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A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. On tonight's edition of Obbligato on APEX Express, which focuses on AAPI artists, musicians, and composers in the classical music world, host Isabel Li is joined by LA based performer and composer Richard An, who plays and creates new avant-garde music, usually with the ensemble House on Fire, and his music has been performed by the LA Phil and the Calder Quartet to name a few. Join us in our conversation, exploring the possibilities of avant-garde music, raising questions regarding Asian identities in the classical music world, and Richard's insights on art making during a time when Trump's cuts to the NEA are affecting artists and institutions nationwide. Featured Music: Sonatrinas: https://richardan.bandcamp.com/album/sonatrinas i got the electroshock blues: https://rasprecords.bandcamp.com/album/i-got-the-electroshock-blues   RICHARD AN (b.1995) is a performer and composer, born and raised in Los Angeles. Richard plays new music – usually with House on Fire – co-founded the tiny backpack new music series, and has performed with Monday Evening Concerts' Echoi Ensemble, Piano Spheres, The Industry and on Bang on a Can's LOUD Weekend. Richard plays piano and percussion, and has been known to sing, conduct, and teach. Richard's music has been performed by the Los Angeles Philharmonic Orchestra, Calder Quartet, HOCKET, C3LA, and more. His music has been released on CMNTX Records. Richard has a BM in Composition from USC and an MFA from CalArts. He is on faculty at the Pasadena Waldorf School, Glendale Community College and Harvard-Westlake. He plays taiko and tabla, and makes YouTube videos. Learn more about Richard's work on his website: https://richardanmusic.com/ Richard's social media: https://www.instagram.com/richardanmusic/ If you are in LA and want hear Richard's work, he's playing with House on Fire at the Sierra Madre Playhouse on August 17! https://www.sierramadreplayhouse.org/event/richardan2025   Transcript Opening: [00:00:00] APEX Express. Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the APEX Express. 00:00:46 Isabel Li Good evening and welcome back to a new episode of Apex Express on KPFA, 94.1 FM. We are bringing you an Asian and Asian American view from the Bay and around the world. I'm your host, Isabel Li, and tonight is a new edition of Obbligato, which explores AAPI identities and classical music. Tonight I'm joined by LA based performer and composer Richard An, who plays and creates new avant-garde music, usually with the ensemble House on Fire, and his music has been performed by the LA Phil and the Calder Quartet to name a few. Join us in our conversation, exploring the possibilities of avant-garde music, raising questions regarding Asian identities in the classical music world, and Richard's insights on art making during a time when Trump's cuts to the NEA are affecting artists and institutions nationwide. 00:01:41 Isabel Li Welcome to the show. Welcome to APEX Express, Richard. My first question for you is how do you identify and what communities would you say that you're a part of? 00:01:50 Richard An My name is Richard An I use he/him pronouns and I'm a second generation Korean American. My parents are both Korean. My dad came from Busan, which is a large city in South Korea, and my mom was born in Seoul and then moved to South America and then made her way up to Los Angeles where they met. And as for identity, like, I think Korean American would be the most accurate one. This is and I think an ever evolving part of first of all my identity and the way that it intersects with my practice and also I think that's the case with many Asian American artists, I mean artists from immigrant families, you know, the the matter of your identity, especially if you feel more distanced from it for one reason or another, is like an unsolved question for everyone like there is no one answer. That works for people and that's a thing that me people like myself I think will be exploring for our entire lives. When I introduce myself to people, I say that I'm a classical musician. And at the very core of it, that is true. That's not a lie. And I am, you know, a part of the classical music community in Los Angeles. But as time goes on, I have noticed and realized. That I tend to align myself more with like the avant-garde and experimental contemporary music communities of Los Angeles, which has certainly an overlap with the classical community, both in practice and historically, but yeah, I I would say those are the sort of two biggest ones, classical musicians and experimental avant-garde, contemporary musicians, whatever label you want to use for that. 00:03:47 Isabel Li Yeah. Some of our listeners might not know what avant-garde music entails. Can you — how would you describe avant-garde music to someone who might not be as familiar with this particular movement? 00:03:57 Richard An Yeah. So avant-garde music, a sort of flippant and joking way to to talk about it is ugly music or music. You know, my dad, for example, wouldn't like, but I think. It's music that either interfaces with elements or confronts facets or issues in music that aren't typical of other kinds of music. The music that you might hear that is labeled of on guard might be noisy or dissonant or uncomfortable, or any kind of, you know, adjectives that are synonyms for noisy or ugly, but I have come to love that kind of music, you know 1. Because of the the kind of questions that they might ask about our perceptions of music and two, because I guess one way to put it is that to be a classical musician, you need to be in a practice room for many hours a day for many years and go to what is unfortunately a college, which is usually very expensive and I guess for lack of a better term, paywalled for like you need to have the kind of resources that allow you to attend a four year undergrad and then a two year masters and then a three-year doctorate. But avant-garde music, contemporary music, experimental music doesn't necessitate that kind of thing. Often those musicians do have a background that gives them some amount of, you know, virtuosity or facility in an instrument. But like some of the best experimental musicians. Alive and some of the best ones that I know have no, like extensive training in a particular instrument and some may not have a degree in music at all. And that's one thing that I in like that separates it from classical music is that. 00:05:44 Richard An Classical music can be, unfortunately a little bit exclusionary. I don't think by any one specific design, but the fact that you need so many hours and very specific instructions from a mentor that necessitate that kind of relationship. But experimental music, I think does a little bit better job of diversifying or making it feel more equitable. 00:06:12 Isabel Li That's a great point, actually. One of my questions following up with that was what do you think is possible with this genre, which you kind of mentioned earlier with perhaps how this genre makes classical music a little bit more equitable for those who are interested in this field. In your experience, composing, what do you think makes the genre special, and how do you go about it? 00:06:35 Richard An One thing that I've noticed about being involved in the sort of contemporary experimental avant-garde music sphere is that it makes me a better listener, and I think other people who attend these concerts will agree. Like for example a large part of this kind of music is drone or repetition or, you know, like long spans of unchanging sound. And if the the sound that is being produced at face value is not changing, well then what do you notice about it? What do you grab on to and one of the most, I think, gratifying experiences is listening deeper and realizing that, ohh, even though you know for example this piano playing two notes for 30 minutes might not like the instructions will say to do the same thing for 30 minutes, but your experience as a human being will certainly change over those 30 minutes, even if the the notes are not like you will notice the slight fluctuations in the way that someone is playing, you will notice the beating patterns in the pitches on an instrument that may not be perfectly in tune, you will note other ambient sounds, you will note like you will notice so much more about the world when you are confronted with the kind of music that you know. You can say it forces you to listen to these sounds but also invites you to listen to these things. And I think that's really, really special. That's not to say that that can't happen with other kinds of music. Or even with classical music. Surely you know there are many, many ways to listen to everything. But I've noticed this within myself. When I listen to long, repetitive drone based music that it really opens my ears and makes me a more active participant as a listener. 00:08:30 Isabel Li It's a great point actually. Part of my work– because I studied music, history and theory in college– was how music can engage various listeners to participate. Have you composed anything that perhaps engages the listener in this more of a participatory setting? 00:08:47 Richard An Yeah. So I guess in order the some of the stuff that I've done to engage the audience, I guess both literally, and maybe more figuratively is, I wrote a piece last year for the Dog Star festival, which is a a contemporary and experimental music festival that is actually happening right now, at the time of this recording. It's a multi week long festival that focuses on music of this type that was founded by people in the sort of CalArts music world. But I wrote a piece for that last year for three melodicas, which are these basically toy instruments that look like keyboards, but you blow into them and you blowing air through these makes the sound happen. It's basically like if you cross a harmonica and a piano together. But I I wrote a piece for three of these, playing essentially the same notes. And because these instruments are pretty cheap, and they're often considered toys or, you know, instruments for children, they're not tuned to the exact way that, like a piano or a vibraphone or an expensive instrument might be. But I wanted to use that for my advantage. For example, if I play an F# on one melodica the same F# on another melodica will not be exactly the same and playing those two pitches together will produce what's known as a a beat or beat frequency. Which is, you know, a complicated, you know, mathematic physics thing, but basically 2 notes that are really, really close, but not quite together will create a kind of third rhythm because the the pitches are so close. Like, for example, if if I play an A at 4:40 and another A at 441, you will notice that difference of 1 Hertz inside of your ears. And that's a really cool phenomenon that happens explicitly because you were there listening to the piece. They don't happen necessarily, you know, like in, in recorded formats like, it's a very difficult thing to capture unless you are in the room with these instruments. And the fact that we had this audience of, let's say, 40 people meant that all forty of these people were experiencing these beat frequencies and another really cool factor of this is depending on where you are located in the room. With the way that the beats will sound in your ears are different and purely by the fact of acoustics like a wave bouncing off of the wall over on your left, will feel really different if you are closer or further from that wall. So not only do the audiences ears themselves, you know, invite these this this participation, but the pure physicality of each listener means that they will have a very slightly different experience of what the piece is, and again like this will happen in any concert. If you're at a classical show, if you're at a rock show if, if you're further from the stage, if you're further to the left or right, you will get a slightly different position in the stereo field that the musicians are playing in, but pieces like what I wrote and many others that exist emphasize this kind of like acoustic phenomena. That is really, really fascinating to listen to. 00:12:23 Isabel Li That's fascinating. And to get a sense of Richard's work, we'll be hearing coming up next. The short excerpt from his album Sonatrinas. This is the duo excerpt performed by Wells Leng, Katie Aikam, Kevin Good and composer Richard An himself. [COMP MUSIC: Sonatrinas (Excerpt: Duo)] 00:17:38 Richard An And so the back story for this piece is this was written for one of my recitals at CalArts. I was planning on playing this piece by Michael Gordon called Sonatra, which is a really, really beautiful and difficult piece for solo piano that I gave myself as an assignment, which I was not able to do with the amount of time. And, you know, like I just didn't give myself enough time to do this thing, so I still had this program of several pieces written with the idea of having this Michael Gordon Sonatra in the middle, but now that that sort of middle part was gone, there was a bunch of pieces about a piece that didn't exist. So in order to fill that hole, I wrote this piece called Sonatrinas which is a cheeky nod to the Michael Gordon Sonatra, but also to the fact that each part of this is kind of a diminutive Sonata form. Everything has a sort of ABA– here's some idea. Here's a different idea, and now we go back to that first idea. Every single part of this has a little bit of that in it. 00:18:51 Isabel Li Yeah, that's fascinating. Even the name itself reminds me of Sonata form in classical music, where it's kind of like an ABA section. As you sort of talked about earlier. And it's really cool that you're adapting this in a more avant-garde context. This is a reminder you're listening to Apex Express. Today we are interviewing composer and musician Richard An. 00:19:12 Isabel Li I think the general question that I have next is can you tell me a bit about what drew you to music and how you got your start in music, how you got introduced to it and what things have inspired you over the years? 00:19:24 Richard An Yeah. So a real quick sort of, I guess, history of my involvement with music is that I started piano lessons when I was pretty young, either three or four years old. I continued that until I was 12 or 13. I decided I really wanted to become a musician. I started taking composition lessons with this composer, AJ McCaffrey, who is really responsible for a lot of what I know and my successes, if you can call it that. He got me into a lot of the music that I am into now and set the foundation for what I would study and what I would write he was one of the instructors for this program called the LA Phil Composer Fellowship program, which back when I was a participant from 2011 to 2013, was a program hosted by the Los Angeles Philharmonic that took 4 high school age students every two years. And you know, they they taught us, you know, everything. How a young composer needs to know how instruments work, how to write a score, how to talk to musicians, how to do everything that a that a composer needs to learn how to do and at the end of this program, after the two years the young composers write a piece for the at the LA Philharmonic. So I was extremely lucky that by the age of 17 I was able to write a piece for orchestra and get that played and not just any orchestra, with the Los Angeles Philharmonic, you know, undisputedly one of the best orchestras in the world. Right. And then after that I I went to USC for my undergrad and then went to CalArts for my masters. And then here we are now. And that those are sort of the like, you know if someone writes a biography about me, that's what we'll be, you know, involved in the thing. But I really started to develop my love for music in my freshman and sophomore year. In high school I I started to get into more and more modern composers. I started to get into more and more noisy things and a lot of this coincided actually with the passing of my mother. She died when I was 14 and you know that in any human the death of a parent will cause you to reevaluate and rethink aspects of your life. Things that you thought were certainties will not be there anymore. So for me, I stopped taking piano lessons and I sort of went headfirst into composition and which is why my degrees are specifically in composition and not piano. Had my mother's passing not happened, you know, who knows what I would be doing now? Maybe I'm not a composer at all. Maybe I'm not into avant-garde music at all, but because things happen the way that they did, I suddenly took a quick turn into avant-garde music and my involvement there only grew more and more and more. Until you know where I am today, I'm almost 30 years old, so I've been listening to and a participant of this music for maybe 15 years or so and I'm quite happy. 00:22:43 Isabel Li That's awesome to hear. 00:22:45 Isabel Li And perhaps a testament to Richard one's very versatile compositional style and avant-garde music coming up next are three pieces from his album i got the electroshock blues. There are five pieces in the album in total, but we will be hearing three of them. The first one called “feeling, scared today,” the second one, “pink pill,” and the fifth one, “la la.” [COMP MUSIC: i got the electroshock blues: 1. “feeling, scared today”, 2. “pink pill”, 3. “la la”.] 00:36:41 Richard An Earlier last year, I released a collection of live recordings under the title of I got the Electroshock Blues. Electroshock Blues is a song by the band Eels I encountered at a pivotal moment in my life. This was right around the time that my mother passed and this record and this song is heavily centered in grief. The main musician in the Eels, Mark Oliver Everett, was dealing with the passing of multiple family members and people who were close to him so it hit me in just the right way at just the right time. And because of that, this song specifically has stayed with me for many, many years. I found myself coming back to the contents of this song as I was composing and all the pieces on this album, of which there are 5 heavily take material from this song, whether that's words, chords, the melody. I really, you know, take it apart, dissect it and use those as ingredients in the pieces that I have written here and all of these are live recordings except for the first piece which was recorded in my studio. I just sort of overdubbed the parts myself, and there are credits in the liner notes for this album, but I just want to say that. The first piece which is called “feeling, scared today,” was originally written for the Hockett piano duo, which is a duo comprised of Thomas Kotcheff and Sarah Gibson. Sarah Gibson was a really close friend of mine who passed away last year and now this piece which in some way came out of a feeling of grief now has renewed meaning and another facet or aspect of this piece is centered in grief now. Because this was dedicated to Thomas and Sarah. Yeah. So these pieces are all derived from this one song. 00:38:57 Isabel Li That's a beautiful response. Thank you so much. Kind of following along your background and how you got to where you are. How do you think your identity has informed your work as a composer and musician? And this could be– you can interpret this in any way that you wish. 00:39:11 Richard An Yeah, this is a really interesting question. The question of how my identity interfaces with my music. In my art, particularly because no person's answer is quite the same, and I don't necessarily have this figured out either. So for a little bit of I guess for a little bit of context on me, I'm second generation Korean American, but I've never been to Korea and I never went to Korean school. My parents never really emphasize that part of my education. You could call it assimilation. You can call it whatever, but I think they valued other aspects of my growth than my explicit tie to Koreanness or, you know my specific identity as a Korean or Korean American, and because of that, I've always felt a little bit awkwardly distanced from that part of my identity, which is something that I will never be completely rid of. So in in a world and the field where whiteness is sort of the default part you know, particularly because you know, classical music does come from Europe, you know, for hundreds of years, like all of the development in this particular kind of music did happen in a place where everyone was white. So because of that background of where I come from and where my musical activity comes from, whiteness has been the default and still feels like it is. So me looking the way that I do as, an obvious not white person, as a person of color will always have a little bit of an outsider status to the thing. And with that comes the question of what are you bringing to classical music? What do you bring to the kind of music that you're creating? Like for example, the most I think the most well known East Asian composers are people like Toru Takemitsu or Tan Dun, people who will interface with their Asianness, in many different ways, but that often involves bringing, for example, a Japanese scale into your classical composition, or bringing a Japanese instrument into your classical composition. Those are, you know, examples of of of pieces by Toru Takemitsu, and other, you know, very successful. Asian American composers now may do similarly. Texu Kim is maybe someone who can also give insight into this, but nothing about me feels explicitly Korean, maybe besides the way that I look. And besides, the way that I grew up a little bit like I've never been to Korea. What right does that give me as a Korean, to for example, use a Korean instrument or use a Korean scale? I've never studied that music. I've never studied that culture. I in in some arguments I would be guilty of cultural appropriation, because I, you know, have not done the work to study and to properly represent. And for example, like Pansori, if I were to use that in any of my music. 00:42:46 Richard An But then the the the difficult question is well, then who does have the right? Does being Korean give me all the license that I need to incorporate aspects of my identity? And if I am not Korean, does that, does that bar my access to that kind of music forever? Another way of looking at this is, I've studied North Indian Classical Hindustani music for a while. I've played tabla and and studied that music at CalArts and I really, really love playing tabla. It's it doesn't make its way into my composition so much, but it is certainly a big part of my musicianship and who I am and, like, but am I barred from using ideas or aspects of that music and culture and my music because simply for the fact that I am not Indian? Many musicians would say no. Of course you've done your homework, you've done your research. You're doing due diligence. You're you're representing it properly. And many people who study this music will say music cannot go forward if it's not like the innervated and continued and studied by people like me who are not explicitly South Asian or Indian. That's an example of the flip side of this of me using or representing the music from a culture that I am not a part of, but again, am I really Korean? I've never been there. I wasn't born there. I speak the language conversationally. But this is an extremely long winded way of saying that I feel a tenuous connection to my Korean this my Korean American identity that hasn't been solved, that isn't solved and probably will never be completely solved. But I think that's exciting. I think that's an evolving aspect of my music and will continue to be that way as long as I continue to be involved in music and as as long as I continue to write. 00:45:05 Isabel Li Yeah, absolutely. That's a wonderful response. Actually. I was, as I was studying different types of world music and learning how people kind of borrow from different cultures. There is this always, this kind of question like ohh, like which types of musical elements from which cultures can I incorporate and obviously the aspects of personal identity definitely play into that a little bit. And part of my senior thesis in college was studying AAPI artists in classical music, and specifically that there are a lot of Asian-identifying musicians in the classical music world. But as you kind of mentioned earlier, I think classical music is very much still like grounded in whiteness and has this kind of air of elitism to it just because of its roots. How do you think this kind of identity intersects with the classical music world? And forgive me if you've already kind of talked about it before, but it's an interesting juxtaposition between like, for example, musicians who identify as AAPI or Asian in this kind of genre that is very– it's very associated with whiteness. Could you kind of talk about the dynamics of how these two aspects of like culture kind of interplay with one another? 00:46:26 Richard An Yeah, absolutely. So, you know, there are ways that I personally feel like I intersect with classical music with reference to my identity, and that also plays with the sort of cultural expectations, like there are stereotypes of Asian musicians, of Asian classical musicians. But there are not necessarily the same the same kind of stereotypes with white classical musicians. A very dominant like stereotype that you'll run into is the young Asian prodigy who practices 10 hours a day and may therefore be labeled as mechanical or unfeeling or, you know, are involved in in this a lot. So much so to the fact to the to the point where to excel an Asian American classical musician or as an Asian classical musician, in general, seems to always carry that stereotype. Like you know, Seong-Jin Cho's success as a pianist may not necessarily be attributed to his musicianship or his skill as a pianist. Because he is an Asian person, an Asian guy. Like how much of his success is because of the perceived tiger mom-ness that he might have existed under? How much of it is attributed to the same type of stereotypes that are labeled like that that label the five year old pianist on YouTube that that is clearly better than I am? Like some of these stereotypes help and some of these don't, but the I think it's undeniable that they exist in a way that doesn't in a way that doesn't carry for white people in the classical music sphere. And I think part of that is that classical music is still rooted in its Eurological identity. I think I'm using that correctly. That's an idea from George Lewis. Eurological versus Afrological. The context that I'm using Eurological right now is specifically in reference to George Lewis, who is a composer, trombonist, and musicologist who, I think coined the two terms to differentiate the roots of different styles of music, and you know, I haven't read enough to confidently say, but classical music is Eurological by example and like jazz would be Afrological by an example and the contexts in which they develop and exist and grew up are fundamentally different, which is what makes them different from each other. And again like this needs a little bit more research on my part. 00:49:23 Richard An Yeah, and because the classical music is so rooted in this thing, I don't believe that the stereotypes that exist for Asian classical musicians exist for white people. And I think that is something that will naturally dissipate with time, like after another 100 years of Asians, and, you know, people of color in, you know, every country in the world, with their continued involvement and innova otypes will disappear like this. You know, it may require certain concerted efforts from certain people, but I do believe that after a while these things will not exist. They'll sort of equalize right in the same way. That the divisions that we make between a Russian pianist and a French pianist and a German pianist, though you know people still do study those things like those aren't really dividing lines quite as strong as an Asian composer or an Indian composer might be. 00:50:27 Isabel Li Thank you for that perspective. I think it's, I think these are conversations that people don't kind of bring up as much in the classical music world and it's great that, you know, we're kind of thinking about these and probably possibly like opening some conversations up to our listeners hopefully. And so my next kind of pivot here is as you know with our current administration, Trump has canceled millions of dollars in National Endowment of the Arts grants, and it's been affecting arts organizations all over the nation. And I was kind of wondering, have you been affected by these cuts to arts programs and what kinds of advice would give upcoming musicians or composers in this era? 00:51:07 Richard An Yeah, that's a yeah, that's a big thing. And like, you know, changing day by day, right. So the Trump administration's effects on my life as a musician is simultaneously huge and also not really that much. So in one way these grant cuts have not affected my personal musical life because I haven't ever received a government grant for any of my arts making. So in one way like my life is the same, but in many, many, many other ways it has changed. Like I am involved with and I work with concert series and organizations and nonprofits that do rely on NEA funding and other government arts based funding. And if they have less money to fund their next season, that means certain projects have to be cut. That means certain musicians have to be paid less. That means certain programs have to change, especially if these funding cuts are aimed towards DEI or quote and quote, woke programming like that is, you know this that will by design disproportionately affect people of color in this field, which already you know, like is in a Eurocentric urological tradition like this is already something that people of color don't have a head start in if the funding cuts are aimed at certain types of programming that will disadvantage already disadvantaged groups of people, well then I don't know, that's even–we're starting even later than other people might be, and you know, like, if a musicians, if a person's reaction to this is despair, I think that's reasonable. I think that is an absolutely, like that's an appropriate reaction to what is fundamentally an attack on your voice as an artist. But I I have for as long as I can, you know, I have always worked under the impression that I will have to do the thing myself, and that's in the piece of advice that I give for a lot of people. You shouldn't necessarily wait for this ensemble to come pick you to play or or to to, you know, commission you to write a piece if you want to write the piece, you should do it and figure out how to put it on yourself. If you want to perform you know music by a certain composer, you should do it and then figure out how to do it yourself. That certainly comes from a place of privilege, like I can do this because I have enough work as a musician to be able to pay for the the passion projects it comes from a place of privilege, because I live in Los Angeles and the resources and musicians and other people who I would like to collaborate with live here, so you know, completely acknowledging and understanding that I I do believe that it's better to ask for forgiveness than to ask for permission. I think if you're a young musician and are feeling some despair about these funding cuts and you know the many, many, many other transgressions against humanity by this current administration. 00:54:38 Richard An I recommend you just go out and do it yourself. You find your people, you find your community, you pull favors, you work long nights and you do it and the reward will firstly be the good you're putting out into the world and then the the art you're making. But also this will be paid in kind by the community you're building, the musicians you're working with. And the the connections you make like you know I I have, I am currently conducting this interview from a studio space that I am renting out in Pasadena that I have built over the last two years that I do all of my rehearsals and my performances in, and that I, you know, host rehearsals and performances for other people, and this cannot happen and could not have happened without the goodwill and help and contribution from other people. When I say go out and do it yourself, I'm not saying that you as a human being are alone. I'm saying you don't need to wait for institutional approval or permission to go out and do these things. Get your friends and do them themselves. And my optimistic belief is that the support and the work will follow. 00:55:53 Isabel Li Richard, thank you so much for sharing your perspectives and your voice on this show today. And thank you to our many listeners of KPFA on tonight's episode of Obbligato on Apex Express. Which focuses on the AAPI community of the classical music world. There were some inspirational words on arts and arts making by Richard An musician and composer based in Los Angeles. 00:56:18 Isabel Li Please check our website kpfa.org to find out more about Richard An and his work as well as the state of the arts during this period of funding cuts. 00:56:29 Isabel Li We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world, your voices and your art are important. 00:56:41 Isabel Li APEX Express is produced by Ayame Keane-Lee, Anuj Vaidya, Cheryl Truong, Jalena Keane-Lee, Miko Lee, Preeti Mangala Shekar and Swati Rayasam. Tonight's show was produced by Isabel Li. Have a great evening. The post APEX Express – 8.7.25 – Obbligato with Richard An appeared first on KPFA.

Send us a textThis week celebrates 4th of July by talking to two of the premiere outfielders in the Mission League, Ethan Price from Harvard Westlake and Isaiah Hearn from Chaminade. Denny talks about college recruiting, summer league, Jackie Robinson, Willie Mays and what it takes to become a division 1 baseball player."Swing Hard in case you hit it!" Denny Barrett

In the fall of 2026, Harvard-Westlake will open River Park (www.hwriverpark.com), a new campus dedicated to athletics, wellness, community partnership, and environmental sustainability. What you may not know, however, is that River Park was designed by a graduate, Steve Chung '89, the Global Practice Area Leader for Sports at Gensler. In this episode, Steve describes growing up in Van Nuys as a Bay Area transplant and finding community through following LA sports, a passion he leveraged into a long and meaningful career designing large-scale sports venues. These include BMO Stadium in LA, Snapdragon Stadium in San Diego, and the new LA Rams Village at Warner Center. Lastly, Steve discusses River Park, for which he feels unique pride as a graduate of Harvard School, which Steve calls the most formative educational experience of his life. Steve references Harvard School teachers Lee Carlson '50 and Carl Wilson as profound influences on his life and career in architecture.

Send us a textThis week Denny is in Georgia for the prestigious PBR baseball tournament. Denny talks to coaches from Harvard Westlake and J Serra about what the tournament is all about. Plus Denny has Hall of Fame breaking news. Join us for another episode of “Swing Hard” in case you hit it."Swing Hard in case you hit it!" Denny Barrett

Hey Dude, an innocent Sunday drive to the Hollywood Bowl box office with my dad, turns into a mudslide of deep hometown memories. QUOTE: "If you don't drive through your hometown, are you really in your hometown?" LULLABY: "Hooray for Hollywood" (Whitling/Mercer) MUSICIANS/CAST:  John Fogerty, Joan Anderson, George Clooney, Billy Strings, Bob Dylan LOCATIONS: The Hollywood Bowl, Hollywood, Hollywood Way, Warner Bros., Walt Disney Studio, Universal Studios, Cahuenga Pass, Highland Ave., Sunset Blvd, Los Angeles, California, Hollywood United Methodist Church, Hollywood Blvd., Hollywood High, Burbank High, North Hollywood High, In-N-Out Burger, Director's Guild, Laugh Factory, Laurel Canyon, Mt. Olympus, Laurel Canyon County Store, Mulholland Drive, San Fernando Valley ("The Valley"), Fryman Canyon Park, Capenter Avenue School, Ventura Blvd., Thrifty's, Studio City Theater, Carney's, Pinz Bowling Alley, Sportsman's Lodge, Weddington Golf & Tennis, Harvard-Westlake, Ringside Liquor, Henry's Tacos, Woodbridge Park, Jennifer's Coffee, Tujunga Village, Ernie's Taco House  PROPS: Saturday Stairs, "The Californians", Little League, "Rocky"  MUSIC: "All Along the Watchtower" SOUNDS: birds, gravel, footsteps, "The 5 Freeway",  Laguna Sawdust Cowbell Chimes   PHOTO: "Fogerty at the Bowl" shot with my iPhone XS RECORDED: May 26, 2025 in "The Cafe"  under the flight path of the Bob Hope Airport in Burbank, California GEAR: Zoom H1 XLR with Sennheiser MD 46 microphone. TOTAL RUNNING TIME: 16:29   FILE SIZE: 9MB GENRES: storytelling, personal storytelling, personal journal, journal, personal narrative, audio, audio blog HYPE: "It's a beatnik kinda literary thing in a podcast cloak of darkness." Timothy Kimo Brien (cohost on Podwrecked and host of Create Art Podcast) DISCLAIMER/WARNING: Proudly presented rough, raw and ragged. Seasoned with salty language and ideas. Not for most people's taste. Please be advised.

In June of 2025, Dr. Jon Carroll will depart Harvard-Westlake after thirteen years—the first three leading HW Aquatics and the last ten as a middle school dean. Jon is not departing to join another school community, however—but to build one. In the fall of 2026, Jon will open Jabali Academy, a K-8 independent school centered in Inglewood with the mission of inspiring excellence in students and preparing them for places like Harvard-Westlake. Jabali, which means “rock” in Swahili, is emblematic of the foundation that education provided in Jon's own life—growing up in West Philadelphia as the child of educators, attending both private and public schools, before college at the University of Pennsylvania and then a PhD from UCLA. Lastly and most affectionately, Dr. Carroll speaks about the excellence and influence of his wife, noted TV writer and showrunner Nkechi Okoro Carroll. In addition to Nkechi, Jon references Paul Lindenmaier and Roy Farrar of Germantown Friends School, Tyrone Howard of UCLA, and Howard Stevenson of UPenn as profound influences on his life and career.

Liz Neubauer Freinberg '98 is Chief Legal Officer and General Counsel for the LA 2028 Olympics. In this episode, Liz discusses LA28's proposed athletic venues, transportation challenges, and "Olympic Village" site—as well as the notion of LA28 as a “comeback story,” highlighting the city's aspirations to rebuild after January's devastating wildfires. Liz also tells her own story, as the eldest of five Neubauer sisters who all attended Harvard-Westlake—after which she attended Columbia and Michigan Law, worked for two influential judges, took legal roles at Munger, Tolles & Olson and TMZ, before finding herself helping to lead the 2028 Olympic games. Liz references Joy Taniguchi of Warner Avenue Elementary School, Karl Kleinz and Francine Applebaum Werner '68 of Harvard-Westlake, and two judges (Hon. Joseph A. Greenaway Jr. and Hon. Margaret M. Morrow), as profound influences and mentors.

Nicole Brown '98 is the president of TriStar Pictures, the famed Sony Pictures division responsible for producing many of the most influential films in movie history. In this episode, Nicole tells her story—from growing up in Culver City and attending public and private schools, before discovering Harvard-Westlake through the Independent School Alliance. It was at HW where Nicole met the late great performing arts teacher Ted Walch, who encouraged Nicole (a budding actor) to consider working “on” student productions—rather than "in" them. The message stuck, leading Nicole to study history and film at Columbia University, pursue a life-changing internship with Marc Platt and executive role at Good Universe, and then finally—seize the opportunity to lead TriStar in 2020. Nicole references Ted Walch of Harvard-Westlake, as well as film producer Marc Platt and Sony Pictures Chairman Tom Rothman, as profound influences and mentors.

In the season 6 opener, The Supporting Cast welcomes back its very first guest, Rick Commons, the Charles B. Thornton President of Harvard-Westlake. In this episode, Rick speaks to the many challenges and opportunities impacting today's HW students, from college admission and the promise of River Park (Harvard-Westlake's forthcoming third campus)—to fostering enduring HW values around civil discourse, diversity, and belonging. Rick also speaks poignantly and publicly for the first time about losing his home in the Palisades fire on January 7. A Pacific Palisades resident for more than a decade, Rick speaks about what drew his family to that community, what he's kept, and what he's lost. The Supporting Cast is grateful for Rick's time and participation in this series for a second time.

In this week's basketball coaching conversation, Harvard-Westlake head coach David Rebibo joins the Basketball Podcast to share Harvard-Westlake's championship formula.David Rebibo has transformed Harvard-Westlake into a national powerhouse and established himself as one of the premier coaches in California basketball.Under Coach Rebibo's guidance, Harvard-Westlake has become synonymous with excellence, capturing multiple CIF championships, including three state titles (2016, 2023, 2024) and sectional championships (2012, 2017, 2023). His program's dominance in the highly competitive Mission League - winning 7 titles in the last decade - speaks to the sustainable culture of success he's built.Beyond his 400+ career wins, Rebibo's impact on the game extends nationally through his work with USA Basketball, where he's helped develop some of America's top young talent. His coaching acumen has been widely recognized, earning CIF Coach of the Year honors multiple times (2016, 2017, 2024) and being named State Coach of the Year in 2020.Before Harvard-Westlake, Rebibo served as an Assistant Men's Basketball Coach at the University of San Francisco, where he helped guide the program to its best WCC finish in 20 years and an NIT berth. His head coaching journey began at El Camino Real High School (2007-13), where he built a powerhouse program that consistently competed for City Section championships.Rebibo's success at multiple levels - from rebuilding El Camino Real to his collegiate experience at USF to creating a national power at Harvard-Westlake - demonstrates his ability to develop talent and build sustainable winning programs at every stop in his career.

1:07 -- UCLA men's offensive struggles and what Coach Aaron Heisen would draw up to get things flowing 8:58 -- USC men's struggles to contain Michigan's Danny Wolf 12:20 -- Eric Musselman's comments on how his USC program needs to build its roster in the future 17:30 -- Mick Cronin jinxes himself on UCLA's three-point percentage v. Nebraska 21:00 -- Lauren Betts' dominance at UCLA 27:45 -- HoopLA power rankings: Lakers' Max Christie, CSUN's Marcus Adams Jr., USC's Kennedy Smith, Harvard-Westlake's Joe Sterling, and more

Our guest today is Head Coach Jet Academy EYBL, Assistant Coach Harvard Westlake Basketball, and Coach/Player Development Specialist!

Matson Montilla interviews Clemson women's soccer players Ally and Dani Lynch. In this interview, they talk about going to the College Cup for the first time in school history, the transition to college soccer, and how to excel at their positions (goalkeeper and defender). Later, they discuss what it was like winning their state championship at Harvard-Westlake in Los Angeles and growing up in an athletically competitive family. Furthermore, they talk about their recruitment processes, their dynamic on the field, and Clemson's goal for the season.

Tigers 2024 first round draft pick Bryce Rainer sits down with Jason and Dan to recount his journey from Harvard-Westlake standout to professional baseball player. The former two-way star explains why he ultimately made the decision to move away from pitching. How has Rainer's swing evolved over time? What was his first visit to Detroit to like? Also in this episode, Bryce shares his hottest food takes, favorite home run memory, and recalls swimming in Vin Scully's pool. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Our guest today is Father, Former D1 Player, Player Developer, Assistant Coach for Harvard Westlake, Edward Estevan ! Tune in as we discuss Coaching Elite Players at Elite Programs, Being the First Hooper of the Family, Being Elevated When Your An Assistant Coach and much more!

In 2017, a 31-year-old Nick Melvoin '04 was elected as one of seven members of the largest self-governing school district in the world, the LAUSD Board of Education. In this episode, Nick tells his story, from growing up in LA and attending Harvard-Westlake and Harvard College, before teaching in a Watts public school as part of Teach For America. The inequities that Nick observed there led him to partner with the ACLU in 2014 to sue the LAUSD on behalf of his students—a lawsuit he and the ACLU won—prompting Nick to attend law school and then public service in the Obama White House and then the school board. Now a decade later and viewing these issues as a policymaker, Nick speaks about the LAUSD's challenges—600,000 students, with 85% of LA kids living in poverty—and the delicate tensions around teacher compensation, teachers' unions, and school autonomy. Nick also discusses his recent resolution banning cell phones in all of LAUSD. Since the recording of this podcast, Nick's resolution passed. Nick references various educators at Harvard-Westlake, as well as Catherine Belcher of LMU and Mark Rosenbaum of the ACLU, as profound life influences.

Send us a Text Message.Recent Harvard-Westlake graduate Ian Kim swung by the studio to sit in the Playwright's Spotlight after the successful production of his second musical - Bakery of Love as part of HW's Playwright's Festival. We talk about making it look simple, the dangers of missing deadlines, musician collaboration and singer coordination as well as the meaning and benefits of safeties in a musical and writing for ranges. We also discuss transitioning from traditional playwriting to musicals and the process of the latter, commons songs types found in musicals, and terminology such as the bridge of a song. We wrap things up with trimming and cutting, cross-casting, changes during rehearsals, finding outside opportunities, and monetary prizes versus getting produced. Ian's a charming and talented musician with insight that will take him without doubt to a successful future. I hope you find inspiration from his interview. Enjoy! Ian Kim playwright, actor, and filmmaker as well as a recent graduate of the prestigious Harvard-Westlake in North Hollywood, California. His musicals Unauthorized Aid and Bakery of Love were both selected for the school's annual Playwright's Festival, and the former was produced at the California Young Playwrights Contest in San Diego, California. He begins attending Harvard next fall with an undeclared major. Click below to view the video format of this episode -https://youtu.be/20RJdGE8NosLinks to resources mentioned in this episode -MuseScore -https://musescore.org/enStephen Sondheim: Finishing the Hat -https://www.amazon.com/Finishing-Hat-Collected-1954-1981-Principles/dp/0679439072The Blank Theatre's Young Playwright's Festival -https://www.theblank.com/ypfCalifornia Young Playwrights Contest in San Diego -https://www.playwrightsproject.org/programs/contest/Unauthorized Aid Production Video -https://vimeo.com/832110714Socials for Ian Kim -IG - @ianbkimWebsites and socials for James Elden, PMP, and Playwright's Spotlight -Punk Monkey Productions - www.punkmonkeyproductions.comPLAY Noir -www.playnoir.comPLAY Noir Anthology –www.punkmonkeyproductions.com/contact.htmlJames Elden -Twitter - @jameseldensauerIG - @alakardrakeFB - fb.com/jameseldensauerPunk Monkey Productions and PLAY Noir - Twitter - @punkmonkeyprods                  - @playnoirla IG - @punkmonkeyprods       - @playnoir_la FB - fb.com/playnoir        - fb.com/punkmonkeyproductionsPlaywright's Spotlight -Twitter - @wrightlightpod IG - @playwrights_spotlightPlaywriting services through Los Angeles Collegiate Playwrights Festivalwww.losangelescollegiateplaywrightsfestival.com/services.htmlSupport the Show.

Dr. Ashley is a doctor of Chinese Medicine and Acupuncture, board certified acupuncturist and herbalist, Functional Medicine practitioner, and epigenetics expert in Los Angeles. She received her doctorate in Healthy Aging and Longevity and wrote her thesis on epigenetics, the study of how our genes are affected by our diet and lifestyle. During her last ten years as an acupuncturist at Dr. Soram Khalsa's busy Functional Medicine practice in Beverly Hills, Dr. Ashley performed over 50,000 treatments. She currently practices virtually in Malibu, CA. She specializes in Root Cause Medicine, cellular detoxification from mold, Lyme and environmental toxins, hormone balancing and epigenetics. She also co-founded Golden Path Alchemy, an organic skincare company based on the principles of Traditional Chinese Medicine. Dr. Ashley received her doctorate and graduate degree from Yo San University of Traditional Chinese Medicine and holds a degree in International Business and Marketing from the University of Texas. Dr. Ashley attended Harvard-Westlake high school in Los Angeles. Dr. Ashley practices homeopathy in Los Angeles, California, and has attended world-renown Dr. Luc DeSchepper's Renaissance Institute of Classical Homeopathy. She has studied the healing properties of herbs, holistic nutrition, flower essences, essential oils, light color therapy and whole foods for more than twenty years. Dr. Ashley combines all these elements to instill holistic lifestyle change. We discuss... -How she got to where she is today -Symptoms vs. Root Causes -Detoxing too fast -What really is detox? -Top 3 most common things she's seeing in her practice -How to get to the root cause -Mold toxicity, parasites, and heavy metals -Long haul covid -The legitimacy of food sensitivity tests Resources: Dr. Ashley's Instagram  Dr. Ashley's Website Follow the host, Claudia, here Heavy Metal Detox Anima Mundi - my favorite line of herbal products! get a discount with code: HEALING15

Tiffany Alexander Aldridge '87 is Director of Annual Giving at Harvard-Westlake, overseeing a program that leads all American day schools in overall dollars (raising more than $10M in 2022-2023). However, what draws Tiffany to the role is not the program's size, but its impact—which Tiffany and her family know personally. Tiffany grew up in South LA as the only child of a single mom, gaining access to Westlake School for Girls in 10th grade due to both her exceptional talent and the availability of need-based financial aid. It was this same combination of talent and resources that enabled her son, Chase Aldridge '15, to also attend Harvard-Westlake. While Tiffany's professional career has spanned various meaningful political and non-profit fundraising roles, in 2022 she seized the opportunity to return to HW and direct the very same program that profoundly impacted her family. It is a story that brings Tiffany quite literally to tears, imbued with gratitude for the role she plays now in creating more opportunities for students like her. Tiffany references Westlake educators Hope Boyd, Craig Deutsche, and Elizabeth Gregory as profound influences.

Kara Nortman '93 is co-founder of Los Angeles's professional women's soccer team Angel City. In this episode, Kara recounts her evolution from leading LA's largest venture capital firm, Upfront Ventures, to co-founding Angel City alongside partners Natalie Portman and Julie Uhrman in 2020. Since then, Angel City has not only garnered significant fan followings and profitability (quadrupling its revenue projections in year one), but also developed a profit model to enable community and philanthropic impact. Using Angel City as a model, Kara has since broadened her focus--leading a $150M raise to form Monarch Collective, whose mission is to invest in women's teams, sports, and rights across the world. Finally, Kara describes her own Harvard-Westlake story and personal connections to the team—noting that three of Angel City's stars, including team captain Ali Riley '06, Gisele Thompson '24, and Alyssa Thompson '23 are all HW alumnae. Kara references Jeanne Huybrechts and Barb Welch of Harvard-Westlake, as well as Alan Blinder and Lori Dauphiny of Princeton University, as profound educational influences.

The guys are back with another week of funny. The hosts give their comedic twists on the day's hot topics. Lewis Dix, TDP and Dannon hold it down. Jeff  Zoom in. Enjoy this hilarious episode!  If you enjoy the show, please support. Like, share, donate. Thank you. #inamansworld #morrismediastudios #blackcomedians #comedy #podcast #tiktokban #reesateesa #faniwillis #gorillagrippussypal  #LSUbrawl :00 - Deeper - Boss - RIP Queen. 2:10 - Disclaimer/Opener 3:33 - Show opens with Lewis, Jeff and Dannon -  5:40 - Lewis asks "why are black people always late?" 14:40 - Why is TDP wearing a mask? 17:35 - Jeff ask Lewis to sell hot dogs  20:05 - Congratulations to Lew for the Harvard Westlake win 25:19 - Why are men more sensitive these days? 27:10 - Jeff calls in about selling hot dogs 34:01 - Lewis goes back to the sensitivity issue 37:43 - Katt Williams and Monique Award title? 39:45 - Have you ever cried in front of your girl? 45:43 - Sheena gets nominated for a NAACP Image Awards 47:25 - What rapper's death were you affected by. 48:29 - What's your nickname 51:34 - Lewis speaks on "swing vs twerking" 55:11 - The Poetess Report - Tribute Boss who recently passed 1:01:53 - Tik Tok Ban 1:05:10 - Tik Tok the new celebrities - Reesa Teesa - Charlamagne The God comments 1:07:34 - Cee Moore calls in to chime in on the topic 1:15:34 - Fani Willis case update - Gorilla Grip Pussy Pal 1:20:50 - What's your nickname for people in your phone 1:27:27 - Teeder's Sport's Ticker  1:32:42 - Caller calls in on Fani Willis situation 1:42:01 - Jeff calls in from the Dime and shows Lewis his hot dog spot 1:46:48 - The Spit w/Dannon Green - The LSU Brawl 1:51:00 - Jet Beauty of the Week 1:53:17 - Donation Thank You's 1:59:12 - Mrs. Netta and Charles Show wrap up https://patron.podbean.com/inamansworld cash.app/$morrismediastudios Zelle: contact@morrismediastudios.com

On this new episode of the Samson Strength Coach Collective, we are joined by Harvard Westlake Sport Performance Coach, Kyle Casey. During the episode we discuss Kyle's strength and conditioning journey, how to develop a fluid middle to high school S&C program, and the main principles of Harvard Westlake strength and conditioning.

Robert Horry celebrates his son Christian’s team, Harvard Westlake, celebrating their second straight State Championship – as Chris gets ready to transition to UCLA this fall and get involved in the college program. On the NBA front we get into the perception of the Lakers “deep bench” as it’s touted by the media, and how the Lakers have flashes of greatness at times then drop games they should absolutely win. Plus with Jayson Tatum’s rough week, we argue if that takes him out of MVP contention, and who realistically deserves to win it at this point in the year, with SGA, Luka and of course Jokic in the conversation. And after Rudy Gobert caught a $100K fine for flashing the money sign at the refs, we wonder why there has been such a lack of consistency with fines among players and coaches this year. Brian Windhorst also gets whipped by everyone on the show for saying Allen Iverson’s shots “wouldn’t fly” in today’s NBA, we debate KG’s remarks about how the NBA botched LeBron’s 40K point milestone, the huge LSU-South Carolina debate in the women’s SEC Championship, and even kick around some of the craziness from this week’s NBA free agency. A 5-year-old basketball coach gets the Big Shot of the Week, and we put our tiny brains to the test against fifth grade cognition riddles that none of us can solve!

Our life's journey is a combination of joy and suffering, hope and disappointment. And while no one enjoys suffering or disappointment, what we see in the life of Jesus is a practice of responding to such suffering in ways that allow us to grow in spiritual maturity. The pilgrimage that we call life will not always be easy, but as Jesus promises in Matthew, it can be light. This Sunday, we will be joined by Rev. Anne Gardner, a chaplain at Harvard-Westlake, and the author of And So I Walked: Reflections on Chance, Choice, and the Camino de Santiago. We will explore the importance of pilgrimage in spiritual formation and the impact that walking the Camino de Santiago had on her. www.TheLoftLA.org

To this day, our favorite episode is still Joe Cha's first episode with us. We bring him on a second time to talk more about some of things we didn't cover as well as talk about his life updates. In this episode we talk about:How Joe lost $10MM selling his company to a publicly traded company that  suddenly filed for bankruptcyWhy Joe (Harvard-Westlake, Stanford, Harvard Business School) took his kids out of the Harvard-Westlake private school track and moved to rural WashingtonWhat Joe is going through taking care of his dying father with late onset Parkinson's disease

Save Weddington golf history, Sportszilla, and how in cahoots Harvard Westlake is with LA politics. Another Beatles lesson for Credere and the listeners. When customers attack. Sleeveless shirt over a t shirt. The therapy push for America, is it too much? Don't let the description fool you we were baked off Disco Bunnies (Brandon's Home Grown) so we took most of the topics lightly.

Mark Few and the Gonzaga Bulldogs recently offered 4* guard Trent Perry in the class of 2024, and Perry's latest top-6 included the Zags as well as Colorado, TCU, USC, Oregon, and Stanford. Perry is a 6'4 combo guard who is a late bloomer, a standard Zag recruit, and is teammates at Harvard Westlake with another Bulldogs target, 2025 4* Nik Khamenia, who is taking an official visit to Spokane for Kraziness in the Kennel.Gonzaga's non-conference schedule was finally released, without any surprises. Why aren't the Zags playing on the opening night of the season? And how many of their opponents will be ranked this year?Also discussed is Malachi Smith, who signed a training camp deal with the Portland Trail Blazers. Will he or Drew Timme make their NBA debut this season? And how many total Zags will play in the Association this year?Discord Server: https://discord.gg/c3XRuAWB2Link to national college basketball national podcast: https://linktr.ee/LockedOncbbhttps://linktr.ee/LockedOnZagsLocked on Zags - Part of the Locked on Podcast Network.Support Us By Supporting Our Sponsors!BirddogsGo to birddogs.com/lockedoncollege or enter promo code LOCKEDONCOLLEGE for a free water bottle with any purchase. You won't want to take your birddogs off we promise you.NutrafolTake the first step to visibly thicker, healthier hair. For a limited time, Nutrafol is offering our listeners ten dollars off your first month's subscription and free shipping when you go to Nutrafol.com/men and enter the promo code LOCKEDONCOLLEGE. Athletic BrewingGo to AthleticBrewing.com and enter code LOCKEDON to get 15% off your first online order or find a store near you! Athletic Brewing. Milford, CT and San Diego, CA. Near Beer.BetterhelpThis podcast is sponsored by BetterHelp.If you're thinking of starting therapy, give BetterHelp a try. Visit BetterHelp.com/lockedoncollege today to get 10% off your first month.GametimeDownload the Gametime app, create an account, and use code LOCKEDONCOLLEGE for $20 off your first purchase.LinkedInLinkedIn Jobs helps you find the qualified candidates you want to talk to, faster. Post your job for free at LinkedIn.com/LOCKEDONCOLLEGE. Terms and conditions apply.eBay MotorsFor parts that fit, head to eBay Motors and look for the green check. Stay in the game with eBay Guaranteed Fit. eBay Motors dot com. Let's ride. eBay Guaranteed Fit only available to US customers. Eligible items only. Exclusions apply.FanDuelMake Every Moment More. Right now, NEW customers can bet FIVE DOLLARS and get TWO HUNDRED in BONUS BETS – GUARANTEED. Visit FanDuel.com/LOCKEDON to get started.FANDUEL DISCLAIMER: 21+ in select states. First online real money wager only. Bonus issued as nonwithdrawable free bets that expires in 14 days. Restrictions apply. See terms at sportsbook.fanduel.com. Gambling Problem? Call 1-800-GAMBLER or visit FanDuel.com/RG (CO, IA, MD, MI, NJ, PA, IL, VA, WV), 1-800-NEXT-STEP or text NEXTSTEP to 53342 (AZ), 1-888-789-7777 or visit ccpg.org/chat (CT), 1-800-9-WITH-IT (IN), 1-800-522-4700 (WY, KS) or visit ksgamblinghelp.com (KS), 1-877-770-STOP (LA), 1-877-8-HOPENY or text HOPENY (467369) (NY), TN REDLINE 1-800-889-9789 (TN)Follow & Subscribe on all Podcast platforms…

Mark Few and the Gonzaga Bulldogs recently offered 4* guard Trent Perry in the class of 2024, and Perry's latest top-6 included the Zags as well as Colorado, TCU, USC, Oregon, and Stanford. Perry is a 6'4 combo guard who is a late bloomer, a standard Zag recruit, and is teammates at Harvard Westlake with another Bulldogs target, 2025 4* Nik Khamenia, who is taking an official visit to Spokane for Kraziness in the Kennel. Gonzaga's non-conference schedule was finally released, without any surprises. Why aren't the Zags playing on the opening night of the season? And how many of their opponents will be ranked this year? Also discussed is Malachi Smith, who signed a training camp deal with the Portland Trail Blazers. Will he or Drew Timme make their NBA debut this season? And how many total Zags will play in the Association this year? Discord Server: https://discord.gg/c3XRuAWB2 Link to national college basketball national podcast: https://linktr.ee/LockedOncbb https://linktr.ee/LockedOnZags Locked on Zags - Part of the Locked on Podcast Network. Support Us By Supporting Our Sponsors! Birddogs Go to birddogs.com/lockedoncollege or enter promo code LOCKEDONCOLLEGE for a free water bottle with any purchase. You won't want to take your birddogs off we promise you. Nutrafol Take the first step to visibly thicker, healthier hair. For a limited time, Nutrafol is offering our listeners ten dollars off your first month's subscription and free shipping when you go to Nutrafol.com/men and enter the promo code LOCKEDONCOLLEGE.  Athletic Brewing Go to AthleticBrewing.com and enter code LOCKEDON to get 15% off your first online order or find a store near you! Athletic Brewing. Milford, CT and San Diego, CA. Near Beer. Betterhelp This podcast is sponsored by BetterHelp.If you're thinking of starting therapy, give BetterHelp a try. Visit BetterHelp.com/lockedoncollege today to get 10% off your first month. Gametime Download the Gametime app, create an account, and use code LOCKEDONCOLLEGE for $20 off your first purchase. LinkedIn LinkedIn Jobs helps you find the qualified candidates you want to talk to, faster. Post your job for free at LinkedIn.com/LOCKEDONCOLLEGE. Terms and conditions apply. eBay Motors For parts that fit, head to eBay Motors and look for the green check. Stay in the game with eBay Guaranteed Fit. eBay Motors dot com. Let's ride. eBay Guaranteed Fit only available to US customers. Eligible items only. Exclusions apply. FanDuel Make Every Moment More. Right now, NEW customers can bet FIVE DOLLARS and get TWO HUNDRED in BONUS BETS – GUARANTEED. Visit FanDuel.com/LOCKEDON to get started. FANDUEL DISCLAIMER: 21+ in select states. First online real money wager only. Bonus issued as nonwithdrawable free bets that expires in 14 days. Restrictions apply. See terms at sportsbook.fanduel.com. Gambling Problem? Call 1-800-GAMBLER or visit FanDuel.com/RG (CO, IA, MD, MI, NJ, PA, IL, VA, WV), 1-800-NEXT-STEP or text NEXTSTEP to 53342 (AZ), 1-888-789-7777 or visit ccpg.org/chat (CT), 1-800-9-WITH-IT (IN), 1-800-522-4700 (WY, KS) or visit ksgamblinghelp.com (KS), 1-877-770-STOP (LA), 1-877-8-HOPENY or text HOPENY (467369) (NY), TN REDLINE 1-800-889-9789 (TN) Follow & Subscribe on all Podcast platforms…

This week, Alexandra Wolfe, daughter of the writer Tom Wolfe, reveals why her father excelled at the literary feud, skewering everyone from Norman Mailer to Anthony Haden-Guest. Then Alessandra Stanley explains why the people who just might save humanity are also the most loathed people on earth: lawyers. And finally, J. Clara Chan reports from Los Angeles on Harvard-Westlake, the prestigious prep school that has seen three student suicides in the past six months—and left administrators scrambling. All this and more make this a show you won't want to miss.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This week Coach Barrett and Harvard -Westlake's Coach Jared Halpert give their analysis of The Little League World Series. Will El Segundo's Louis Lappe be a future star for Notre Dame or Harvard-Westlake? What's Denny's and Jared's take on Little League and how do Coaches really feel about “involved” parents?"Swing Hard in case you hit it!" Denny Barrett

This week on “Swing Hard,” Denny Barrett goes head to head with his arch rival from Harvard Westlake, Head Coach Jared Halpert.  Actually,  it's a fun episode full of great baseball stories and life stories. Jared and Denny have a special baseball relationship that looks to have a future in Podcasting. “Swing hard” with Denny and Jared?"Swing Hard in case you hit it!" Denny Barrett

We talk about Shohei Ohtani, the Angels playoff chances, the Orioles, the Padres, Cody Bellinger, Lucas Giolita, Harvard Westlake, Saquan Barkley, NFL teams not paying Running Backs, and more!   The full video episode was a Live Stream on NoFilter.net - What is No Filter Network?  An interactive live streaming platform that allows viewers to “knock” and then instantly become part of the broadcast via nofilter.net. Click on link and scroll down to Big Ben & K Winn's vault to listen to the full episode: https://nofilter.net/profile/dENt4BqoNZVoSkIf3mQWJ4ww2Ks2  We love hearing from our listeners and hearing about which West Coast topics they enjoy the most: wstpodcastshow@gmail.com

This week we're joined by freelance foodstylist, Michele Chase, to talk about one of the valley's most storied private schools, Harvard Westlake. 

For the last 26 years, Senior Advancement Officer Jim Pattison has spent nearly every weekday waking up at 3:30 a.m. at his home in Goleta nad driving nearly 200 miles roundtrip to his office at the Harvard-Westlake Middle School. In this episode, Jim tells us why. It began with growing up with parents who encouraged Jim to “figure things out” through hard work and perseverance, and continued with degrees from Georgetown and Notre Dame that Jim had to finance himself. Finally, it's been driven by a belief in the nobility of facilitating philanthropy in schools like Harvard-Westlake. On the eve of his retirement after a quarter century of service, Jim also tells stories that shed light on who he is personally: the heartwarming story of how Jim met his wife, Kappy; as well as the story of Arlene Director Schnitzer '47—an alumna who faced crippling antisemitism on the Westlake campus in the 1940s, but who ultimately made a major legacy gift to that same campus seven decades later, thanks to Jim's empathy and care. In addition to his parents, Jim references Tom Hurt of Management Recruiters (Chicago), Nyle Kardatzke of Brookfield Academy, and Tom Hudnut and Michael Segal '75 of Harvard-Westlake as profound life mentors.

Such a juicy episode! Dr Ashley Beckman and I get into all sorts of healing modalities for root causes of chronic symptoms, with a heavy focus on working through mold exposure and mold illness. Dr Ashley is a brilliant healer, a leading detox and a root cause health specialist. During her last ten years in practice, she has worked with over 50,000 clients. She is based in Malibu, California and works with clients virtually worldwide. While working with Dr. Ashley you can expect to find true health and healing through assessing the root causes of your current health issues and stop only treating symptoms. As a functional medicine practitioner, Dr. Ashley has dedicated the last years of her work to developing healing strategies that are truly effective and targeted to an individual's needs. She combines her vast knowledge of Traditional Chinese medicine theory, targeted cellular detox and epigenetics (how our genetic expression is influenced by lifestyle factors such as diet, meditation, exercise and exposure to environmental chemicals) to create customized programs for her clients.   Dr. Ashley is a doctor of Chinese Medicine and Acupuncture and a board certified acupuncturist and herbalist in Los Angeles. She received her doctorate in Healthy Aging and Longevity and wrote her thesis on epigenetics, the study of how our genes are affected by our diet and lifestyle. During her last eight years as an acupuncturist Dr. Ashley has performed over 40,000 treatments. She practices with Dr. Soram Khalsa at his busy Functional Medicine clinic in Beverly Hills and in Malibu at Soul Space. She specializes in healthy aging, epigenetics, pain management, fertility, detoxification, headaches, stress reduction and facial rejuvenation. She also co-founded Golden Path Alchemy, an organic skincare company based on the principles of Traditional Chinese Medicine. Dr. Ashley received her doctorate and graduate degree from Yo San University of Traditional Chinese Medicine and holds a degree in International Business and Marketing from the University of Texas. Dr. Ashley attended Harvard-Westlake high school in Los Angeles. Dr. Ashley practices homeopathy in Los Angeles, California, and has attended world-renowned Dr. Luc DeSchepper's Renaissance Institute of Classical Homeopathy. She has studied the healing properties of herbs, holistic nutrition, flower essences, essential oils, light color therapy and whole foods for more than twenty years. Dr. Ashley combines all these elements to instill holistic lifestyle change. Find her @drashleybeckman and https://drashley.com/ Copywrite @amandapanacea thehealerrevolution.com --- Support this podcast: https://podcasters.spotify.com/pod/show/amanda-panacea/support

In the heart of San Francisco's Mission District sits a community gathering place called “Manny's,” where on any day one might find Kara Swisher interviewing a member of Congress, a Q&A with San Francisco's Chief of Police, a gathering of Gamers of Color, or meeting of the American Jewish Committee. All of this the brainchild of the space's founder and namesake, Manny Yekutiel '07. In this episode, Manny tells his story—from growing up gay and closeted in a Modern Orthodox home in the Pico-Robertson district, before obtaining a Harvard-Westlake brochure, applying to the school in secret, and then attending with the help of need-based financial aid. After a life-changing Harvard-Westlake experience, Manny was then elected student body president at Williams College, followed by a White House Internship and Watson Fellowship, and then finally San Francisco, where Manny now owns and operates what has become the structural embodiment of his own political passions and curiosities. Manny references Tamar Adegbile, Portia Collins, and Tom Hudnut of Harvard-Westlake, Katya King of Williams College, and San Francisco Supervisor Rafael Mandelman as profound life influences

Nik Khamenia should be on everyone's radar regarding the loaded 2025 class. With his ability to stretch the floor and guard multiple positions here is an example of the new-age wing that colleges are dying for. With offers coming from Nebraska, UCLA, and Gonzaga, he will definitely be someone to keep an eye on this summer as he rises up the ranks of the best sophomores in the country. Today, we got to talk about what it was like winning a California basketball state championship, going 33-2 with Harvard-Westlake, playing in the New Balance Prob16, and so much more! It's a great episode that is LIVE on all platforms now! --- Support this podcast: https://podcasters.spotify.com/pod/show/parker-g/support

David Rebibo, Harvard-Westlake Boy's Basketball coach, joins the show. David talks about his recent season winning a California state championship, coaching on the west coast, handling expectations and mentoring high school players.

Julia Boorstin '96 is CNBC's Senior Media and Tech Correspondent and author of the new book When Women Lead: What They Achieve, Why They Succeed, and How We Can Learn from Them. In this episode, Julia speaks about why she chose to look at female leadership through the prism of entrepreneurship, noting how few female founders receive VC funding, but how and why those who do find disproportionately more success vs. their male counterparts. Julia also recounts her own leadership journey, which she attributes in part to powerfully influential journalism experiences and history teachers, both at Harvard-Westlake and at Princeton. Julia references Kathy Neumeyer, Eric Zwemer, and Karl Kleinz of Harvard-Westlake; Philip Nord and Anson Rabinbach of Princeton University; and journalist Andy Serwer as profound life influences.

Doug Kezirian '95 is the host of ESPN's first-ever daily betting show, The Daily Wager. In this episode, Doug takes us through the legal and societal evolution of sports betting, and how a subject many regarded as “unseemly” a decade ago now finds a comfortable home on ESPN. Doug also describes his own evolution, growing up in LA as the youngest of five brothers, attending Harvard-Westlake, Philips Exeter, and Brown University, followed by a start in broadcasting he characterizes as “the minor leagues.” Beginning in small markets in Iowa and Missouri, Doug eventually made his way to Las Vegas, NV, where he became familiarized with a “legal” sports betting framework and community. After finally being “called up” to ESPN in 2012 (and as national sports gambling restrictions began to relax), Doug became the ideal person to host the network's first ever daily program devoted to sports betting. Doug references Kathy Neumeyer and Bob Archer of Harvard-Westlake, as well as journalist Eric Sondheimer, as profound life influences.

In the vast and challenging landscape of global health, the story of malaria has most recently been one great progress. Many Asian countries, including Thailand, are on the verge of eliminating the disease entirely, demonstrating a 90% decrease in cases over the past 15 years. Standing at the forefront of this fight is Jui Shah '02, who leads a malaria elimination team in Bangkok, partnering with Thai leadership to collect and translate disease surveillance data, designin strategies and policy considerations, all with the goal to bring the country eventually down to zero. In this episode, Jui describes both the nature of her work, and her long journey from Harvard-Westlake--crediting in part the transformational impact of financial aid. Jui describes how she could not have accessed great institutions like Harvard-Westlake, Georgetown, and Johns Hopkins were it not for need-based financial assistance. Today, Jui chooses to pay that gift forward through her work in Thailand, stating she feels "the responsibility to do something meaningful with all of the investment that has been made in me." Jui credits Nini Halkett and Javier Zaragoza from Harvard-Westlake, Chuck Weiss and You-Me Park at Georgetown, and global health leader Yazoume Ye as profound life influences.

Jarron Collins '97 is an assistant coach with the NBA's New Orleans Pelicans, and previous to that—a three-time NBA champion as an assistant coach with the Golden State Warriors. In this episode, Jarron speaks about the many coaches who influenced his championship journey, from Harvard-Westlake to Stanford to the NBA—each of them contributing a style and philosophy that Jarron incorporates into his coaching today. On a more personal level, Jarron also recounts when in 2013, his twin brother Jason Collins '97 came out to him as gay. Following this revelation, Jarron describes realizing two newfound responsibilities: first, to love and support his sibling; and second, to more broadly and publicly become a gay ally. Jarron references Greg Hilliard of Harvard-Westlake, Mike Montgomery of Stanford, and Jerry Sloan and Steve Kerr of the NBA, as profound influences.

Lily Collins '07 is an actor, producer, and centerpiece of the global Netflix phenomenon, Emily in Paris. In this episode, Lily joins The Supporting Cast from New York amid a massive press tour, wedged between late night talk show appearances, to speak about the responsibility she carries as both the series lead, and more broadly, as a public figure. To the latter, Lily describes her choice in the 2017 memoir “Unfiltered” to speak about personal challenges in her teenage years—including battling an eating disorder. Lily insists that a principal reason she felt so prepared to share her truth was the confidence, trust, and sense of community she gained from Harvard-Westlake Peer Support. Lily remains close to this day with her HW Peer Support friends, and credits the group's embrace with her finding such a strong personal and professional community as an adult. Lily references educators Christopher Moore and Jocelyn Medawar of Harvard-Westlake, as well as actors/filmmakers Sandra Bullock, Julia Roberts, and David Fincher, as profound life mentors.

In the fall of 2017, Harvard-Westlake acquired 17 acres of flat land in Studio City with the aspiration of building a third campus. More than five years later, the project, now known as Harvard-Westlake River Park, is potentially within months of gaining approval with the City of Los Angeles. To help provide insights into this transformational project is Harvard-Westlake CFO and River Park project lead, David Weil '93. In this episode, David speaks in detail about not only River Park's unique benefits to the health and well-being of Harvard-Westlake students, but also how the project will impact both the local community and natural environment—including the largest investments in environmental sustainability the school has ever undertaken. As Harvard-Westlake's Chief Financial Officer, David also speaks about managing a hundred million dollar financial operation, and how the school has managed to increase faculty and staff compensation at a higher rate than tuition for five consecutive years—a feat that should not be financially possible but that David has helped to make so. Lastly, David speaks about his own Harvard, Harvard-Westlake, and Pomona College experiences, and how the lessons of team sports have not only impacted him personally, but also make him the ideal leader for a community-centered athletic and recreational facility like River Park. David references Hans Palmer and Pat Mulcahy of Pomona College, in addition to Rob Levin of Harvard-Westlake, as profound life influences.

Award-winning, writer, director, actress Christina began her career acting in such cult films as Suburbia, Boys next door and Dudes. She was one of three women accepted into Fox Searchlights new director s program, her IFP nominated Best screenplay, debut feature, PERFECTION was part of their rough-cut labs, Independent film week and winner of The Adrienne Shelly female directing award.PERFECTION screened at The Oxford film festival where Christina won Best Actor and Best Narrative feature and also screened in the San Francisco International Women's film festival, the USA film festival in Dallas, Texas, The Egyptian theatre in Hollywood, CA, premiered at the RIO cinema London, The Quad cinema, New York and screened at The Laemmle' s Monica 4plex in Santa Monica, CA.Christina has sat on the juries for the London feminist film festival, the Eastern European film festival, the 100 word film festival, NC and has served head of the jury at the USA film festival, Dallas.Her upcoming projects include, EXPECTING GRACE set in Marseilles France, her short, HOOKER #2 and the punk rock pilot, POSEUR. Christina has lectured at The New York film academy, The Met School, London, Harvard Westlake, Cal State Fullerton and is an adjunct professor at Loyola Marymount University in Los Angeles in the film and television department.Show NotesChristina Beck's Website - https://www.christinabeck.comChristina Beck on Instagram - https://www.instagram.com/cbrubylee_xtinabeck/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistTranscripts Are Auto-GeneratedChristina Beck:I always say to my students, Pick stories that you love. Pick stories that you feel like you have to tell because you're gonna be living with that story and pitching that story way beyond the script. You're gonna be pitching it for grants, you're gonna be pitching it for festivals, you're gonna be pitching it for people to watch it online. You're forever pitching these stories. But to say something visually is powerful. I think it can change minds and hearts.Michael Jamin:You're listening to Screenwriters Need To Hear This with Michael Jen. Hey everyone, this is Michael Jamin and you're listening to Screenwriters. Need to Hear This. We got a special guest for you today. If you are an indie filmmaker, an aspiring indie filmmaker, you're gonna wanna listen to this. You're gonna wanna meet Christina Beck, who I've known forever. She's an old friend, independent filmmaker, but she's you. She also teaches at Loyola Marmont University and the Fame Stella Adler Theater where she teaches screen screenwriting as well as film producing filmmaking, all that stuff. Well Christina, welcome to the big show.Christina Beck:Thank you. Thank you so much. I was gonna call you Mr. Jam and it's a habit. I can't help it.Michael Jamin:It's a habit. There it is. Cause cuz Christina briefly worked for me as an assistant for me and my partner on a show. And then I force you to call me Mr. JaminChristina Beck:. it just kind of fell into this thing. Yeah, no, you did not force me. You didn't force me at all.Michael Jamin:I never did that.Christina Beck:But I will correct you Mr. Jamin. So I actually don't teach at Stella Adler. I teach at least Strassburg, but I could see where you would choose that. Oh, at least Strasberg. Yeah,Michael Jamin:Just I would think,Christina Beck:Right. Well, they're all,Michael Jamin:They're East Strasberg. Go to that one.Christina Beck:Yeah, but sad. They're not around anymore. But the legacies are for sure.Michael Jamin:I haven't been to West Hollywood forever. Yeah. And you guys see, you got your one sheet from, That's from Perfection. Let's talk about what you're at, some of your movies that you've done, cuz Christina is an indie filmmaker. She's a hustler. She makes her movie, she writes your stuff. You also started as an actor, right? Where, let's take me back to the beginning. You basically started, you wanted to be an actress, right?Christina Beck:Yes, yes. Yeah. So I grew up here in Hollywood, actually not in Hollywood. I grew up in the Valley. Let's get real about that. So I like to call it the main streets of Studio City. And although it was very different back then, I know today it's a unaffordable, you can't even get in there. But back in the day it was the suburbs, basically. And my folks were in show business. My father was a screenwriter and an actor, and my mother was an actress, a model kind of actress. She ended up studying in New York with some very significant people. Sandy Meisner had a full scholarship for the Neighborhood Playhouse, which was a big deal back in those days. But my beginning with acting really started just as a kid. being extremely bored in the valley and putting on shows. I was that kid. I was putting on shows, arranging the stuffed animals. If we ever had company, they were held hostage to my extravagant. Really? Yeah. It was Cabaret 24 7 and . I know. Yeah. You didn't know that about me. Yep. I didn't know that. Yeah.Michael Jamin:I also didn't know your dad was a screenwriter. I didn't know that as well. Did he work aChristina Beck:Lot? Yes, he didn't work a lot as a screenwriter. He worked a lot as an actor. So when he came out to Hollywood, he's from Texas originally, and he came out to Hollywood and straight away got signed to William Morris, got put under contract at Universal and did a bunch of movies. But then he did westerns. I always played the bad guy on Bonanza andMichael Jamin:Yeah, Christina, I didn't know your Hollywood royalty Well,Christina Beck:A little bit, yeah. Yeah. Oh wow. Definitely the lineage is there. Yeah. But his real love was screenwriting. He didn't love acting. He really did fall into it. And he had a great look and he was a cowboy, so he played a cowboy, but he wasn't even really a cowboy. He's just from Texas. But yeah, there's this really great story. So Robert Blake, who some of us know strange stuff all around that guy. But that said, back in the fifties, he was friends with my father was friends with him, and Robert Blake had a part where he had to ride a horse. And my dad said, All right buddy, I'll take you out. And they went to, I think probably, well, I don't know what it's called now, but it used to be called Pickwick, which is in Burbank near Disney. They went out over there and not only did he teach him how to ride a horse, he helped him learn his lines. And because I heard this story later after my father passed Robert said, Your father, he really sat with me in this tiny little apartment and he had me drill my dialogue and I got the roof because of him and just very sweet old school. Wow. Hollywood, stuff like that. But that said, when my father wasn't working as an actor, he was always in his, it was dad's den type, type type, type type. He was always working on screenplays and he loved writing.Michael Jamin:Yeah. Do you feel the same? Do you acting more, writing more for you? Well, are you like your dad orChristina Beck:Not? No. Yeah. No, I'm not like my dad. I, there's bits of me that I like him, but it's more acting was definitely the first bug. And like I said, putting on shows at home. But then I got kind of lucky, I was in the valley still. So on Ventura Boulevard near Vineland there was this place called Moral Landis Dance Studio. And my mother used to go and take a jazz class there. This is the late seventies. And next door was a place called the American National Academy of Performing Arts. So I kind of wandered over there and at this academy place, and I ended up joining an acting class. And my very first acting class, an acting teacher, was a man named Francis Letter. And I didn't notice at the time, so I'm like nine years old, 10 years old, and he is about 80 or maybe seven in his seventies. And so I joined this acting class and then he asked me to be in the adult acting class, and I gotta play all the juicy, the bad seed and just fun stuff like that. Oh wow. And so it turns out that later on I found out that he was a big deal and he was in Pandora's Box, the silent film starring opposite Louise Brooks. And he's, and he did a ton of stuff for a long time. And then he was part of the actor studio in New York, and he was from Eastern Europe, but came over here right before the war, I think, . So that's when I really just was in heaven as a kid acting in this class. And then I also did some commercials with my brother. We were in some commercials. And then I became a teenager, , and then I became really rebellious and mm-hmm got into the punk rock scene and completely fell in love with music and artistry. I mean, really at that time too, this was the early eighties when punk rock wasn't necessarily vi What's so funny,Michael Jamin:Cause I can't picture you doing being into punk rock. I guess it,Christina Beck:I got pictures. I got pictures, and I've actually written the whole show about it. Yeah, I . But all that to say, yeah, I, I never wasn't like the punk rock chick. I more, I liked the artistry of it. I liked the right, And when I say that, I mean there were a lot of wonderful, cool artist people that I'd met mostly, much older than me at the time, but they were musicians and writers and actors. But they were on this kind of rebellious thing where we don't need permission to do anything, we just get to be creative. And that's what I loved mostly about that whole scene. And then there were different facets of it that were cuckoo and, and intense and lots of drugs and lots of alcohol and lots of inappropriate stuff. But then I got cast in a movie, so now it's my late teens.And my best friend, she was well there is a woman named Penelope's Theorists who has made films that we know of Wayne's World and different Hollywood films. But at that time she had made a documentary called The Decline of the Western Civilization, which is a really amazing film even to this day because she really got into that la punk rock scene at that particular time in space. And it was an incredible film. And she wanted to make a narrative film. So she wrote a script and got it produced by a furniture salesman guy. And I think Roger Corman of course. And so I got cast in that. And like I said, I was in my late teens and at that time I was kind of over punk rock and I was like, Eh, don't wanna, this is stupid. But I ended up doing it. And that is where I really was like, okay, this is the way I wanna spend the rest of my life.I loved being on set. And to answer your question, it's really tricky. I love in the realm of all that we do in terms of writing has its moments and then the pre-production, but being on set to me is definitely my favorite. And post is a whole nother exploration. But yeah, so it was from that moment on that I was just like, Okay, this is what I wanna do. And I did a couple more films with Penelope and then I moved to New York City and I wanted to be a real, I also felt like, okay, I didn't really, I need to be a real actor. I really have. And soMichael Jamin:A theatrical actor, is that why you moved toChristina Beck:New York? Well, yeah, I mean I love theater and my very best friend, you might know her, Cynthia, Man. Oh, okay. Yeah, it's Shannon. Familiar . Yeah. So we wereMichael Jamin:Frozen. That's how I met my wife. That's how I met her. I met you through her. I met you honestly, Christina. That was the first time it was really, I met you really on real early on, but go on. When I was with Cynthia. Really? Yeah. Tour or something.Christina Beck:I know, it's so great. Michael Jamin:But go on. AndChristina Beck:So Cynthia was in New York and at that time, for me, I felt like I really wanted to study and be a serious actor because I come from more of a film background. I did study a bit with Francis, but I really wanted to pay my dues as an actor. And I, I studied with a bunch of different great people. I auditioned for everything that was there at the time. AndMichael Jamin:Tell me, I'm gonna interrupt for a second, hold on. But tell me what your thoughts are, the difference between acting for film or television and acting for the stage.Christina Beck:Well, in my experience and what I'm also kind of revisiting lately, well when you're acting in film, it's very subtle. There's a camera and the camera picks up everything. And so when you're on stage, you are playing to the back row. People in the back need to see and understand what's going on. And it's just a very different, and I think most actors can do both. Some are, I guess more comfortable doing one or the other.Michael Jamin:But when you study and you train, do you sometimes study specifically or did you specifically for film versusChristina Beck:No, no, I didn't. No.Michael Jamin:Are are classes like that? Yeah. Just forChristina Beck:Fun. Yeah. Yeah. There's like on camera classes where people, it's for auditions I think, but also to get to practice how you come off on camera. Yeah. I never did that . I never, yeah. Really did that. But here's a weird, maybe creepy thing. Ever since I was a kid though, I always felt like there was a camera on me. , I would visualize, I could almost disassociate a little bit, this is a psychological thing here, but I felt, I would kind of imagine walking to school, what would it be if this character was walking to school? I almost was above myself a little bit watching myself. And that's a weird thing to say cuz actually when you're acting in a film, you really shouldn't be watching yourself. But that's where I am also a director. SoMichael Jamin:In other words, you were visualizing visualize how you would shoot yourself or is it more of Yeah. Was it more of a fantasy thing or how would I appear on, I wanna shoot myself if I was walking down the street?Christina Beck:Yeah, it's more the that one. And of course a little bit of fantasy, but it was escapism. But it was also, I was sort of able to take myself little Christina walking to school fifth grade out of it and see it from this other angle. And I don't know what that's about, but I do now I I see things that way all the time.Michael Jamin:Really How you would shoot it, where you would place the camera Christina Beck:Or where is the camera? Yeah. And it's such a funny thing cuz we live in a world now where everyone has a phone and everyone is documenting, everyone is shooting themselves. And that's a little different. But I guess it's similar in a way.Michael Jamin:Did you have film equipment when you were that Young? Christina Beck:I mean, Well my dad I none. We really didn't. My dad, no, my dad did my made some super great films and actually. Yeah, we did a lot of home movies when I was little. So I was usedMichael Jamin:To with sound.Christina Beck:No, no sound. No, it'sMichael Jamin:Interesting.Christina Beck:So yeah, yeah, being tied up on a tree and then my brother coming up on a horse and all sorts of me crying. Yeah, I got it. I got it all.Michael Jamin:Wow. Then so after New York, so how long were you in New York?Christina Beck:Three years. I was there for three years. AndMichael Jamin:Then what made you decide to come back?Christina Beck:Well, I wrote a play and that's kind of what happened. So I'm in New York, I'm studying, I'm auditioning for Everything film. I remember that there was one year where I really went out for everything that was shot in New York or anywhere around there and didn't get anything. And at the time I was studying with a woman at Playwrights Horizons who was a writer and an actress. And she said, Listen, you guys really should start writing characters that you feel you could play or just more of an empowerment in terms of instead of waiting around for everyone to give you a role, write something. So a bunch of us did, and it really started out by writing monologues. So I was in a group of women and we formed a little theater company and so we wrote characters and monologues for these characters and then we put it up and that was really great. And then I gotMichael Jamin:You. Don't skip that step. How did you put it up? How do people stage playsChristina Beck:You a lot of time? Well, at that time, at that time, which was a long time ago we raised a little bit of money, kind of similar to a lot of independent film stuff. But we raised a little money, family and friends type of thing. We actually did it at the Samuel Beckett Theater, which was where Playwright Horizon, I think they're still there on 42nd Street, I think eighth and ninth, 42nd Street, . And we put it up for a weekend and we got reviewed and we got in. It was great. It was super fun. And it also felt like I started to feel more complete as stuff that I could do as an actress. I always, I didn't, waiting around, I don't waiting for, I just felt like I have more to do and I was always journaling and stuff as a kid and as I got in my teens.And so writing to me didn't feel that far off from what I was already doing. And coming into it as an actor, I knew I've read enough plays and I've read enough monologues to understand how to write in that form. So I ended up when I was living in New York, I'd come back to LA and visit in the summers. Cause summers are horrific in Manhattan. So there were some musicians that I met that were doing some kind of cool stuff. And this one guy played, he had a character that he did. And so I wrote a play. I kind of inspired me to write this play about him. He was playing a lounge singer and he, his friend had this group and it was kind of rock and roll stuff, but then they would go into a lounge sort of thing. And I thought, oh, that would be funny to, what would it be if these lounge singers had a kid and tried to live their life? And it was a little autobiographical, the father's alcoholic and the mother's sort of obsessed with her beauty. And so these themes started to come up in my work. So I wrote this full length play and there was music in it too. And then we also shot some video footage, so it was sort of like a multimedia thing. So I kind of had to come back to LA to do that.Michael Jamin:So you staged it?Christina Beck:Yes. I didn't direct it, so I wrote it and I starred in it. But a friend of mine this woman named Modi, who I met from the punk rock days, but also she was Penelope's assistant on some of the film stuff I worked on with her and was a video director in her own. And so she came in and she directed it and it was great. It was amazing. It was.Michael Jamin:And how do you even get the theater to put it up?Christina Beck:We raced a little bit of money and then we got producers and they put it up up.Michael Jamin:What do you mean? How does that work? You got producers, what doesChristina Beck:That mean? Yeah, so the woman who played my mother in this is an amazing singer, artist, actor. Her name is Jane Cotillion. And so she loved the play and she said, Oh, I know this guy Billy DeModa and he's a casting director and maybe he could produce it. And he didMichael Jamin:. This is just from being out here, just from honestly, just meeting people, being in circles, taking acting classes and because that's the thing about la everyone's trying to do something right?Christina Beck:Absolutely, yeah. I mean think it's now because of Zoom and different things in the world and there's so much more accessibility. I think it's possible to collaborate and not be here. But all that said, especially at that time, you had to be here. And I do think it's still important to be in the place where you wanna be if you can. And these people I knew, so I knew about the guy, his name is Manny Chevrolet and he and his friend had this act and they were opening up for the Red Hot Chili Peppers and I knew them from suburbia, which was the movie I did with Penelope I knew. And so it was kinda a group of people that I already knew. And then the musical directors, this guy named Tree, who's good friends with, and they were just all these people that kind of organically came on board.Michael Jamin:Interesting. And tell me, but how do, you're also, obviously you've written and directed and produced a bunch of movies, indie movies, some are shorts, some are full length, but do you go about, alright, so you work on the script. How long do you work on the script and when do you know it's done?Christina Beck:Yeah, that's a great question. And then everything's a little bit different. So with short films, well I'm teaching a course right now, so I feel like I already have this in my mind. Short film is one idea and that script can take a long time to write. It's not easy to write a short film because basically you're trying to squeeze in this one idea in a way that has a beginning, middle, and end. So you don't have the luxury of necessarily three acts, but you have to have this.Michael Jamin:How long is it short for you? Well,Christina Beck:Okay, so that's another great question because what I have learned now, I think a sweet spot for a short is anywhere from 10 to 12 minutes. I think if you can sit, do it in a shorter amount of time, even better because depending on what you wanna do with it. So there's a whole film festival world, which is pretty much the best place for your shorts to be seen if you can get them produced. So it's a matter of programming these films. So if you have a film that's 20, 25 minutes, that obviously takes up more time. And most film festivals, they program the short films in a block. So they're literally trying to pack in as many as they can and good ones. And it's all different too because the academy nominated films, they can be up to 40 minutes. But even again,Michael Jamin:When you say program, when they're looking for blocks, what is their intention?Christina Beck:Well, they'reMichael Jamin:Showcasing what I mean, you have to understand that right as well. How does the film festival, how do they make money so that they would want you?Christina Beck:Right. Well that's a whole other thing. So there's different kind of aspects to that. So there's short films that are star driven, meaning you can put a star name in it. Now that always brings money and cache to a festival but not you can make a great short film and not have a star in it, is really what I wanna say. Because a good short film is something that has a very original idea. Again, it's short enough where you want more basically. And it's not making a feature and then picking a scene from the feature and making a short out of it. Sometimes you can create characters or create a separate script. So I made a short film for Fox Searchlight, I got in this new director's program with a feature script and they would not let us just take us a scene from the feature.They were like, no, no, no, you have to make a short on its own, but with the same characters and the same relative premise. So that's kind of how I learned about that trap. But to answer your question the short films that get noticed at festivals or can even get into a festival are ones that are very authentic to whatever the genre is and the writer's vision. What are you talking about? Is it something, And that's also a weird trap too, because as a writer, I don't wanna be thinking about a festival, you know? I mean that's way down the line. But you have to live in both of those realities in a way. Because if this is a calling card as a writer or as a director of Indy films you have, it's good to keep in mind, okay, I'm not gonna write a 45 minute short film and expect it to be programmed. That would set myself up to fail if I could write. WhenMichael Jamin:You say programmed, you mean, what do you mean by programmed? Are they gonna play for that weekend?Christina Beck:Yeah, so in a film festival, they have a program of films they have, whether the festival is a week long or a weekend , depending on what festival it is. But for instance, let's just say Sundance, I believe a week. So there's some pretty intense statistics that I just found out from a friend of mine. So they had the largest amount of submissions of short films this past year than ever over 10,000 short films. And they only program 59 films. So wow. like, oh my God. And Sundance is wonderful and amazing and if you can get in, great, It's not the only festival. There's a gazillion festivals and anyone is a great experience to get in and go to have that festival experience. But to answer your question about programming , are we there? The people that program the festivals are people that watch the films and decide, we have a three short film programs, A, B, and C. This is just making this up, but it's kind of how they do it. We have 30 minutes in each block, so I gotta squeeze. It all depends. Sometimes there's a film that's a little longer, but they really like it, so they're gonna put that in there. And then there's less room for other films.Michael Jamin:. And how much does it cost to submit to a festival? Usually?Christina Beck:It varies. It definitely varies and it varies. Sometimes they have early submissions that are always a little cheaper. Also depending on you can always ask for a waiver. Sometimes they give them to you, sometimes they don't. So it can be anywhere from 20 bucks to 75 to 150 bucks. It definitely can add up.Michael Jamin:When you make a film, how many festivals will you submit to?Christina Beck:Again, that all depends. There's certain festivals that you can target for. Again, there's the big five seven festivals, Sundance and Berlin and Toronto Telluride and then those are kind of the biggies. But then there's everything that tears down from there. So yeah, it can get very expensive and super daunting. And that's a whole other conversation. The film festival world. Huge, big.Michael Jamin:Now let's say you get into a festival into a big prestigious one. What is the goal? Eventually I And what is the goal? You got, you're short, eight minute film is in Sundance. What are you hoping?Christina Beck:Right, right. Well you're hoping for Eyes on the Film and that's a really also interesting question that you asked because back when those festivals, especially Sundance is a very different festival today than it was when it first started as most things are. But those, that would be the eyes, all the, everyone would be there and you would get would just get the cache of this is a Sundance film. It would give you opportunities to meet agents and if you don't have representation it'll help with that. And it's still, those things can still happen, but now you can get eyes on your film, on the internet, you know, can generate that if that's what you really want, if that's your goal. So know we need those things, but we don't as much anymore. It's a very different business today. But initially you wanna get eyes on your film people to see your work, hire you for more stuff.Michael Jamin:And when you say on the internet, you mean YouTube or Vimeo or what's the platform? Both.Christina Beck:Yeah, I think YouTube is, I don't know if Jimmy I don't know how many people, I mean you can certainly send people there, but I think YouTube a little more, right,Michael Jamin:People find right. But what do you tell your kids in your class today? Are you telling to do more on social media? Are you like a TikTok or what else are you telling to get found?Christina Beck:Well don't more talking about the actual craft of the work, whether it's directing or screenwriting. I don't come up with all of that in terms of my work is as a writer director when I made my feature, I was very fortunate to I submitted the script to well I got into that Fox Searchlight program, which no longer exists. But there are other programs, there's lots of diversity programs, different studios have programs for emerging writers. And that one at the time I was one of two women, there were all men. There was like 40 men and two women. And nowadays it's definitely even doubt a lot. But all that to say that helped with, oh she was in that program, so let's take a look at her script. And then I submitted to an organization in New York called the If P, which now is called Gotham, but they do the spirit awards and Filmmaker magazine, which is something that I started reading very early on and I got nominated for best screenplay. So from that I got on their radar. So it's kind of just taking steps to be seen. It's always about people. Knowing what you're doing and what your vision is for this work,Michael Jamin:Do you go to a lot of film festivals even when you're not in them? Do you go just to watch or to meet people or anything?Christina Beck:I do in town. Yeah, in LA I will. I went to right Berlin when I didn't have anything in Berlin sadly. But I was there, I for a meeting with some European producers and then just happened to watch some amazing films. Film festivals are great cuz you meet like-minded people, whether it's people in the industry but also you meet other filmmakers, other writers, other directors, people that are maybe a little above you, maybe you've done a little more than them, but it's a really cool, cause the energy at most festivals I went to Can God, when was it 2006? I was trying to get my feature made and I was very naive. I made a short film version of my feature and I went to Can and I had my DVDs and I had my little pitch idea and I didn't really know that these meetings that they have, cuz there's a film market, some festivals have a film market and that's always really great. Berlin has one there's a film market here at afm. Kind of different energy though for sure, but can, it was like, oh my god, I was so lost. I was just like, what am I doing here? It was amazing and it was horrible and it was like that within each hour I just felt like I was in, was so over my head and yet really cool, wonderful things happened and I met people there that I'm still in touch with today.Michael Jamin:Hey, it's Michael Jam. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You could unsubscribe whenever you want. I'm not gonna spam you and it's absolutely free. Just go to michael jamin.com/watchlist. People ask me this a lot, but do you find from where are that, it's that right meeting writers and actors and directors. Do you feel it's like collaborative or is it competitive?Christina Beck:Well, I think it's collaborative and you can kind of sniff out people that are competitive. I, I've been in quite a few groups of women especially, so back a couple, one when my first short film screened with the American Cinema Tech, not my very first short film, but the first short that I directed. And I met a woman there named Kim Adelman and she's amazing. She's written a book about short films. She's incredible and she supports a lot of female directors. And her and this guy named Andrew Crane created a program at the cinema tech. And so through that we made this thing called the Female Filmmaking Collective. And so we would bring other women directors and this was kind of, well this is like 15, 16 years ago. And then there's been other women's filmmaking groups. The film Fatals, a member of the a w Alliance of Women Directors.So all that to say there's, for the most part, the energy is very much like, yay, how can I help you? And then there's a few people that are anywhere in the world. It is, it's their personalities, the spirit of, I try to stay in the spirit of that there's enough for all of us. Cause otherwise that makes me uptight and I don't wanna be uptight. But definitely, yeah, I think I don't write with other people. I haven't yet. I've tried to in different increments, but it just hasn't quite felt right. But I do collaborating for sure. And especially filmmaking when you're actually getting in production that's like all about collaboration,Michael Jamin:Especially with the good dp, you know, What are you shooting? What do you like to shoot on? Or do you care that much? What kind of camera?Christina Beck:Well, I like things to look like film . I mean, we shot my first short that I wrote Disco Man that was shot on 16. And my dp, I found him at USC Film School and he's a really good friend and we just shot something this last spring. So that was a long time ago. He became chair of the film school that I teach at now. But all that to say, yeah, again, it's the people that you meet here, you meet them there, we're all still here and still love film making. So that said, my DP for Perfection, my feature, his name's Robert Psal and he's amazing. Cause this guy, not only is he super talented, we shot that film for two years on the weekends, two and a half years. So to get someone to literally, okay, we got a little more money, Rob, come over, we gotta shoot this other would. And then a lot of times just he and I would jump on a bus and I'd borrow a camera from a friend. We had prime lenses, which if you put that on digital cameras, it gives a more cinematic look. So we had those for a while. We shot that film literally in four different formats, meaning four different cameras. And I DidMichael Jamin:You find it matched? Okay, Did itChristina Beck:Worked for the film? I don't know. Recently someone asked to see it, this wonderful DP that I was talking to, he lives in France and I felt a little self, cause I'm like, Oh my God, he's gonna see how, And he is like, Oh, it's shot so beautifully. And I'm like, wow, nobody knowsMichael Jamin:All this.Christina Beck:Yeah,Michael Jamin:Why you don't have to worry about that stuff. Well, and what aboutChristina Beck:It's gotta be in focus, let's put it that way, . Yeah. And sound is a big deal too,Michael Jamin:For sure. Absolutely. That's huge. It's hugely important if you can't hear it. Right. But what about how concerned are you when you shoot the stuff crossing the line or the cameras? Are you relying your DP for that, making sure that you know, don't have these jump cuts because the character's looking the wrong way? AndChristina Beck:IsMichael Jamin:That your concern or you let the DP handle that?Christina Beck:Well, because so far I've been mostly acting in the stuff that I've shot. I definitely rely on my DP as well as my script supervisor. . I mean, I can tell myself when we're setting up a shot and then sometimes you can cross that line and it's okay, it's not gonna be an editing nightmare, but you sort of have to gauge it. And I don't make those kind of decisions by myself. And I really do rely so much on my DP and my script D because it's, it's that funny thing for me. What the reason I became a director in film was because I made a short that another different short besides Disco Man that it's called Blow Me. And I didn't direct it. And I did a lot of directorial stuff on that project. And my director at the time was busy with other things.And so we weren't really able to finish the film for a long time. And actually my co-star was an editor as well. So he kind of got the film and he edited and we worked on it together. And what I learned, and this goes back to the film festival thing. So in film director has the say in everything in terms of how final say on music and different stuff. And being a screenwriter and an actor and even a producer, I didn't have the same access to the vision that I had. So I thought, ooh, I need to direct this stuff . SoMichael Jamin:Yeah,Christina Beck:That's how that shifted. HowMichael Jamin:Do you go about, but how do you go about fundraising for all this stuff and what kind of budget do you usually try to get?Christina Beck:Well, it's tricky. That's the hardest part. And I just was at a film festival here in la, it's the American French Film Festival. They have it every year at the dga. And I was listening to a panel of producers and directors and from Europe and the UK and Los Angeles. And the thing is, those foreign countries, they have film funding built into their system, literally the government. And there are different types of ways that those more character driven films. This is what I'm pretty much more interested in what we would call art house films. , especially right now, there's just this huge divide, which is very mm-hmm , much like the whole world that we're in right now. So there's tiny budgets and huge budgets and the middle size budget isn't really around anymore. No support for it. And it's happening in Europe too right now. So I was listening to see, okay, are they going through it too? So that said, yeah, there's different ways. And I would say for first time directors that are making a feature or a short film for the first time, Crowdfunding's great, there's amazing platforms. I did that with a company called Seed and Spark and they were really supportive and helpful. And we haveMichael Jamin:Some, Well what do they do? What do they do that's better than putting it up on what's some crowdfunding site?Christina Beck:Well they are a crowdfunding site, butMichael Jamin:Why not just use your own, I don't know what's the difference between, well go fund me or whatever.Christina Beck:Well I don't, yeah, get, well go Fund Me I thought was more for donations. Yeah, so there's fiscal sponsorship, which is something you'd need so that people that are donating to your project get an actual tax write off that's properly done. So you wanna do that but they help curate and they have a platform. I mean, look, you've written the thing, you're doing all this work. Are you gonna set up a website so people can give you money? So, and maybe you're really good at that. Places. Well indeed, Gogo and Kickstarter, and I mentioned Student Spark because they're someone that I did it with, but all those places haven't already. It's like, why reinvent the wheel? They've done all that work. So literally you can just send people there. They take a small percentage of whatever you get and different platforms have different things. I don't know. I know there's one that if you don't make your gold then you don't get any of the money. So I didn't do that one , butBut going back to someone who's starting out and wants to make something a short or a feature and hasn't already exhausted their family and friends, there's nothing wrong with doing that. Also there's grants and And those aren't easy to come by, but they're there. And depending on, there's different places. There's like in San Francisco, there's the San Francisco Film Society has very specific grants for people that shoot in the Bay Area. And a lot of films have gotten made through that grant. They give a significant amount of money. So there are ways, and it's not easy. I mean really, ideally a private investor is great and there's gonna be a loss. So now most of the indie films, and these aren't Es, and I'm not an expert, I'm just speaking from my own experience. But an indie film may not get a theatrical release. I did not with my feature. What I did get is I got the theatrical experience in film festivals and I was lucky to be programmed in Los Angeles through the American Cinema Tech. And I got to see my film at the Egyptian Theater, which was heaven. And I was there for that. You were there. So, and now it's available to stream. So most projects go to streaming and huge projects go to streaming now. So it's just in this very differentMichael Jamin:World. Is it, where is your playing, where is the streaming now?Christina Beck:On Tubby? Tubby . AndMichael Jamin:This is per perfectionist. Which one isChristina Beck:Yes. Perfection.Michael Jamin:Which, yeah,Christina Beck:Yeah. Okay. And all that's on my website. Christina Beck do com.Michael Jamin:Christina beck.com. Interesting. Wow, that's interest. ButChristina Beck:This is, and my shorts are on there too.Michael Jamin:All your short. Is there a down, getting to a big festival, that's gotta be a game changer. But can a little festival help you?Christina Beck:Well, yes, because again, you see your film on a big screen, you see your film with an audience, you meet other filmmakers and yeah, as you know, Mr. Jamin, everything in this business is preparation and luck. So you're honing your craft , you're doing what you love. There's no slam dunk guarantee. Even with the bigger festivals. I know people that have gotten into huge festivals and got big representation and then a year later nothing. So it's like nothing. Yeah. Yeah. I guess I always say to my students, pick stories that you love. Pick stories that you feel like you have to tell because you're gonna be living with that story and pitching that story way beyond the script. You're gonna be pitching it for grants, you're gonna be pitching it for festivals, you're gonna be pitching it for people to watch it online. You're forever pitching these stories.But to say something visually is powerful. I think it can change minds and hearts. So I come to it with that. And it is frustrating. I have a feature that I wrote last year that I have not made yet. We shot a few scenes in the spring with some of my students and my first dp, me, Kyle to kind of see where it lands and figure out do we wanna do a crowdfunding thing? Do we wanna try to get in Grant? Like what? And I don't know honestly, I don't know if I have the bandwidth to go through that hustle for getting financing right now. Right now. BecauseMichael Jamin:If not that, Oh well I was gonna say, if not that, then what? You know.Christina Beck:Well, right. Well, I mean look, ideally if we were all Henry Ja or somebody who has a trust fund, independent filmmaking is for people that have a trust fund basically.Michael Jamin:Or can fund, right? Or you,Christina Beck:Yeah, I'm teasing, right? Yeah.Michael Jamin:, how many, when you shoot, how many people on set, How many crew members do you wanna have? What's your skeleton crew?Christina Beck:My skeleton is probably 12 peopleMichael Jamin:That I'm surprised it's that big. So who,Christina Beck:WellMichael Jamin:Let's walk. You mean you've gotta skip supervisor DPChristina Beck:Happens fist. Yeah. Okay. Scripty, dp, ac sound mixer, boom. Makeup, hair. That could be one person blah. Who am I forgetting? Producer. Of courseMichael Jamin:You're gonna want someone with the lights.Christina Beck:Well, right. Lights, gaffer, grip. Then we have,Michael Jamin:How many cameras are you rolling at once?Christina Beck:Oh, one . Yeah, one. Okay. Yeah. Okay. Yeah. This isn't like tv, but I did actually, I made a short film with three cameras. Once I did that one I did for search site. Yeah, that's true. But that was a, people were like, Why did you do that?Michael Jamin:But that's still not even year 12. That might be, I don't know. I lost count.Christina Beck:Well, I'm missing people. I'm on the spot here. I'm trying to think. I'm totally missing people. I mean, there's craft service,Michael Jamin:Right?Christina Beck:Oh my God. Probably like the most You got people person, Yeah. Anyways, yeah. 10 to 12. It just adds a pa. You need a pa you need, yeah. Yes. But yes, you can do it with five people. I've done it with three. I mean,Michael Jamin:Are you pulling any permits or are you sort of shootingChristina Beck:That? I do permits when I am renting equipment. And I have, I've also completely gorilla so many things.Michael Jamin:Wait, if you have, why do you have to have a permit if you rent co equipment they requireChristina Beck:Because yeah, you have to have insurance and there's film LA and yeah, there's a whole thing that needsMichael Jamin:To happen. Yeah. People get paid off. Yeah.Christina Beck:. Well, it's kinda a, Yeah,Michael Jamin:It's hard and happens. Yeah, it's hard. It's a hustle. But you do it cuz you love doing it, right?Christina Beck:Yes. Yes. That is true. Right? That is true.Michael Jamin:And how many scripts do you have that are just sitting around that? Are you, I guess I won't even try with that one or,Christina Beck:Yeah, I know that breaks my heart cuz I was at a ratio of, at one point having everything produced. I was like, I don't remember everything's been produced. But now I've written more scripts. I like, Yeah, I have probably, but not a ton. I have a couple features and I've written a few series, so yeah, Not yet. Not yet. ButMichael Jamin:What about just something you could do and now we'll wrap it up cause I don't wanna keep for chill up. But what about doing something where you could just shoot it in your apartment? Write it specifically for your apartment?Christina Beck:Yeah, well I would still need to get permission from my landlord. I'd still need to get equipment. Cause you can't shoot without permission if you wanna have insurance and you have to have insurance. Now look, my , my feature perfection in my old apartment, I actually did have permission from my landlord, but we shot so much of it just really running gun. And that can be done. That can have, But you still, And also I wanna pay people. I'm at a place where I can't ask people to work for free. Now if it's your first project and stuff, I encourage everybody to ask people to work for free if you treat them well. And if they're newbies too and it's a shared experience of discovery and stuff and they feel connected to the work and you feed 'em well, you gotta feed well. You gotta giveMichael Jamin:'em some very, But it seems like you have the perfect person for that because you have a bunch of students who wanna just get their names on stuff.Christina Beck:That's true. That's true. Yeah. Well, and I would probably and probably will end up shooting this feature with, And look, my students are amazing. They are so talented and professional when I get on their set. So this year I've had two students cast me in their short films. So I got to show up really as an actor on these. That's fun. Well, it's great because I was talking to the other film professors, because we work with them on the scripts and we sign off the scripts and then they go off and shoot. So these, they're kind, they're on their own, they're chaperoned and then they come back and bring, and we work on the edit and stuff, but we don't know what really goes on in those sets. So I was saying to this other professor the other day, I'm like, Yeah, I was there. I gotta be there and see what, And the truth is these students are wildly professional and I wouldn't really honestly wanna work with anyone else. But then they are so good. SoMichael Jamin:Someone called me up a student, I don't wanna say where they needed a 50 year old man. Now I don't play 50. We all know that. I play mid thirties ofChristina Beck:Course.Michael Jamin:But I was like, right, I didn't really wanna do it. I was like, all right. And then he goes couple weeks later he's like he's like, Yeah, well we're gonna need you to read . I wasChristina Beck:Like,Michael Jamin:I'm off only . Oh my God. I didn't want it that bad. But I think that was part of the experience that they wanted to have was they wanted actors. I'm not reading dude Christina Beck:Great. Well they're trying out their stuff I guess. Who knows? In terms of, Yeah, but wrong guy. They got the wrong guy with you.Michael Jamin: offer only.Christina Beck:That's right. That's right. Mr. Jam .Michael Jamin:How funny. Yeah. So, alright. This is so fascinating cuz this is a world I know nothing about this whole people cause people ask me all the time I got India. I don't know, Ask Christina. So where do people follow Christina back on? How do they learn more about what you're doing?Christina Beck:Well, like I said, my website and then myMichael Jamin:Give it to you again so that,Christina Beck:Okay. It's christina beck.com. There you go. And yeah, and then I'm on Instagram X Beck. AndMichael Jamin:What do you mean wait, X dyna? How do you spell that?Christina Beck:X I don't remember that. T I n a.Michael Jamin:Oh it. So it's X.Christina Beck:Yeah.Michael Jamin:I dunno why you said Ina. We'll work on this later. Christina Beck:Put a little thing up there. We don't have to talk about it. Yeah, yeah. And I just wanna say lastly, I am so not an expert on this. Please. I've been just finding my way as I go. But you know, I've watched other writers, The path is just, it's just not a straight line. And I think to stay connected to purpose and okay, I feel like I gotta tell certain stories. And when I talk to my students about this, okay, why do you have to tell this story? And we ask ourselves those questions and why now and all those things. Which in as far as indie film goes, I feel like we're in a little bit of a dip right now where the character driven independent films, at least in America, are not being celebrated as they once were. . And I believe that that'll shift.And I talk, I've talked to many people about this and we've gone through so many different, you know, can look back in the 1970s where Paramount was like studios were making beautiful character driven films. And I don't know if we'll ever go back to that, but I do think like you said, you can have a tiny crew and you could make something. I could make something in my living room. Absolutely. And one of my favorite filmmakers is a woman named Barbara Loden. She sadly passed away a long time ago. She was an actress. She actually was married to Ilie Kaza and she made a film called Wanda. And it's an amazing film and you can find it online. It's on the Criterion Channel and different places like that. But she had a tiny crew. She had maybe six people. And , sometimes people besides the attacks right off, they wanna contribute. They wanna be a part of it. They wanna be a part of this passion storytelling.Michael Jamin:Sometimes they also wanna give you their notes. Right?Christina Beck:WellMichael Jamin:Sometimes that money goes and comes with strengthsChristina Beck:Or here's the other thing. Yeah. Find an actor who really wants a great part that has some dough that wants to coce or something. And you guys can collaborate on that and you can write something that's really great for them that they would never get cast in. There's a lotMichael Jamin:Of you recommended. That's a great idea. That's a great idea. You recommended to me to watch Thunder Road. Remember that? Oh yeah,Christina Beck:I watch that. The short.Michael Jamin:And I loved it That and I loved, and I didn't realize I didn't, it was actually, I watched the scene from it, but it was actually, I guess a feature or whatever, but the scene stood on its own. I go, this is a beautiful it short. But it was a beautiful scene.Christina Beck:Oh, so you watched from the feature or did you watch the short film?Michael Jamin:Yeah. Yeah. Cuz I think you gave me the link to Vimeo or something. OhChristina Beck:Okay.Michael Jamin:I just watched that one church scene where he wasChristina Beck:Like, Yeah, yeah.Michael Jamin:So over,Christina Beck:Yes. That guy is amazing. He's the real deal. He's a guy to follow. Cause he's Joe Independent film. He, Jim is his name actually . And he makes stuff and he works as an actor. He'll do commercials, whatever. And then he'll take that money and that's what caves did. Caves made whatever he was working in television stuff he wasn't crazy about. And then he would take that money and then he would just make the films he wanted to make. So maybe it hasn't changed at all. It just goes back to that thing again where if you have this story you gotta tell and it does start with theMichael Jamin:Story. What kinda stories do you feel you have to tell?Christina Beck:Well I feel like I almost keep telling the same story, but I, I'm reallyMichael Jamin:Love different versions ofChristina Beck:It. That's right. That's, as I get older, I get this different perspectives of it. But I do, I love the story of people, characters that have perceived limitations or real ones and they slowly find their way out of that predicament. And yeah, I like happy and things. I like to see the journey of someone of starting off in a place where they don't feel and they get a little better.Michael Jamin:And you said before I cut you off, you was, it all starts, the focus has to be on the script.Christina Beck:It's all about the script. That's the blueprint. That is the blueprint. Especially if you're shooting with no money and no time. And because you don't have the luxury and we never have the luxury. You see it all the time and any budget level. But the truth is, the script really is everything starts there. That's how you get anybody on board. That's how you can refer if a DP who's maybe a great DP and wants to do something small because he loves the story or he loves the subject matter and that script should be tight and ready to shootMichael Jamin:. Right. And because you could shoot something and you get the biggest crew and the biggest budget and it looks like a movie. But if the script sucks, so what? No, it's not anyone's gonna wanna watch it, but it may look like a movie. Yeah,Christina Beck:Yeah, that's right. And then it won't get programmed really in festivals cuz there's so much competition. I just think that thing that we kind of all know, make it a personal story, doesn't have to be autobiographical, but make it something that you really connect to or a topic that really you do have some experience in that you can bring something that maybe we haven't seen yet or we haven't seen from that angle, like you said. Yeah. That's the stuff that's really gold. I love that Thunder Road short. It's such a great example of a guy who just took a very, very simple premise. And the other kind of novelty of that short is he shot it in one take, which is pretty cool. That's not easy to do.Michael Jamin:That's not easy. What I'm saying. He did it and that's a novelty. But as you pointed that out, I forgot. I like the story of it.Christina Beck:Well that's the thing, you should just be looking at it like, oh, where's the cut? No, we wanna be engaged. And that was very engaging and that was a very personal story. I mean, I don't know about his personal story, but I know that I felt that in his work. Yeah,Michael Jamin:Yeah. It's all about that. It's all about being vulnerable and about sharing something that's that only you can do, right?Christina Beck:Yeah. Yeah. I mean hopefully, I mean, I don't know, I think it's two, there's too many topics now that people are dealing with in terms that need to, voices that need to be heard in the world, I believe. And yeah, this is a powerful way to get our voices out,Michael Jamin:But that means writing. So that's what I think cuz everyone's looking for diverse voices and voices that have been underrepresented. So that means writing about, I think your experience, that's what we want from youChristina Beck:Because Well, I think so too.Michael Jamin:Yeah. Now's your shot.Christina Beck:Yeah, I think so too. No one can steal your idea. That's a whole thing too. Sometimes people are like, Oh no, someone's gonna steal this idea. Well there's real, there's not that many ideas really when you think about it, the same story over and over. I'm still telling the story of someone overcoming. I love characters that overcome their limitation or their perceived limitations or their background. I come from alcoholism and all sorts of other things. And that doesn't mean that I'm gonna keep getting it on the nose with those topics, but it informs the way I look at the world growing up in that environment. And today I'm really grateful for that. But when I started writing, I was still very tortured by that. So , but keeping it, that process of keeping it personal and having that point of view with those circumstances makes it only something that I can sayMichael Jamin:I Christina, I think everyone should start taking your class one of either your classes, but the LMU one is a little difficult cause they have to enroll, but the other one Yeah.Christina Beck:Well, yes, is different. Yeah. I mean, I'm also, I do workshops too sometimes, so,Michael Jamin:Oh, you do private workshops?Christina Beck:I do screenwriting workshops.Michael Jamin:And Is that on your website as well?Christina Beck:Yeah, not right now, , but it was, Oh,Michael Jamin:How would that basically work? Yeah.Christina Beck:Well, I've worked, so I've done six weeks workshops where we really start off with, Okay, what's the story you wanna tell that's most personal to you? And so it's literally creating a character or that story from the point of view of the storyteller and the steps to take, whether it would turn into a series or a short film, or a feature or a play.Michael Jamin:And it's six weeks and it meets once a week or something.Christina Beck:Correct.Michael Jamin:That sounds really good. How many people are in that course, or outta time?Christina Beck:Well, it's different times I, It's been usually pretty intimate. Not a ton of people , but now we can do stuff on Zoom, which is great. Right.Michael Jamin:Wow, that sounds pretty cool. Yeah, people should check you. Yeah, you better put that up once this, IChristina Beck:Guess. I guess I'm Do that. Yeah, I guess so. ButMichael Jamin:Tell people where to find that again, so in case that you make that happen, that sounds like a beautiful thing.Christina Beck:Oh, thanks. Yes. Christinabeck.com.Michael Jamin:Christinabeck.com. Christina, thank you so much for joining me. This is a good talk. I thought this wasChristina Beck:Really helpful. Thanks, Mr. JaminMichael Jamin:Now I wanna be an independent filmmaker.Christina Beck:No, you don'tMichael Jamin:. No, you don't.Christina Beck:If you wanna make money. No. There are some that make money. There are some that make money, right? Yes, yes, yes, yes. But yeah, thank you. Thank you so much. It's so fun to talk with you, Mr.Michael Jamin:Yeah. Thank you. Thank you. I'm gonna sign up, right? Everyone, Thank you for listening. And yeah, for make sure you get on my free weekly newsletter michaeljamin.com/watchlist. What else we gotta talk about? We have a course. Yeah, we can check out my course at michaeljamin.com/course. And if we post this in time, I don't know, but I'll be doing two shows in Boston, November 12th and 13th from a paper orchestra. It's my stage reading, and then two shows in December 10th and 11th. And for tickets, go to michaeljamin.com/live. All right. Thank you again, Christina. Wonderful.Christina Beck:My pleasure. Thank you. Thank you. Thanks for asking. Yeah.Michael Jamin:Hey, it's Michael. One more thing. Come see me perform. I'm going to be in Boston area, actually, Amesbury, Massachusetts on November 12th and 13th at the Actor studio, performing my show, a paper orchestra. And then I'm gonna be back in Los Angeles on December 10th and 11th again at the Moving Arts Theater Company. So tickets are on sale. Go get 'em at michaeljamin.com/live. It's a small, intimate venue. I'm gonna be performing for my collection of personal essays, and each one's gonna be followed by like a 20 minute q and a. We get to talk about the work. It's a fun event. So I hope to see you there. Go get them tickets again are at michaeljamin.com/live, and of course, sign up to my weekly newsletter that's called the watchlist at michaeljamin.com/watchlist.Phil Hudson:This has been an episode of Screenwriters. Need to Hear This with Michael Jamin and Phil Hudson. If you'd like to support this podcast, please consider subscribing, leaving a review ,and sharing this podcast with someone who needs to hear today's subject. For free daily screenwriting tips, follow Michael on Instagram, Facebook, and TikTok @MichaelJaminWriter. You can follow me on Instagram, Facebook, and TikTok @PhillaHudson. This episode was produced by Phil Hudson and edited by Dallas Crane. Until next time, keep writing.

Kate Benton just completed her 27th year at Harvard-Westlake, where she has served as a performing arts faculty member and most recently as Head of the Middle School Deans. In this episode, Kate explains how middle schoolers have adjusted back to “in-person” school academically, mentally, and socially, and how Kate and her colleagues start their advisory work with "listening." Kate also describes her upbringing in New York City as the child of a theater producer and classically trained violinist, which spurred in her a passion for the arts. This carried through to her schooling at Chapin, Dana Hall, and Northwestern, before Kate ventured west to Los Angeles and joining the famed Groundlings improvisation and sketch comedy group where she later served as President. Following an acting career that included appearing on two episodes of Seinfeld (both are discussed), Kate discovered Harvard-Westlake and in 1995 accepted Tom Hudnut's invitation to begin her career in education. In conclusion, Kate tells one of the most moving stories of the series, relating to the Broadway musical Mame, a fire, her father, and a time when Kate says, "Harvard-Westlake was listening." Kate references her parents, Jeanne Armin of Dana Hall School, Nina Burtchaell of Harvard-Westlake, and actor Phil Hartman as profound life influences.

WE DISCUSS A LOT THIS WEEK! This episode is one of my favorite conversations with one of my favorite people. Welcome to the pod comedian, writer, producer, babe, Zach Schiffman (Full Frontal with Samantha Bee, Tooning Out, 54 Below)!!!   Let's get down to business. Zach and Nathan cover everything: the Harvard Westlake to Broadway pipeline, Olivia Rodrigo, Fashion, Broadway, and comedians cutting open their hands at shows. They also get into Zach's stand up, comedian work on Twitter (and the stan armies that fight him!), and being named by Vulture as a Taylor Swift Scholar. Zach also shares about his lives shows on the horizon and the inspirations behind them - it's deep!!  Secure The Gag is a queer comedy podcast hosted by comedian and writer, Nathan Pearson. Tune in every Monday as Nathan interviews funny queers about their infamous online videos, bits, and success.  Nathan Pearson is a comedian, actor, writer, and host of Secure The Gag based in Brooklyn, NY by way of Atlanta, GA. Recently, he was featured on HBOMax's Humans By Orientation platform and on the UCB Character's Welcome where his “Guy F**ks His Bully's Dad” sketch became a viral sensation. Online, Nathan has amassed a following on TikTok and has been featured in Vulture, Instinct, Queerty, Logo's NewNowNext, and more.  Secure The Gag is part of the WUSSY Podcast Network hosted by WUSSY Mag @wussymag Hosted by Nathan Pearson @nathankpearson Produced by Jon Dean @jondeanphoto Edited by Ryan Andrews @rtayrews Podcast Art created by Beardy Glasses @beardy.glasses Podcast Music by DJ Helix @1djhelix  Follow @SecureTheGag

In the spring of 2014, Erik Swoope '10 laced up his cleats for the first day of rookie camp with the Indianapolis Colts. While the NFL is a rare destination for any aspiring professional athlete, this was especially unusual for Erik. Erik Swoope never played college football, nor high school football, nor youth football--nor had he watched the Super Bowl in more than a decade. Yet somehow, Erik made the practice squad--and then the real squad, spending the next several years catching touchdown passes from Andrew Luck as an NFL tight end. In this episode, Erik tells his story, from growing up in Lake Elsinore and playing AAU basketball, to finding Harvard-Westlake and University of Miami, to then converting his ACC basketball skills to the route-running and pass-catching of the NFL. Through it all, however, Erik has found success by conveying both the inner confidence to pursue new challenges and the humility to seek wisdom and guidance from others. Among the many figures Erik cites as profound mentors are Jon Wimbish and Greg Hilliard of Harvard-Westlake, Jim Larrañaga of University of Miami, and Rob Chudzinski, Jimmy Graham, Jack Doyle, Reggie Wayne, and Andrew Luck of the National Football League.

We have a panel discussion for you today about spirituality on the trail. Who better than these three ladies to talk with on this fascinating subject? Anne Gardner Writer. Minister. Adventurer. After spending twenty-five years working at two of Boston's premier educational institutions, Harvard University and Phillips Academy, Andover, the author currently leads the chaplaincy program at Harvard-Westlake, a private secondary school in Los Angeles. An Episcopal minister by day, Reverend Gardner also finds time to work as a freelance writer. Her essays and columns have been featured in The National Catholic Reporter, The Boston Globe, The Providence Journal, New England Tennis Magazine, and most recently as part of WBUR's Cognoscenti series, Boston's NPR affiliate. Her debut book, And So I Walked, recounts her journey of traversing the 500-mile Camino de Santiago de Compostela. Using the famed pilgrimage path as a backdrop, Gardner's memoir weaves together her personal narrative with the physical, emotional, and spiritual challenges presented by the Camino. Inspirational, and at times heart-wrenching, And So I Walked explores how faith, family, and friendship both change us and sustain us. A native of Massachusetts, the author now lives in California with her wife Beth. Audrey Scanlan Audrey serves as the Bishop of the Episcopal Church in Central Pennsylvania - an elected position that gives her oversight of 60 churches and 11,000 folks who belong to the Episcopal Church in the region. Conveniently, the AT runs right through the middle of the area that she oversees! She lives just 4 miles from a trailhead in the middle of the Cumberland Valley (PA) which is one of the most gentle (read: flat) sections of the entire AT! Audrey tries to get out on the trail at least once during the week and walk and run around the cornfields in our neighborhood on most mornings. Audrey was ordained in her mid-40s after two other careers- one as a restaurant chef, and another working in the guidance department of my town's elementary school. She grew up and lived in Northwestern CT until moving to PA almost 6 years ago. She will be 63 in September. She loves to cook, still, and is happiest in the kitchen, or out on the trail. Audrey and her husband Glenn have three children and two toddler grandsons who they are going "love up" as soon as Covid is over! And, like lots of folks, someday... she wants to thru-hike the AT. :) :) Lisa Work Lisa has been in education for over 30 years, serving in private schools and public schools in the roles of teacher, administrator, and consultant. In October 2020, she was named a Postulant for Holy Orders to the Priesthood in the Diocese of Central Pennsylvania. Lisa has always loved doing things in nature. Growing up, her family spent vacations car camping. That tradition continued as her daughters were born and grew up and as a single mom, she continued vacations car-camping and day hiking local trails. Lisa will be celebrating her 18th year as a breast cancer survivor this year. She became more serious about backpacking when she decided to participate in "Seek-the-Peak" in the White Mountains as a way to celebrate being a cancer survivor in 2012. Lisa and her husband Mark, and their dog Emmie live in York, PA. They have 4 adult children who live relatively nearby and this year, they became grandparents. Lisa dreams of hiking the Camino De Santigo (Camino Francés route) and thru-hiking the AT. Guest Links- And So I Walked via Amazon - https://www.amazon.com/So-Walked-Reflections-Chance-Santiago/dp/1956635947/ref=sr_1_1?crid=3Q0YQB845NYHX&keywords=and+so+I+walked&qid=1649883021&sprefix=and+so+i+walked%2Caps%2C139&sr=8-1 Anne's website - https://www.anne-gardner.com Audrey's blogs- www.diocesecpa.org/blog https://ourselvesoursoulsandbodies.com/2021/05/01/alone-my-soul-in-silence-waits/ Lisa on Facebook- https://www.facebook.com/lisa.amspacher.work Connect with Anna, aka Mud Butt, at info@traildames.com You can find the Trail Dames at: Our website: https://www.traildames.com The Summit: https://www.traildamessummit.com The Trail Dames Foundation: https://www.tdcharitablefoundation.org Instagram: https://www.instagram.com/traildames/ Facebook: https://www.facebook.com/groups/traildames/ Hiking Radio Network: https://hikingradionetwork.com/ Hiking Radio Network on Instagram: https://www.instagram.com/hikingradionetwork/ Music provided for this Podcast by The Burns Sisters "Dance Upon This Earth" https://www.theburnssisters.com

Writer. Minister. Adventurer. After spending twenty-five years working at two of Boston's premier educational institutions, Harvard University and Phillips Academy, Andover, the author currently leads the chaplaincy program at Harvard-Westlake, a private secondary school in Los Angeles. An Episcopal minister by day, Reverend Gardner also finds time to work as a freelance writer. Her essays and columns have been featured in The National Catholic Reporter, The Boston Globe, The Providence Journal, New England Tennis Magazine, and most recently as part of WBUR's Cognoscenti series, Boston's NPR affiliate. Her debut book, And So I Walked, recounts her journey of traversing the 500-mile Camino de Santiago de Compostela. Using the famed pilgrimage path as a backdrop, Gardner's memoir weaves together her personal narrative with the physical, emotional, and spiritual challenges presented by the Camino. Inspirational, and at times heart-wrenching, And So I Walked explores how faith, family, and friendship both change us and sustain us. A native of Massachusetts, the author now lives in California with her wife Beth. *The release date of And So I Walked was March 1, 2022, published by Adelaide Books (244 Fifth Avenue, New York, NY). Guest Links- And So I Walked via Amazon - https://www.amazon.com/So-Walked-Reflections-Chance-Santiago/dp/1956635947/ref=sr_1_1?crid=3Q0YQB845NYHX&keywords=and+so+I+walked&qid=1649883021&sprefix=and+so+i+walked%2Caps%2C139&sr=8-1 Anne's website - https://www.anne-gardner.com Connect with Anna, aka Mud Butt, at info@traildames.comYou can find the Trail Dames at: Our website: https://www.traildames.com The Summit: https://www.traildamessummit.com The Trail Dames Foundation: https://www.tdcharitablefoundation.org Instagram: https://www.instagram.com/traildames/ Facebook: https://www.facebook.com/groups/traildames/ Hiking Radio Network: https://hikingradionetwork.com/ Hiking Radio Network on Instagram: https://www.instagram.com/hikingradionetwork/ Music provided for this Podcast by The Burns Sisters "Dance Upon This Earth" https://www.theburnssisters.com