stars as the Fairy Godmother in TCT's production of DISNEY'S DESCENDANTS: THE MUSICAL interviews JORDAN DARNELL who plays her daughter, Jane, in the show. Visit https://thechildrenstheatre.com/shows/descendants to learn more about the show.

Would you go into business with a friend?  Jo Fisher is the Founder and CEO of Footlights, a performing arts company, which has 17 franchises and works with schools across the north of England.  She got into business at a ridiculously young age. As a young child she used to sit in the entrance to her house and sell items her neighbours no longer wanted to make money for sweets. She left school at 14 to work full-time and launched her first business, an underwear business, when she was just 18. When it started to grow she decided to bring in her best friend as a partner…and that's when things started to go wrong.  What happened? Listen to find out.  If you have any feedback, we'd love to hear it. What would make the show better? hello@secretleaders.com  Sponsor links: quickbooks.co.uk/secretleaders

Alice Fraser first studied law in Sydney, Australia, but found comedy and the Footlights while getting her Master's degree in rhetoric at Cambridge, and honed …

Stage Door (1937) / Hell in the Pacific (1968) This week we're moving in together, shacking up with the aspiring actresses of Gregory La Cava's Footlights club and staking out a claim on John Boorman's contested island beach

The Children's Theatre of Cincinnati, the nation's oldest professional theatre for young audiences, invites the young (and young-at-heart) to take a peek behind the scenes. Kyndra Jefferies, who plays Addaperle in the world-premiere of THE WIZ JR., interviews The Wiz, himself (played by Jazz McMullen). He even takes part in our Lightning Round! Visit https://thechildrenstheatre.com/shows/the-wiz-jr/ to learn more about the show.

The Children's Theatre of Cincinnati, the nation's oldest professional theatre for young audiences, invites the young (and young-at-heart) to take a peek behind the scenes. TCT's Artistic Director interviews Stage Director and Scenic Designer of ROALD DAHL'S MATILDA THE MUSICAL JR., Nate Bertone. They discuss the job of a director, what it's like to design AND direct a show, and Nate takes part in our Lightning Round! Visit https://thechildrenstheatre.com/shows/roald-dahls-matilda-the-musical/ to learn more about the show.

Mohammed was born in Leeds, West Yorkshire, England. His mother was a Cyprus-born general practitioner and his father was an Indo-Trinidadian legal professional. He was educated at Abbey Grange High School. He turned down an offer from Cambridge University and chose Durham University, where he was a member of St Aidan's College and played violin in the university orchestra.  He had auditioned for the Durham Revue twice but failed to get in and instead frequented the local comedy circuit. His interest in comedy prompted him to audition for the Footlights, which he did successfully. Following a performance at the Edinburgh Festival Fringe, he was contacted by a BBC producer.

Miriam was conceived in an air raid during WWII and brought up in a nice Jewish home with a charismatic mother. She became the naughtiest girl at Oxford High School and then grew up to be one of the world's best known actors

Miriam was conceived in an air raid during WWII and brought up in a nice Jewish home with a charismatic mother. She became the naughtiest girl at Oxford High School and then grew up to be one of the world's best known actors