Podcast appearances and mentions of jim austin

We're on Patreon! Find us at https://www.patreon.com/AudioUnleashed This week, Dennis and Brent deconstruct the latest column by Stereophile's editor-in-chief and contemplate whether his position on spooky woo-woo has devolved in the past decade. Then they ogle cool amps and preamps on AliExpress that borrow revered brands yet cost only hundreds—and also examine how crazy it'd be to buy this stuff right now (b/c tariffs, not b/c communism and chopsticks). They conclude with a not-terribly-deep dive into a new article from Dennis about audio DIY, but not the kind of audio DIY you're probably imagining. Brent's audio projects:

For this episode of Hudson Mohawk Magazine, we first hear from Mark Dunlea brings who brings us coverage from a recent debate with the candidates for New York's 109th Assembly district seat. Then, Lavonia Mallory takes a tour of the National Multicultural Western Heritage Museum Hall of Fame with one of the space's co-founders, Jim Austin. Later on, Garrett McCarey speaks with Michael Easterbrook, president of the Mt. Ida Preservation Association. After that, Matt Mginley talks to Dan Falkenstrom, Operations Director at the Tech Valley, Center of Gravity, in Troy New York. Finally, Willie Terry talks to two members of the Women Drumming Circle of Albany from the Underground Railroad Education Center Juneteenth Celebration held on June 15th.

We're on Patreon now! Find us at https://www.patreon.com/AudioUnleashed Buy-now links for products mentioned herein (As Amazon Associates, we may earn a small cut from qualifying purchases):  

In May of 2023, the NFDA hosted “Future's Forum” where 70 attendees representing the death care space met to analyze, discuss, and strategize the future of our profession.  This event was facilitated by Jim Austin and Paul Schoemaker, two gentlemen whose careers focus on strategic decision-making for businesses of all kinds. In this episode, host, Gabe Schauf, is joined by Jim and Paul to discuss the Future's Forum event and what the future of the funeral profession could look like.  Is your firm only operating in the present or is it looking ahead?  Do you know what you can do to innovate, where there are opportunities to grow, and how to begin moving forward?  This episode is a good place to get started. Funding in part for this event was provided by a grant from the Funeral Service Foundation.

We're on Patreon now! Find us at https://www.patreon.com/AudioUnleashed Buy-now links for products mentioned herein (As Amazon Associates, we may earn a small cut from qualifying purchases):   High Performance Loudspeakers: Optimising High Fidelity Loudspeaker Systems 7th Edition by Martin Colloms: https://amzn.to/3tYQ01y   Loudspeaker Design Cookbook 8th Edition: Volume 1 by Vance Dickason: https://amzn.to/42pdwk0   Sound Reproduction: The Acoustics and Psychoacoustics of Loudspeakers and Rooms by Floyd Toole: https://amzn.to/3ZlTLtE   This week, Brent and Dennis answer the questions that everyone is asking: How do you get high-res audio from Apple Music? Why do smart people believe weird things? Why do audiophiles hate Beats?   Further Reading:  "Apple Music's hi-res plumbing is still leaky" by John Darko: https://darko.audio/2023/10/apple-musics-hi-res-plumbing-still-leaks/ "HI-RES AUDIO & Apple Music done right (& WITHOUT an iPad)" by Darko Audio: https://www.youtube.com/watch?v=zxCt9cwmqXU&ab_channel=DarkoAudio "Shaken, Not Stirred—and Welcome Back, Martin Colloms" by Jim Austin: https://www.stereophile.com/content/shaken-not-stirred151and-welcome-back-martin-colloms "Working in the Front Line" by Martin Colloms: https://www.stereophile.com/asweseeit/190/index.html "Why Audiophiles Have Problems With Beats Headphones" by David Bixenspan: https://www.slashgear.com/1407524/are-beats-headphones-good-or-bad/ "After $32.5M Jury Win for Sonos, Judge Throws Out Jury Verdict and Finds for Google" by Ted Green: https://www.strata-gee.com/after-32-5m-jury-win-for-sonos-judge-throws-out-jury-verdict-and-finds-for-google/    

We're on Patreon now! Find us at www.patreon.com/AudioUnleashed Buy-now links for products mentioned herein (As Amazon Associates, we may earn a small cut from qualifying purchases):   Status and Culture: How Our Desire for Social Rank Creates Taste, Identity, Art, Fashion, and Constant Change by W. David Marx: https://amzn.to/44R4Sgg   This week, we dig into a new app designed to help you find the optimal spot(s) in your room for a subwoofer or two. Then we're joined by industry vet Steven Stone to discuss a trend that he refers to as “Oligarch Audio.” We also answer the question that everyone is asking: can Ethernet jumper cables EQ music you stream over your network? Further Reading:  "SubZone Subwoofer Placement Optimizer App Now Available”: https://audioxpress.com/news/subzone-subwoofer-placement-optimizer-app-now-available SubZone download: https://bau.me/subzone/ “Oligarch Audio” by Steven Stone: https://audiophilereview.com/reference-speakers/oligarch-audio/ "On Value" by Jim Austin: https://www.stereophile.com/content/value "Is 'Trickle Up Tech the Future of Hi-Fi?" by Dennis Burger: https://www.soundstageaccess.com/index.php/feature-articles/1243-is-trickle-up-tech-the-future-of-hi-fi Audiophile B.S. on Facebook: https://www.facebook.com/groups/1948235105492741/

We're on Patreon now! Find us at https://www.patreon.com/AudioUnleashed We're starting things off light this week with a quick discussion of Apple's new Adaptive Audio feature, and how it relates to similar tech from other headphone manufacturers. Brent digs into how and why he plans to quantify the processing as objectively as possible. Then the chains come off, and we dissect/deconstruct/demolish a particularly troubling editorial written by Alta Audio owner Michael Levy about why measurements are flawed. After a bit of technical discussion, we're joined by our old friend, SoundStage! Founder Doug Shcnieder, who gives us his opinion from a publisher's perspective about everything wrong with Levy's anti-scientific screed.  Buy-now links for products mentioned herein (As Amazon Associates, we may earn a small cut from qualifying purchases): Loudspeaker Design Cookbook 8th Edition: Volume 1 by Vance Dickason: https://amzn.to/42pdwk0 Sound Reproduction: The Acoustics and Psychoacoustics of Loudspeakers and Rooms 3rd Edition by Floyd Toole: https://amzn.to/3CTarOB Flim-Flam! Psychics, ESP, Unicorns, and Other Delusions by James Randi: https://amzn.to/44goJ7M Storm the Book by Tim Minchin: https://amzn.to/3JximVT Further Reading:  "What is Apple Adaptive Audio? The new AirPods feature explained" by Harry McKerrell: https://www.whathifi.com/news/what-is-apple-adaptive-audio-the-new-airpods-feature-explained "AirPods redefine the personal audio experience": https://www.apple.com/newsroom/2023/06/airpods-redefine-the-personal-audio-experience/ "The Problems with Electronic Testing of Audio Equipment" by Michael Levy: https://www.audiophilia.com/reviews/2023/6/4/g1c930jr4kbgvj7ea5ry5wfr6cp7cd "Alta Audio Alyssa loudspeaker" by Jim Austin: https://www.stereophile.com/content/alta-audio-alyssa-loudspeaker-jim-austin-december-2020 "Alta Audio Adam loudspeaker" by Rogier van Bakel: https://www.stereophile.com/content/alta-audio-adam-loudspeaker The SoundStage! Network: https://www.soundstagenetwork.com/ “Storm” by Tim Minchin: https://youtu.be/jIWj3tI-DXg Tim Minchin's Storm the Animated Movie: https://youtu.be/HhGuXCuDb1U @Daily HiFi on YouTube: https://www.youtube.com/c/DailyHiFi

This week, Austin Young of the Central Oklahoma Ghostbusters joins Extraplasm for an interview session about his Proton Pack build project for Ghostbusters Afterlife star Logan Kim, who played the role of "Podcast!" Austin took on the chance (and high "presh" stakes!) to build and deliver a replica flight suit, Proton Pack and Takara Remote Control for Logan Kim in collaboration with Yes Have Some Podcast and many contributors from the Ghostbusters fan community.  Austin is an accomplished prop builder and living encyclopedia of Ghostbusters cinema knowledge, and co-host of the Black Firehouse Podcast. Get caught up on the week's headlines, including an exclusive peek at the Hasbro Spengler Proton Pack packaging, new information about the fate of the Eaglemoss Ecto-1 build-up project, and updates about merch and media! Then, join Jim & Austin as they chat about his background, the collaborative build project, and his trip with Yes Have Some to deliver the pack to Logan in person at Arkansas Comic-Con (including last minute mishaps and improvised repairs - just like the real thing)! Editorial Note/Correction: Eric Burnham was mistakenly credited as an artist for Ghostbusters: the Official Cookbook in this week's episode. Burnham has worked as both a comic book artist and writer, but his correct credit for the cookbook is writer/co-author.  Jenn Fujikawa developed the recipes and culinary information, while Eric Burnham crafted the "in-universe" narrative elements of the text. Theme Song - "Ghostbusters" by MAGNAVOX

In this Episode I talk to the new Commanding Officer to find out what has happened in the first 4 months of his time in command, and, of course, we have our catch up with Jim Austin at Home Headquarters. 

In this episode of the SoundStage! Audiophile Podcast, hosts Brent Butterworth and Dennis Burger riff on an article by Diego Estan, in which he re-evaluated a pair of Stenheim Alumine Two speakers that demand something a little different in terms of setup. That leads to some insights gleaned from an interview Dennis conducted with Zoltan Balla and Blake Alty of Paradigm about how room design is influencing speaker design. In the second segment, Brent and Dennis revisit the “live music as a reference” debate, which leads to a discussion about an old article by Sean Olive on live-versus-recorded-music tests and why they're problematic. Lastly, they vicariously visit the Montreal Audiofest 2022 by way of SoundStage! founder Doug Schneider's show coverage, and discuss the products they wish they could have heard themselves.  Sources: "Doing Our Due Diligence: Room Gain Revisited with the Stenheim Alumine Two Loudspeakers" by Doug Schneider and Diego Estan: https://www.soundstagehifi.com/index.php/opinion/1661-doing-our-due-diligence-room-gain-revisited-with-the-stenheim-alumine-two-loudspeakers "A Fantastic Gateway" by Dennis Burger: https://www.soundstageaccess.com/index.php/feature-articles/1186-a-fantastic-gateway-a-qa-with-paradigms-zoltan-balla-and-blake-alty-on-the-new-monitor-se-8000f-loudspeaker "On Live Music" by Jim Austin: https://www.stereophile.com/content/live-music "Why Live-versus-Recorded Listening Tests Don't Work" by Sean Olive: https://seanolive.blogspot.com/2010/07/why-live-versus-recorded-listening.html "AudioQuest NightHawk Headphones" by Brent Butterworth: https://www.soundstagesolo.com/index.php/equipment/headphones/75-audioquest-nighthawk-headphones "Montreal Audiofest 2022 - Montreal, Canada" by Doug Schneider: https://www.soundstageglobal.com/index.php/shows-events/montreal-audiofest-2022-montreal-canada

In this episode of the SoundStage! Audiophile Podcast, hosts Brent Butterworth and Dennis Burger dig deep into the former's most recent editorial on SoundStage! Solo: "Why You Shouldn't Always Rely on Measurements." They also give their take on the recent news that medical equipment manufacturer Masimo has purchased Sound United—parent company of Denon, Polk, Marantz, Bowers & Wilkins, Classé, Definitive Technology, and Boston Acoustics—for a billion bucks. Finally, Brent and Dennis take a virtual stroll through SoundStage! Global's coverage of the 2022 Florida Audio Expo and talk about the products they most wish they could have auditioned for themselves. Sources: "Why You Shouldn't Always Rely on Measurements" by Brent Butterworth: https://www.soundstagesolo.com/index.php/features/325-why-you-shouldnt-always-rely-on-measurements "Thoughts on Reviewing" by Jim Austin: https://www.stereophile.com/content/thoughts-reviewing "Segmentation of Listeners Based on Their Preferred Headphone Sound Quality Profiles" by Sean Olive, Todd Welti, and Omid Khonsaripour: https://www.aes.org/e-lib/browse.cfm?elib=20289 "Monitor Audio Silver 300 7G Loudspeakers" by Dennis Burger: https://www.soundstageaccess.com/index.php/equipment-reviews/1175-monitor-audio-silver-300-7g-loudspeakers "Sound United Acquired by Medical Products Maker Masimo Corp. in $1B Deal" by Ted Green: https://www.strata-gee.com/sound-united-acquired-by-medical-products-maker-masimo-corp-in-1b-deal/ "Florida Audio Expo 2022 Coverage from Tampa, USA" by Doug Schneider and Jason Davis: https://www.soundstageglobal.com/index.php/shows-events/florida-audio-expo-2022-tampa-usa

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Intro: Should Boz become a band manager? Let Me Run This By You: When you ASSUME. Interview: We talk to Sarah Charipar about playing old ladies when you're barely an adult.FULL TRANSCRIPTSpeaker 1: (00:08)I'm Jen Bosworth Ramirez and I'm Gina Pulice. We went to theater school together. We survived it, but we didn't quite understand it. 20 years later, we're digging deep talking to our guests about their experiences and trying to make sense of it all. We survived theater school and you will too. Are we famous yet? Before we begin this episode? Just a little note to say there were some audio problems with this. I did the best I could fixing it up. The content is still good, but you know, sometimes things work out that way. Mercury was in retrograde or something. I'm sure. Anyway, enjoy. Speaker 2: (00:47)Hi. How you doing? How you doing, babe? I stayed up pretty late. You did. Okay. I have these neighbors. Do you know? Oh my God though, that gives me flashbacks. Um, no, no, I have these neighbors, right. I adore them. Okay. They are young, you know, mid, late twenties in a band that I adore and they're trying to get me to be their manager. I don't think that's a great idea just because I don't know how to manage bands. And I am trying to work on my own career, but, but I did give them some feedback, like about how to go about their there's a great band, great kids, you know, kids 20, 27. Yeah. But still kids to me. And, um, anyway, we stayed on the w we have balconies next to each other. So we just sat out there talking while miles, miles was as long asleep at like seven, but I stayed up until nine. Speaker 2: (01:48)So that's late for me. Oh my gosh. I thought all this was building up to like, you stayed up till three in the morning. You got two hours of 7:00 PM. 7:00 PM. Well, he gets up at four. So, um, he goes to bed. No, I shouldn't say last night he did go to bed a little earlier, but usually it's about eight 30, eight, eight 30. It's really quite does he get up at four? Because like, that's his natural body. He likes to do that. He does his burpees. He's Mr. Kind of healthy. He does all this workout stuff and I'm just jealous. That's the reason you didn't see it. But I did like a dismissive hand gestures only because I'm jealous. That's the only reason. So, so he, so anyway, his people were farmers that's. I mean, that's what they say. Like people who are night owls probably have ancestors who were on the night watch, you know, caveman style and people who just a mosquito and people who are early risers were, I mean, I've heard, Oh, I like that. Then that I like that. That means my dad was on the Nightwatch and, uh, or just very Speaker 3: (03:00)Depressed and couldn't go to sleep, but, or I'm going to choose the nightmare. Speaker 4: (03:08)Let me run this by you. Speaker 5: (03:15)I recently called to tell you about, uh, a experience I had with a friend of mine, who I felt like didn't like something I had suggested to them and wasn't responding to my text message and it's, I wasn't, uh, freaked out about it. That's a step forward. And I wasn't even very worried about it, but I thought, okay, well I suggested something to this person. They didn't write me back. My assumption was that they thought it was a terrible idea and didn't want to have any part of it. And I was completely wrong because I had another conversation with this person yesterday. And like, and of course they reason they didn't write me back was completely Speaker 3: (03:56)Had nothing to do logical. Right. And this is Speaker 5: (03:59)So lesson that I can't seem to grasp that. Like my first inclination is always to say, they're mad at me. I did something wrong. Speaker 3: (04:13)Sure. How do I get out of that? I don't know. It's the same. So I think I have the exact same thing. Mine goes mine. It's my first instinct. And I think it's practice of look, actually what I think it is is if you go to that first thing first, which you probably, I probably will, and you probably will, the rest of your life. It's just, just part of the DNA. All right. But the process of working through it right. And getting to the point of being like acceptance of, okay. So if they are mad, okay. So if they are, they hate my guts. Okay. What then, what am I going to, how am I going to take care of myself? If this person is upset or who doesn't want to be my friend or whatever, I think that's the real, um, when of the thing is working through, working with ourselves through that process is the process versus, you know what I'm saying? Like that's the reason it comes up is to, to be worked through and not necessarily that the first instinct will go away because I don't think it will. I just think that's the way we're wired. At least I know that's the way I'm wired. And I think I it's practice of working through so that it becomes less of a whole situation. Um, and more of a, Oh yeah, I did that thing again. Okay. Well, how can I work with myself? Okay. So let me talk it through with somebody, let me, but I, you know, Speaker 5: (05:48)Bernie in that, and I have, I guess now that we're talking about, I guess I have come some, what of a way? I mean, cause it used to just be that I would immediately respond to that person and say like, I'm sorry, I take it back. Or, or like, I know that I know you hate me now. Speaker 3: (06:05)Just start crying profusely, get on the phone and say, I'm sorry, I'm so terrible. Um, and please forgive me. Yeah. Like you said, it was a, be a whole play, a drama Speaker 5: (06:18)And then DBT, uh, I think it was in DBT, but anyway, as a therapist, I would always encourage my clients to check the facts about something, you know, because feelings aren't facts and you know, just because even if you have, even if this person really doesn't care for you, that doesn't mean that every interaction you have you're, you're doing something wrong. You're, you know, you should be put up on the cross. Speaker 3: (06:40)Yeah. It's just ownership of self. And of, I think it really, for me comes down to this core, core, deep, deep belief that I deserve to have my feelings. I deserve to have opinions about things. Um, I deserve to take, um, to take initiative on ideas and even if they're shot down or even if people think it's the stupidest idea in the world, I deserve to throw things out there and see, and you know, it's, it's a deep, deep core situation for me. Yeah. Speaker 5: (07:14)Yeah. It is. And, and I think I I'm really learning. It's there's a big part of it. That's generational too. I mean, you know, when we talk to younger people, they seem a lot less burdened by, I mean maybe sometimes going in the opposite direction. So that was the other thing I was just going to ask you about is now that you've been teaching at DePaul for a minute. Speaker 3: (07:37)Well, now I'm done. It's crazy. Well, I'm not done. I'm done, but yeah, it has been quite the journey. So they're just like us in some ways. It is amazing. So I had 13 individual one-on-ones with these students, um, at 10 minutes each. So I offered one-on-ones because they really wanted that. And they too Speaker 5: (08:06)Knew like her feedback about their Speaker 3: (08:09)Like, to do like therapy. Let's just be honest because they're struggling. And it was my suggestion. It turned into not therapy, but it did turn into a lot of coaching. Let's just say, but they're struggling just like we were, even though there's I would say, yeah, I would say a good 13 out of 24, right. Or 12 out of 24 half are struggling with the exact same thing. I don't have a rep. Other people have reps. Now they get reps before school ends because they they'd been auditioning for, um, agents, um, on zoom. They had like a class where they bring agents in. So half that sets up a dynamic where half the people now have reps and half don't. So the people that don't have acting reps obviously wanted to meet with me partially to say, how do I get a rep? And I'm like, listen, it takes time. You'll find your people. Let me, I, and I offered to help with, I say, send me your showcase link when you have it, your part, your monologue. I will send it to my peeps, but like, it's the same stuff we're dealing. We dealt with. I think they're not quite as quiet about it. Like they're pretty loud about it. Speaker 5: (09:22)They don't have their quiet shame that they'd have to wait 25 years to listen to somebody else on a podcast to go, Oh, I shouldn't have been ashamed about that at all. Everybody was feeling the same thing. Speaker 3: (09:30)Yeah. That they're loud, they're vocal about their issues. So that actually makes it somewhat easier to work with. But it also is. I'm jealous, you know, that they're able to be so vocal. Um, that brings up a lot. I have a lot of feelings of like man D but then at the root they're just as scared as, as we were, well, a lot of them and just as, um, petrified to fail. And just as a, I think it's just an age thing too. And it's also a competition thing. Like there's a lot of competition and within the school, right. Because you set it up, some have repped, some don't and that sets up this whole dynamic of some of these kids or these young people are going on auditions. And they're not like supposed to, but because it's a zoom world, it's a different situation Speaker 5: (10:20)Rule that they're not supposed to, but everybody took advantage of this time. Which of course they did. And I would have thought Speaker 3: (10:26)Of course. And so anyway, it has been, it was in very fascinating ride, but what I did find was, you know, after my 13 one-on-ones I was exhausted. Like I had to lay down, it was like 13 mini therapy sessions. And I was like, and then follow up, you know, I I'm sending certain people resources. So, but I do feel like it was, it didn't, it didn't feel, um, I don't feel resentful. I feel like they paid me really well. And this is part of my deal. And also one of my, one of my strong suits, one of my jams is connecting one-on-one and really listening and saying, Hey, like, you know, let's like you said, like, let's look at the facts here. You know, you haven't graduated yet, but you see, it doesn't matter because when you're that age, you feel like there is no time. And now you look, as we get older, I'm like, Oh my God, you had so much time girl. Speaker 5: (11:23)But the other day sitting at my rate, waitressing job, talking to this guy who was, you know, he was a good 30 years older than me. I was 20, I think. Um, I think it was like 24 and being like, I'm old, I'm at 24. I started thinking I'm almost 25. And then when you're 25, it's over like every, you have to have everything established by the time you're 25 because who, you know, becomes a person after that. Like, I really thought Speaker 2: (11:54)That way. And in part it was because, uh, not because I thought my parents were so emotionally mature because they'd be the first to say, or at least my mom would be the first to say that they weren't, but they own their first house when they were like, they got married at 18, they own their first house right away. Or I guess they rented. But then really soon they own their first house. And that kind of set the bar. Like I felt, I feel like a failure sort of before I even went to school, like, there's no way I'm going to be right. You know, right away. I felt the same. Like I think it's generation. Yeah. I, my parents had their, they didn't have their together emotionally, you know, and, but they definitely own the house and they definitely had job jobs. And, you know, so that, and also the, I guess that speaks to the difference of what kind of, what we culturally value we had. Speaker 2: (12:47)There was no room for valuing like personal growth and development at that time. Whereas that that's gotten much more of a stakehold in terms of our societal values and, and hopefully less and less about what you have and what you own and how much money you have. Oh, well, that's interesting. So if you're listening to this and you're, this is your final year of the theater school, it gets better, you know, it gets better and it's already good. Like there's this combination platter of the, the depth of despair that you may be feeling now that'll get better. Um, but also you are doing it. You are doing the career part. The training is part of the career. Everything that comes after that. Yeah. You'll, you'll, you'll build upon. I mean, that's what we've learned during this podcast. Like you build a PA, even if you leave in 10 years, you find yourself, you didn't do anything, thought what you thought you were going to be doing in this final year. Speaker 6: (13:49)You are using your skills and what you learned there, and you are applicable everywhere. This is your life, you're living it. And this is the life like it's all of today on the podcast, we talked to Sarah charper. Sarah is one of those actresses that multiple people that we've talked to have described as a powerhouse. And she really is, and she's on stage and on screen. She's just so connected. She has such a presence. And, um, we talked to her and it was a lovely conversation. And I just she's has this outlook about the pandemic and about life. That's really inspiring. So I'm so glad we got to talk to Sarah charper on I survived theater school. Enjoy fancy. I, I move your camera so I can see Speaker 2: (14:52)Your beautiful face. I want to see the bottom of your beautiful face there you okay. Oh, you're so you're so I know you're not supposed to say this, but Sarah, you, you have you, are you eating? Speaker 6: (15:05)What's going on? I I'm it's it's so funny. H I said the same thing. I mean, I, I, I don't. I have, I don't. I mean, yes, yes. I'm yes. I'm you look great. Thank you. Just checking that, you know what I did? I, um, I stopped drinking. It was weird. I mean, I haven't, I have not had any alcohol in like three months and all of a sudden, like I have a chin wall. I mean, just like, I think the puffy goat has gone away. Um, yeah. Regrettably, I guess. I, I it's, it's so nice to see your face and I still feel like such a crumb that I, I just think I had a pandemic stroke that last time, but, um, I'm so happy to see that something terrible had Speaker 2: (15:47)Happened. Um, Fred, this passed away. Speaker 6: (15:50)Oh, right. That's right. Yeah. One of the mini pandemic suicides. Um, Oh my God. Yeah. So sorry. Um, but this was super fun, but this is fun. What a. I am Jen before. So before I forget, you have to send me your address because I have something for you that I've had for over a year. And now I feel bad, Gina, because I don't have something for you, but I don't know what to get you, but I do. I'll share it. I do have something for you, Jen, that I've had for a very long time, and you're going to know what it is and when you see it, Oh my God. I can't wait. I can't wait. Well, welcome. And congratulations. Speaker 2: (16:32)You survived theater Speaker 6: (16:33)School. I did allegedly Speaker 2: (16:36)You in actual fact, you survived it and you are. I ha I probably shouldn't be starting this with such a gush, but you, you are such a fantastic actress. I mean, really everything you do now, everything you did in school is fantastic. You are so like deeply connected to everything you do. It's very admirable. Speaker 6: (17:03)Thanks. We hear it all the time. Speaker 2: (17:09)We've heard it from multiple people on the podcast about how much of a powerhouse or like in the, you know, in the Facebook chat situation, how much of a powerhouse. And I think that's the word that comes to mind when I think of your and your you and your acting is like powerhouse, but connected is also like Gina said, totally connected. And I've seen you, you know, in rooms, running casting sessions, and you're the same way you're connected as a reader. You're connected as a casting associates. So you're, Speaker 6: (17:39)You should see me weeping in corners on a regular basis. Speaker 2: (17:43)So, um, did you want to be an actor since you were a young lady? Um, Speaker 6: (17:50)I think, well, my mother always says th th th th my transformative moment, they took me to go. I grew up in upstate New York. So they took me to the Shaw festival and I saw Cyrano de Bergerac and Cyrano was played by this. I want to say, he'd let her know. His name is Heath Heath Lambert, a very diminutive, um, Canadian actor. Well, I say that only because he played Cyrano, who is such a heroic, huge character. Um, and the one we played Roslyn was so beautiful, but more importantly, her hat was amazing. Like she had one of those pointed princess hats with a gossamer hanging down, which I don't know if you it's like, that's the fabric that looks like fairy dust. And my mom is like she said, Sarah, you just sat at the edge of your seat and didn't breathe the entire time. Speaker 6: (18:33)And I still to this day, and I think I might, I think I might've been nine. I still, to this day, remember sitting in that theater, just being like now, granted I was mostly drawn to the fairy dust and the applause, but I, um, I don't think I ever recovered from that moment, but I really, it, it has taken me, um, I'll say I'm, I'm 50 now. I think I've just started to admit that I'm going to be an actor. Do you know what I mean? Like, I don't think I ever really wanted to own that. I don't think I ever wanted to, although I just said I was 50, but everyone knows that. Um, uh, I don't think I wanted to own that. So I did a lot of things to kind of be like, Oh, I'm going to be an academic. I'm going to, you know, um, so really what kind of academic did you think you might've studied theater? Speaker 6: (19:15)I mean, I got it, got my degree in theater studies and women's studies and religious studies. So really, I just liked studying people and motivation. So it's all the same thing, right? Like, Oh yeah, definitely all the same thing was when it, DePaul, I went to university of Toronto for my undergrad. So, um, they're in there, you know, they're a very rigorous academic school. Um, and it's a totally different than the American system. Like most of your classes are a year long, some are a half year. So it's a really like hardcore, like in some of the colleges they wear robes. It's very, um, not my school, but, um, so yeah, so I, I went there and got a BA in theater in women's studies and, and, um, religious studies, uh, and did have some performance. So that's why I went on to get my masters, um, w where I ended up at DePaul, uh, because I wanted to learn how to act. Speaker 6: (20:09)I mean, I knew what I thought was really great theater. And I worked with incredible people that I still haven't had the gift of working with people of that caliber ever again, but I didn't know how the to do anything. I just felt a lot. Yeah. Did you, did you act as a, in high school, did you say, Oh, golly. No, it wasn't. So it's funny. So I went to my high school, I went to a super urban high school and it was connected to the school of the arts, but again, this fight in me, I was like, I'm not going to go to school, the arts, I'm not going to be one of them. Um, and like, you know, I went to high school with Taye Diggs, whose name is Scott. Um, you know, uh, people who ended up having massive careers. And I sort of sat on the periphery. I did, however, was a part of Speaker 7: (20:48)An improvisational theater group called awareness theater, which is hilarious. And I think about it now. And we went around and did improv for like, doctors about how to deal with kids with like drug addiction or parental issues. And I think I was remembering the day. I think we actually did a performance at Attica, and I'm not even you. Like, I don't know who led us in these places, but we did these improv's about like, don't do the cocaine, but I want to do the cocaine. And like we got in a van and drove to schools. I mean, I had a little sweatshirt, I loved it so much. I loved it so much. Speaker 5: (21:18)So I love that. That's fantastic. So, um, in upstate New York, uh, you went to the shop festival. Did you get, did your parents also take you to Broadway Broadway? Speaker 7: (21:29)Um, I believe so. The first Broadway show I saw was the touring company of Annie. So I saw that in Rochester, the first Broadway show I saw was the tap dance kid. I think Speaker 7: (21:42)Alfonso, Roberto, the kid, yes. Right. He was the tap dance kid. Um, and you guys are, you're younger than me by a lot, but this was the time too, in my junior high, they had to band taps because in the, in the, um, the musical, there were all these great tap numbers where they had like converse sneakers with taps on the bottom. So everyone had to get taps. So as you can imagine, the halls of my high school were just says, coffin is insane. Those got manned along with the Michael Jackson belts. Cause everyone beat each other with them. Speaker 5: (22:14)It was a little aggressive with the spice, Speaker 7: (22:18)The ones with the big name, like the one where you could get them personally, not, you know what I mean? We weren't allowed to wear those as anything could be weaponized with a creative mind Speaker 5: (22:28)When I was in junior high, I got sent home for wearing, um, what I thought was just a cute little accessory in my hair, a bandana, it wasn't red or blue, but I got sent home because there was a no bandana, uh, gang violence in Sacramento at the time that I was in junior high was like real, real, real high. So, uh, anyway, so, okay. So you, uh, did your MFA at DePaul and, and then when you left or when you graduated, were you debating, staying in Chicago, moving to LA moving to New York? Speaker 7: (23:06)No. Um, I I'm realizing now in this pandemic time of reflection, like how much, and I've been thinking so much about this thinking about theater school and stuff. Um, no, I think I was lived with, I think I just lived in fear and waited for permission. So I was waiting for something to tell me where I had to go. Um, and I thought Chicago was a great place to get started. And I, um, I had friends of mine right out of school who had started a company. Um, so we were working together. So that seems like a great little launching pad and then they watched real careers. Um, and, um, Speaker 6: (23:47)Was that sad? Yeah, yeah, Speaker 2: (23:50)Yeah. We were talking to Lee a little bit about it, Speaker 6: (23:52)Eric. I was thinking about him this morning. Um, yeah, so they, um, so I, no, I didn't. I mean, I did, did I think that that call was going to come where I was desperately needed elsewhere. Absolutely. But, um, shockingly, that hasn't arrived yet, but there's time Speaker 2: (24:09)Fair to be fair. You have had calls come for different things. Speaker 6: (24:13)I have, indeed. I have been very lucky. No, I have been very lucky, um, Speaker 2: (24:17)And hardworking. I just want to put that out there, that call comes and then we answer it and we try to show up the best we can and you've done. Speaker 6: (24:25)I appreciate that. And I, and I feel like Speaker 2: (24:27)Ciao hasn't called yet. Judd, Apatow has not called yet, but that doesn't Speaker 6: (24:32)No, and I, it's funny, I have been thinking a lot about, you know, when, when you're ready for things and when you're not. And, um, I don't know if the world is ready, but I kind of feel more ready now than I ever happened. So that's kind of exciting to not feel like your life is over in the midst of all this chaos and breaking down. It's sort of interesting to find, I'm trying to, I'm really trying to silver lining this whole pandemic, so yeah, yeah. Speaker 2: (24:56)Yes, yes. There is the option. The alternatives are not good. Silver line. Speaker 6: (25:02)I know. Right. I mean, don't we all? So, um, yeah, so, no, I, I mean, I wanted to go and I did, I did spend some time in New York. Um, I went with a show, um, I did it, I ended up doing, um, Cuckoo's nest at Steppenwolf, and then we did it in London and then we did it in New York and then the world went to hell in a hand basket and I saw the world trade center fall down. I thought, well, I want to go back to Chicago. So anyway, blah, blah, blah, um, nine 11 Blomberg. Anyway, that happened back to me. Speaker 2: (25:35)I have a question. I have a question going back to the, so when you, when you decided, did you decide, um, were, were other schools in the running for you besides DePaul for your MFA? Speaker 6: (25:44)Well, so I had already gone to another program for a year. I went to SUNY Binghamton, um, in Binghamton New York, which is where rod Sterling's from, that gives you an indication. Um, and that program was actually rather astounding. It was run by this guy, gene lesser, God rest, his soul, who I can unequivocally say was a bit of a sociopath, but he was one of the people who started Julliard in the early days. So he was one of those Svengali kind of teachers that could get you to do work. You never thought you had access to, but you were completely dependent on him to do it, which is why he had these weird little acolytes following him around and stuff. So I spent a year kind of being brainwashed by him and then the program crumbled. So then I had to find somewhere, um, the program shut down and it was hell in a hand, basket was just total task. Um, so I left that program and then went through the process of desperately auditioning and, um, you know, when Tish and Julliard and everyone else to get that, but I will say this, this is an amazing story. So I went to New York for the IRDAs Speaker 7: (26:44)Or something to audition for DePaul. And, um, at the time I had just been recovering from an illness. All of us ladies are familiar with it, had a horrible UTI. And so I took sulfa and didn't know I was allergic to sulfa. Um, and if you're allergic to sulfa, it does something great. So I went into my audition. I, you not by face was swollen. You came out to here. Like I looked, I looked like a homeless person in the middle of a Chicago winter by that. I mean, my face was completely swollen and disbanded, dark purple when burned and insane. My lips were deformed. Um, I mean, I looked horrified and I remember standing like in this waiting pen room, like it was a dance studio and there are mirrors everywhere. And I was just kind of looking at myself going, are you me? Speaker 7: (27:33)And I was like, Oh, okay, here we go. And I went and did my pieces and was like, I remember Jim hostel help was there. And I think John Jenkins and all these people, and I finished my pieces and they're like, do you have any questions? And I just kind of stand there, look at them going seriously. We're not going to talk about that. I've ever been like, just in case any of you are wondering, I don't normally look like this. I'm like, I'm not a supermodel, but this is not what we're normally just to put that out there. Cause like, it was good. You were brave to do that. Oh my like, I mean, I was making children cry in the streets. I mean, I really, but it was just so funny that they didn't even acknowledge. I mean, I get it, but we weren't even politically correct then, but no one said a word and I'm like, we're going to pretend I don't look like a descendant of the elephant man. Okay. But anyway, they took me. I think they felt badly for me. Speaker 5: (28:20)No, no. They saw they saw your talent audition. Speaker 7: (28:26)I know, I think I know I had this piece. I have no idea of what it's from, but it was about green peppers, like about, do I not like green peppers? And I went to this diatribe. No. As a matter of fact, I hate it. Actually. I really hate it. Everyone else likes green peppers. They think it was highlighted in that it was this theory about grit, which is very close to me cause I tend to get furious about nonsense. Um, and I probably did something tragic, like from Troilus and Cressida. I think I did a Cassandra monologue control. I was impressed. I talk about overblown. Like I'm, I'm going to play a deeply connected sear. Um, but they felt, Speaker 5: (29:02)I bet you knocked it out of the park. So you weren't talking about, uh, your earlier experience in having a spin golly type figure. And I, I probably wouldn't go so far as to say the theater school head spin golly types, but we did have, and we talk about on this podcast a lot, you know, people with big personalities people w we, we got, um, labeled in a way by our section in a way. Uh, so I'm curious to know your thoughts about that, about the personalities among the faculty, how you related to it, then how you relate to it now, what Speaker 2: (29:42)Your thoughts are. Speaker 8: (29:42)Well, so it's interesting, again, like I've been really deliberating about this a lot, you know, cause I wanted to do a good podcast to help you get now I know there's a great at the end, I was in a very different position. You know, I'd already gone to undergrad for four years and I'd already done one year of, of theater training. So I came into it at a different place and it was interesting because, um, temperamentally, I was much more, I felt a greater kinship with, uh, the folks that were getting BFAs and my MFA class. I mean, I really just didn't, it's not that I didn't get along with them. I just didn't. I was in school with a lot. I'll never forget. I was auditioning. I wanted to go to, um, ATC elemental P whatever the Harvard school is and I'll forget it. Speaker 8: (30:21)They were audition. They were like, if you want to be a teacher, get the hell out of here. We don't want accuracy. We want to be teachers. We want actors who want to act. And I was like, yes. Um, and not in any way to be disparaging of the folks that were in my class, but I felt like a lot of people were like, this is my backup. I'm going to be a teacher. And I'm like, who's going to want you to teach if you don't actually do this. Right. So, um, there was a little, just a little bit of a disconnect. And I think, I thought I knew everything and I was more than likely a snapback. So I, um, I didn't have the same kind of, Oh my God, this is a whole new world for me. You know, I was 23 and worldly, you know, but I'd already had those aha moments. Speaker 8: (31:02)So, and I came out of a really, um, I don't want to say for me, but like a borderline abusive stage. I think, I mean, I think this teacher I had before was actually a predator. And I say this now, cause he's dead. Although I should say it out loud when he was alive, I think he was a predator. So, um, I came out of a very intense environment into something where I remember sitting with Jamal's to Hoff all the time and he'd be like, Sarah, I just feel like you want me to yell at you. And I was like, yes. And then I had a little PTSD. I was like, no, one's mean enough. No, one's hard enough. Um, and I was constantly asking for more in gym and it's funny. Cause like everyone was like Jim Austin, Hoff crusty guy. And I'm like, I want more crust. Speaker 8: (31:39)I um, and I think I was very much a victim of one of those people that convinced myself that it didn't hurt. And I wasn't an excruciating pain all the time. I wasn't doing enough. Um, and if people didn't tell me how much I sucked, then they thought I couldn't be better. And so I really had, I was stuck with that feeling for a very long time in DePaul, like, Oh, I guess this is as good as I'm gonna get. Cause no one seems to tell me what I need to fix. And again, no one can, no one can fix me other than me. Uh, but I think I a very much, um, I think it goes into the whole permission thing that I was really looking for someone to tell me what was wrong and tell me I was going to be okay and tell me I was gonna make it. And that I was one of the chosen ones so that I could go out and take chances, which I think is the biggest problem with theater school in general. But that's a customer question. Speaker 2: (32:26)It's interesting because we do have a lot of you're the first person that I've really is struck me as saying like I needed more crust, I wanted more crust. I needed that for whatever reason. And it's, there's no judgment on, but um, there Speaker 5: (32:40)Are those people and I think it's also the Julliard method. That kind of method of, you know, unless it hurts, you're not, you're not growing and you know, to be fair, there's something about that that works like when I'm in pain is when I make changes in my life. It's just that, uh, you seem a little, like you were a little more ready to make changes. I was just trying to figure out what's happening. Speaker 8: (33:00)Well, totally. I was in a different place. I mean, I had, I'd already left home. I lived, you know, in a university of Toronto, it's a totally different than the American system. Like you live on your own, you live in co-op housing. There's no doubt. I mean like I had already sort of lived a pseudo, I mean a wildly protected pseudo adult life for five years. So I wasn't in the same place of like, Holy crap, I get to smoke cigarettes in front of teachers. You know what I mean? Like I, uh, so I just, um, but again, like, I, I still very much, I mean, it's not a level of maturity that I'm, I'm super proud of because I still very much was desperately seeking for someone to say, Sarah, you can live the life you want to live. You can be who you want to be. And it's not about which role you get here. Cause it's, you know, that world is also as the three of us don't we, we were never fricking algae news. What the hell was I doing? Doing shows and theater school. Speaker 5: (33:52)Right, right. Yeah. So you, you are w when you talk about waiting for permission and, and being scared, um, that ties into something that boss and I talk about all the time, and we talked about it earlier today. Uh, those of us who, whose parent whose mothers were in the sixties generation of feminism, um, really experienced, horrible, horrible things. And so their impression that they taught to us and that became our impression is that it was all fixed and it was all better. And feminism worked and patriarchy was over, which is obviously less laughable, Speaker 8: (34:43)Just look at TV. Speaker 5: (34:44)Yeah, exactly. But we, I feel envious of young women growing up now, even at, even though they can still be in a patriarchal context, they can still be oppressed by somebody no longer. Is there just such a dearth of information about what, how it could be, or maybe even how it should be. Um, do you ever feel that envy wishing that you had been raised with, or maybe you were raised with a strong feminist bent? I don't know. Speaker 8: (35:19)Uh, well for sure, like I was raised in a tremendous matriarchy. I mean, everyone jokes, my, my late father, like my friends who, like, he just was a husk and a corner, which he wasn't, but like we just, I come from not surprisingly generations of really dominant women. Um, but I also, um, you know, my mother is the kind of woman she was getting her master's degree, worked a full-time job and raised two children and did everything all at the same time. So my mom didn't have time to about. I mean, so my parents were political and social idealists and they, they actually met in Chicago is this part of this Catholic youth, um, rebel organization. I mean, they were, as far as Catholics can be, but they were really about social justice and change. And so I grew up around all of that. Speaker 8: (36:04)Um, but I also think at a certain point, like what's funny is I, I noticed this particular last year at the beginning of the pandemic when things got cuckoo and, um, so many issues, so many social issues came to light. I realized how old and out of touch I was. Do you know what I mean? Like I had, I had lived this whole period thinking I am so enlightened. And then all of a sudden I was teaching these students and I was like, Laura. And I like literally vomiting on my own words and terrified of saying the wrong thing and not understanding, um, social codes anymore and thought, but I'm a good person. You know, I went through all that white guilt and fear and doubt. And so, um, yes, I, I, I, well, envious of these women, I'm, I'm envious for the time that they have. Speaker 8: (36:48)I'll say that I'm really envious of the time. And I try very much not to squander the time I have worrying about what I did with the time I wasted. Um, but I, uh, you get your lessons when you get them, I guess. Uh, but I think it's a really complicated place that people are in, but I'm very encouraged. And I was having this discussion recently with friends of mine, talking about the movies we grew up with. And again, like I thought me and my girlfriends, like nine years old going to see like nine to five or like we just thought we were a little budding feminists. And then I go back and I look at 16 candles and I'm like, I was obsessed with rape movies. You know what I mean? Like, um, coming, having those awakening moments of realizing I'm brainwashed too, um, or realizing that women cease to exist past 40. Speaker 8: (37:32)You know, when, when I was reading an interview with Reese, with this one recently where she was like, stop time up, Oh, this is a picture of me on set, playing Adam Sandler's mother. You know what I mean? Or like that new shell manque, that's out like Amanda, Seyfried's playing what's her butt's wife. And she's 78 years younger than him. And in real life, his wife was the same, you know, like just this horse shittery where like who's controlling the narrative of who women are is just especially as someone who's like, Oh wait, here I am, I'm 50. I'm ready to go. Now I'm like, well, I have to write it because you know what? These men are terrified to know that we exist. Speaker 2: (38:08)Right. That's absolutely true. And I, I just think, yeah, so that speaks of that thing of like, um, right. I don't know if you guys feel this, but it's like, I came of age thinking I was a feminist and that, that we, everything was possible that I was crushed right by the system. And now I'm coming of age again saying, and I am, I am, I wish I have this on this podcast all the time where I'm listening. I'm like, man, I wish I knew this when I was 18. And there's that thing where they say, you can't know what, you know, until you know it, but I hate that because I just, if I was armed with this, I listened to the stories of people that come on the podcast that are like, you know, I told so-and-so to F off that I was going to play this part or that, and I'm like, I wish I had had that, but you're right. Speaker 2: (38:50)You'd get, you'd get the lessons when you get them. But it sounds like you were able, there just seems to be a sense then about yourself, that when you were at the theater school, that you were able to step into your own, which is why you probably seemed so connected and were, was, was a good actor. And the rest of us were not terrible actors, but I can tell you, it wasn't that I was a terrible actor, is that I had no clue what was going on. You had a clue of what was going on, which is why your work probably seemed so connected because you knew Speaker 7: (39:18)I, maybe I just, I just had more of a chance to know who I was. And I think so much, I think so much of it. And again, like I think about Slack because I teach acting now and I teach at the university level a lot. And, um, I think so much of that environment is about a, tell me I can do this as there's a whole body of people that are gonna tell you just, just between you and me just to make it, am I going to make it like that feeling all the time of thinking someone can actually bestow your life upon you. Um, and then having someone to like, who are you? Who are, who am I do? Can you tell me who I am? And here I am going to school. And yes, I had, I had a pretty, I had a more, um, secure sense of self because I was older just by virtue of years. Speaker 7: (39:58)Um, and I w I was fortunate to be exposed to a lot of things in a very unique way, I think. Um, but still I went into theater school and I played old ladies, my entire career. I played old women. I played grandmothers and old women and the fat ferry. And then I got out of school and I played hookers for 20 years. Do you know what I mean? Like we, there's no sense of what, so theater school doesn't really help you find a truth. And that the hilarious irony is like, you get to be your senior year and you got to do the showcase, which is going to make or break your whole life. And they're like, how are you going to market yourself? And I'm like, are you kidding me? I have no idea of who I am, because I've been running around playing. Speaker 7: (40:43)I played women in theater school that I'm still too young to audition for. So it, it, it, it you up in terms of trying to figure out some way of being authentic and you know, how it is to, it's funny, I'm sure John, you saw it too. You know, our, our dear friend, Nick Whitcomb wrote something recently about like theater and what does theater mean? And I'm thinking, you know, gone are the days where we're all sitting around. I mean, hopefully not forever. We have to reimagine them, but like, I don't know how much me playing Cresseta in Troilus and Cressida is going to aluminate today's world. I don't know how much this can of things that we thought were really going to establish us as artists is going to move us forward anyway. And yeah, I don't know. Speaker 2: (41:29)I also feel like theater never really embraced me as a woman as a, Speaker 5: (41:34)As who I am. So I'm, I'm, I don't feel a loyalty to recreate the art form, which other people can, I just never found like my spot there. So when people are like, how are we going to reimagine theater? I'm like, because I, I never Speaker 8: (41:50)Theater that I liked in America, to be honest, I was spoiled. I was trained by a bunch of Europeans and undergrad and went, I mean, we went on school trips to Italy and Germany and Sasha, and that's the, still to this day, that theater, I, my favorite theater is Russians and Germans and stuff where it's like, I don't have to speak the language. Like to me, that's theater. I don't know a word you're saying. And I'm riveted. And that's, that's what I've never seen that really recreated here. Um, Speaker 5: (42:14)All right, well, gauntlet thrown America. You got to try to impress Sarah. I told boss this earlier, but, um, I just happened yesterday to be looking through the plays in my bookshelf. And, um, I was looking for, uh, to do something specific and I P I picked up a play that I haven't read in a long time called dead man's cell phone. And of course, I was delighted to see your name as having been one of the original, other, other woman, uh, characters. Can you tell us anything about your experience with that play? Speaker 8: (42:53)Yeah, that was great. That was super, super funny play. I mean, um, how do I talk about that? You know, it's so, so, so, so Pauli Noonan, um, who play gene and the play is sort of like Sarah rules muse. So it's very interesting to be in a play with the writers muse in there. And Polly's just one of these, she's just an other worldly being she's, she's a magnificent human being and creature, but like indescribable, I just use just this ephemeral sort of creature. Um, uh, and it was, you know, it's always interesting to work on new plays. It was, um, I find it really challenging. It was sort of one of those, and I'm in poly had done the show before. Cause I remember going like, you know, of course I'm trying to make my role really important and grounded. And sometimes, you know, sometimes a pipe is just a pipe, you know what I'm saying? Speaker 8: (43:40)So I think there were times where I was beating my head against a wall, trying to make my, to understand every, uh, every bit of minutia I could mind out of it. And, you know, I remember once Paul saying to me, yeah, you know, this part never worked in DC either like that. It's um, Oh, wow. That there were shortcomings, but it was, it was wonder, I mean, it was wonderful, you know, I, um, I never, you know, it's like, I think I went through a period. I was like, I'm going to keep working. And then you don't work for a long time. And you're like, I wish I appreciated those moments more. I mean, it was, it was, it was lovely. It was terrifying. I remember, I, of course I only really remember the moments I went up on my lines and didn't know what's happening and got Jeezy on a rake stage and was terrified. Um, please, anyone directing plays, don't put anyone on rage stage. It's just cruel. Um, especially anyone with anxiety vertigo. Forget it. Yeah. Um, Speaker 6: (44:36)You were on a rake stage at the theater school, in the one with the turf. What was that called? Speaker 8: (44:42)That was called systemly feelings, which for like six years, I still found AstroTurf in my underwear. Yeah. That Speaker 6: (44:52)You Speaker 8: (44:52)Were brilliant too. That was brilliantly. That was, Speaker 6: (44:56)That was the audition right. Where we had to be funny. Wasn't that the one where Speaker 8: (45:01)It was late and it was super funny. Okay. And, and I was thinking that Lee Kirk, this is my cousin Lee Kirk was in it. Sean Gunn was in it. JP Cabrera was in it Alex, but like, I mean, and, and, and, and, and, um, Bradley Walker and that, that play Kendra through. And that, that was, that play was F I was all, yeah, that was my favorite place for sure. That I did. Although, full of calamitous moments of, of utter tear and, and destruction. Speaker 6: (45:28)Did you get dizzy on that rake stage too? Speaker 8: (45:30)No, I got, I got sculled. I got to horrible things happen in this show. I have to. Okay. So the first one was, there's always a show at the end of like one scene, there's like a coin toss. And then that determines what the next scene is going to be. And we had to run off stage. It was a rainstorm. We had to run back on stage wet. So we got dunked with water off stage and ran back on. And I can't remember, Stan, I'm such a crumb. He was a lovely stage manager. We had long kind of Auburn hair and he was just adorable. Speaker 6: (46:00)Oh, yes. It'll come to me. Speaker 8: (46:07)Yeah. Reddish hair you're with me. Okay, Speaker 6: (46:12)Lovely. Speaker 8: (46:12)So I remember, um, he had told the, the, the kids, I say kids, because what other, th th th the kids working crew, um, make sure you put relief, um, warm water in, at the top of the act, put hot water in the bucket at the top of the app so that when we dunk them in water, they, um, aren't freezing. And, um, Oh no, whoever, uh, neglected to do this. So did it at the end of the act. And I ran off stage and literally had a giant bucket of scalding water poured on top of me. And I had to run immediately back on stage and finish a scene that was alarming. Speaker 6: (46:51)Oh, that's horrible. And how far along were you on? Speaker 8: (46:55)I was on stage then for another few minutes. And then we did the coin toss, but I just looked at Kendra and like, you're doing the next scene. I was like, this is not because I couldn't go. I was like hyperventilating. I'm like, I can't, I mean, it's like burn cream in my hair line. And then I had, like, I had like a scene or two to recover, and then I had to go back on, but that, because it was like the potential to do like eight different plays or whatever, the way that play was set up. Um, but that wasn't the most terrifying moment. I will, the most terrifying thing that happened that show. So there was a whole big picnic scene. We were all, I remember this all on that Hill. And Gus thing is about the extra guy. I think it was Bradley's an extra guy shows up. Speaker 8: (47:31)So we were one short we're, one short of everything. And all of the dialogue in that scene revolves around the one shortness, and God it. If I didn't open that picnic basket and it was empty, there was like a napkin and two plates. And I'll never forget this. I was thinking of Lee. Cause like I was really, I was really tight with those guys at the time and, and I was running the picnic. So all the dialogue was motivated by me, motivated by prompts about the things and about the lack of things. And I remember opening it up and looking at it being like, there's nothing in here. And this is that the reskin, like there's people out there. And I turned to Sean, Sean Gunn, he was playing my boyfriend Steph, and I'm like, Stafford, could you go to the car and see if there's a bank in the County? Speaker 8: (48:23)And I just remember looking over it and seeing Lee Kerr, cause he could tell him he just went and put his hands behind his head and lean back. Like I can't wait to see how Sarah gets out of this one. I'll never forget that. It was so funny. I mean, it was like the most panicked and we just had to basically make up the entire like, and then I remember seeing that same stage manager whip off his headset go poking around, trying to find, and then like, you know, three minutes later Sean comes walking out. I was like, Oh, is this what you're looking for? I'm like, Oh, was super, Speaker 5: (48:49)Thank you so much. Oh wow. Speaker 8: (48:53)Like I think of that moments where I'm like, Oh God, what if? And I'm like, I already dealt with a big one, if that's fine. And it was true. It was horrifying. Horrifying. Yeah. Speaker 5: (49:03)So, um, I, we have never talked in this podcast about this, but um, recently I was thinking about the actor's nightmare and what you experienced was, was a nightmare. But what we're typically referring to when we say the actor's nightmare is the dream you have that you're and there's variations on it, but like you're supposed to go on stage and you don't know any of your lines or you can't, for some reason you can't get all the way on stage. And I don't know why it took me so long because I would have the stream for the 25 years. I had never acted. Um, so it took me all this time to, to link the way that that is just tied to your own life and your feeling of like being an imposter or you're feeling that you're ill prepared. And I'm just wondering if you guys still have dreams like that. Speaker 5: (49:56)I have the same dream. I have the dream where, where I, I finally got to the point of the dream where I say, it in the dream. I'm just going to make the up. Because before I would try to cram cram, cram and lobby backstage and finding someone's script with the highlighted script and like I'm crying. And then finally about a month ago I had one where I was like, you know what, this. I'm going to make this up. And it was so my God I'm so inspired. Go back to the scary dream. Me too, Speaker 2: (50:29)Just, I said, it. I'm going to make it up. I can't go through this anymore. I can't go through this. Like I literally would. My dream was like, I took control because I had him all the time. Speaker 8: (50:38)I just had that. I'm not no word of a lie last week where I was like, can I just borrow? Like, and it was like the Shakespeare style where they just had their lie. And I was like, maybe that'll just, Oh, I have that dream. And I never have pants on, or I'm always missing either assertive. I find always like trying to take some kind of towel and yes, Speaker 5: (50:58)Boss that is very encouraging that you had that dream. And I am going to try to like take that in such that if I find myself in the middle of that dream, I might be able to give myself that same advice. But it, I wonder for you, I bet it is really linked to this idea that you're having to write for yourself and which yeah. Which Sarah mentioned, you know, you're, you're saying you, you, now that you are now that you're ready to embrace your greatness, um, and you're maybe not going to find a bunch of roles ready-made, you're going to have to make it for yourself. Are you already, Speaker 8: (51:36)Uh, I am eight pages in, I mean, so it's funny. I've been, I, um, like I said, I'm trying to use my downtime, my, this pen Demi time, um, effectively. And so part of what I'm trying to do is not break myself constantly. So, you know, I got my final draft, I got my ideas and I've had all sorts of interesting things pop up over the past few months. So have I done as much writing as I intended to know, but is it something that I'm thinking about and actively trying to not stop myself from doing every day? Yes. And I think that that's the biggest hurdle I have to get over is like the part of me that thinks, well, I've got to get it right from between here and my fingers. It's got to get right. Then instead of like, maybe I should just bark out some really bad and see what happens. Speaker 8: (52:18)Um, and not worry. Cause I tend to stop that. Well, what happens after that? it. I'm done. And shortbread and sourdough. So I, um, I'm trying to get over that hurdle, but I am quite excited and enthusiastic and, and I've had other interesting things. I've had great distractions pop up in the past little bit. So I have sort of like, all right, so I'm going to shelf that and work on. And I'm just really working on, um, not panicking. I'm just realizing, you know, in terms of the dream of like, um, not succumbing to panic and anxiety and fear of what's next and trying to be a bit more present in this weird timeless time. I'm trying to be just a little more mindful and slow. Speaker 2: (53:01)Well, you, you see, I gotta be honest. You seem, you seem pretty, you know, knowing, knowing you, you seem pretty much [inaudible]. I know I Speaker 8: (53:12)Thank you. I appreciate that. Cause I really have, um, and it's also been hard to do to realize like, wait, I it's, I think part of it leads into that. Like if it doesn't hurt, it's not work, um, trying to surrender to like Sarah, your life doesn't have to be excruciating all the time and you don't have to be miserable or suffering. You can just be, and that's a piece of the work. And so I'm really trying as I sit here watching icicles mouth outside of my house, I'm really trying to appreciate and sit with that time who knows what will happen. And again, like, Ooh, what's going to happen as soon as I have to, but I'm really trying to be okay. Speaker 2: (53:44)What did about Cuckoo's nest? Because people are going to ask, how did that come? How, how was that? I mean, that was, that was, that was like a big, huge deal for people that don't know it was Sarah was wasn't Cuckoo's nest. Speaker 8: (53:58)It was super easy, pretty fun. Um, although again, not without its challenges. I, um, I auditioned like every other woman between the ages of, you know, 20 and 32 for this little walk on part. Um, and uh, hilariously, it came down to me and this woman, Jennifer Inkstrom, who's a marvelous actress. Um, and we, at the time we're roommates, we work at the same restaurant. We had the same agent and Oh, my Gary Sinise and Terry Kenny could not choose which one of us to cast. So they cast both of us. So we were double cast in a role. And every other night, one of us went on is Sandy. And the other one played the electroshock tech. I. You not. Um, and that's how that run. It was bananas. It makes, I mean, and to this day, people are like, what the? Speaker 8: (54:52)It was really weird. And I don't really understand what transpired behind the scenes at the end of the day. I think it was a wildly unfair thing to do to Jennifer and I, because for years it really, really with our friendship, especially when I ended up going to Broadway and she did, and it was really unfair. Not that it's going to come back and bite me in the. It was a really unfair situation to put us in, um, horribly. So, um, especially when they're like, so Sarah, when are you leaving Broadway? When's Jen coming. And I'm like, this is up to me. I mean, it was really, really weird night anyway, but it was marvelous and wonderful. And I was very lucky to do a number of shows at Steppenwolf and, um, work with just astoundingly, uh, generous people and not realize it at the time. Speaker 8: (55:35)I just thought, I don't think I, you know, some youth is wasted on the young. I didn't realize how great it was. Um, but it was awesome. I mean, I, I looked out in the audience one night and Paul Newman was looking at me and I was like, that's Paul Newman. I mean, it was just, it was banana cakes. It was, it was, it was, it was wonderful. And it was a, a really fun show. And, um, I can't believe it was, you know, 20 years ago that it closed. Um, but it was a, it was a good time. It was a good time. Yeah. Speaker 2: (56:02)I got, I got, who played, who played first ratchet. Speaker 8: (56:05)Amy Morton. Oh, nice. Amy Morton. Um, yeah, we had a, Speaker 2: (56:12)Okay. I just love that. I love the stories about people. I know. Speaker 8: (56:16)Oh, it was super fun. I got paid to make out with Gary. Like it was like, Speaker 2: (56:22)You know, yeah. And you, you know, Speaker 5: (56:24)We, we, when the, by the time this is all over, you may be part of a bygone era of Broadway. I mean, I was just having this discussion with a bunch of theater people last night. Is it going to come back? Is it going to be, I mean, the whole model, the whole financial model of it, it was so unsustainable, um, with packed houses and, you know, charging $400 a ticket. I can't imagine trying to make this work with any type of social distancing protocols. Speaker 8: (56:53)Yeah. And who the hell are they going to put in those seats to fill? I mean, like, who's going to be on Broadway. Do you know what I mean? Like gone are the actors not to be a Dick, but you know, Speaker 5: (57:05)No, no, it's totally true. I, they interesting. So speaking of plays, um, probably my most memorable theater school watching experience was raised in captivity. Oh my God. And, and, uh, it made me, it made me a Nicky silver fan. Yes. I mean, that play is so funny. And I have the experience of watching it, that I was laughing so hard and so loud and people around me were laughing too, but I felt like, no, no, you don't. This is the most brilliant thing I've ever heard. John Gunn trying to say, I'm working with the baby, I'm teaching the baby. It's the baby's about to walk. Oh, such a great play. It was Nick directed that, right? Yeah. Do you remember that experience? I wasn't in it myself, Speaker 8: (58:09)Laughing in the audience. I wasn't in it. Speaker 5: (58:12)I've been telling myself you were in my favorite play at the theater school. Maybe I'm combining two plays. Did you do another Nikki that you were in you? Speaker 8: (58:22)I mean, I could be hallucinating. No, I cause Susan Bennett, PJ powers, um, was Juliette and that like I wait, was there someone that wasn't that on it? Speaker 5: (58:33)Wait in a Tutu. Speaker 8: (58:35)It's not about being passed around like a, like a, like a candy dish of nuts or something like there's I remember that, that awesome. Speaker 5: (58:42)Maybe we're thinking of a different name of the prompt. Maybe they did to Batman and skirts. Did you do any Nicky silver plays at the theater school? No, Speaker 8: (58:50)That's with Nicky silver too, because I love language play. Like I just, I, um, Speaker 5: (58:55)No, this is the problem Speaker 8: (58:59)That I wasn't in that show. Cause I was like, Oh, better to do Nicky silver then. Yeah. I mean, I was like, I grumbled, I think I was doing some Irish play at the time about, I don't know if I did some Declan. Speaker 5: (59:10)It's so funny. I believe I've used this to disparate things into one flatter. Speaker 8: (59:17)I thought it was me. Cause that play was awesome. And I, I can see Speaker 7: (59:22)Myself in that classroom watching it and just being gobsmacked. It was like, you know, Speaker 6: (59:27)Two little flats and like a light bulb on the floor. Maybe we were sitting next to each other. And I remember, okay. So I'll, I'll Speaker 2: (59:36)Share with everybody that, um, we are doing a part two with Sarah Shera par because, because my audio unfortunately lost. Yeah. So, so I went back and I just listened to the part where you can only hear you and I talking to, to remind us what we were talking about, but I just being transparent about it. The audience, I mean the audio quality will never sound the same. So if you're listening to this, well, yes, it was recorded in two separate days, but I'm going to do my best to bring us back to the point in the conversation that we were at when we were so rudely interrupted by squad cast. So, um, w we were, we were talking about the shows you did, and you were talking about a show that you did with Joe slowish. Um, and then, uh, a story that I loved talking about the show you did, where you had to be CA you were wearing a beautiful gown, I think. And you had to be carrying Helen of Troy, Helen of Troy. Yeah. Tell us that story. Speaker 7: (01:00:37)I just remember being devastated cause David decimal shin had to carry me and I was like, Oh my God, he's going to know how fast, I mean, you know, Speaker 6: (01:00:47)Like I, Speaker 7: (01:00:48)I mean, I had such a crush on him. Um, hi David, uh, as did everyone as did everyone now. Yeah, yeah. Speaker 6: (01:00:55)Me and it precluded you. Speaker 2: (01:00:58)What we were talking about is how it precluded you and things like that, or can so easily preclude us from focusing on the thing that would actually make the memory good. And the experience enjoyable. Like I'm on stage at a beautiful venerated Chicago theater, and I am getting to play this amazing part and I'm getting to do something that I love instead. We're, we're focused on the thing that you worry about what you ate last night. Speaker 7: (01:01:26)It's not really being in the moment. That's not being in the essential moment there that's not the Colonel one wants to clean to, for sure. Speaker 2: (01:01:34)Definitely not. Definitely. If you were in that position today, how do you think you'd be? Speaker 6: (01:01:40)I think regrettably, Speaker 7: (01:01:44)Well, yeah, I'm a bit in that position every day. Do you know what I mean? Like, I'm very, I, it's funny. I, um, uh, recently in this universe, uh, Oh, I apologize. There's some kind of siren happening. Um, recently in this universe of, um, zoom auditions, uh, has been a really eye-opening and a horrifying experience, but illuminating about certain things. And that is that, Oh, I am now back at a place where I'm have to relearn how to not focus on myself in an audition. Right. So because, um, all of a sudden you can see yourself in the corner can see that little piece and try not to be. So I, I thought mistakenly, um, as of late, I was in this groovy Headspace and I was ready to go and it's all about the work. And then the second I could, I was like, Oh God it. Speaker 7: (01:02:31)There you are. And right in front of you, are you and all of your insecurities. Um, and I was, uh, both reassured and disappointed by the fact that I still have the same, the same struggle as a performer to get out of my own way and to get out of my head and stop looking at myself in the moment. And I just had the same experience I had to watch myself. I was on, I saw myself on TV last week and everyone's gathered around the TV and it's like, Ooh, you're on that show. And how exciting. And all I saw were chins. All I saw were, and I remember the day I'm thinking, he looked great. You feel great. You should be confident now, focus on your work. And then I get to watch my work and all I'm all I'm seeing are, wow, that's a really bad sweater. And boy, you know, so it's hard. It's hard to not. Um, I think I focus on it. I try to actively focus on it less. Do you know what I mean? It's kind of like trying to, it's like trying to play a negative intention. I will not, not do. Speaker 2: (01:03:25)Right. Right. Right. Well, the, probably the biggest difference though, is that, you know, that you're doing that now and you know, that it robs you of something that's joyful and you're trying, and you, you know, I think having the desire to get to the place where you can like, just live your life and appreciation for it instead of monitoring your life or how other people are appreciating you. Yeah. Speaker 7: (01:03:45)Yes. And to appreciate the, I mean, so in a way back to that show, my, my goal doing when I shot that show was like, Sarah, you're going to enjoy this experience. You're not going to go home after three days of shooting going. I don't know what happened because I wasn't there. So do I feel like I was able to do that at least 60% of the time? Yes. Which is a big win, right? Like I was like, I was able to have fun being on set and working and focusing on the work rather than worrying about, are they going to fire me? Am I going to get kicked off? And I didn't lose 40 pounds last week. So that was good. That was good to be able to, what was the show? The, uh, the Chicago fire. Um, Speaker 2: (01:04:26)Okay. It's about the it's about the department. Speaker 7: (01:04:29)Is it, is the, it is the fire show of America. Yes, it was. Yes. It was really fun. It was actually super good to, and it was super rewarding because I got to work with a student who I, it was his first job on camera. We had our scene together, a female director that I had worked with before, and it was written by a woman and a woman

Want to know where things stand with state legislation on climate, healthcare, police accountability, progressive taxation, and more, but haven't had the time to follow it all? This show is for you! We bring you a midterm report on this year's legislative session—what bills made it and which didn't, and which will need our help getting over the finish line. We talk with four bill trackers with the Washington Indivisible Legislative Action Team for an update, and some calls to action. Jim Austin tracks healthcare, Hanna Floss tracks good governance (taxation & voting rights), Kirsten Hansen's team tracks racial equity and police accountability, and Kevin Jones follows the environment. This was recorded live on Tuesday, March 9th.

We are back with another Smooth Jazz Show with your host Cedric Bailey. Today's guest will be Mr. Jim Austin and will talk about the next big event that will be held at the Warehouse on East Berry Street. Our guest will be Mr. David Whiteman and this is the show that you don't want miss. Visit www.jimaustinonline.com to get your tickets today.

Today Jim Austin of Jimages joins me to chat about all things photography. Jim is an interesting person, he has taught photography, published some work, travels the world on a boat (can you say lucky guy?) He also talks about Slow Photography... tune in to find out exactly what that is! You can find out more about Jim here and do have a peek at his work... Jim also mentioned this project by Kyle Roper and a free PDF copy of is zine Shizen is available for download. Jim also offers 3 free sessions to beginning photographers, both film and digital! Please support our on Ko-fi and help us upgrade the computer!

Kimmy Kimm, Jia Vandetti, Jim Austin from Qrush.com

As we have done for the last six years, BTA is continuing its objective of encouraging our sponsors to raise funds to support the Howard University Student Aid Fund. The HU Student Aid Fund provides funds for seniors who need to fulfill their financial obligations in order to graduate. To that end, and in lieu of the annual HU Homecoming Weekend, BTA is planning a Virtual Back Together Again "Party with a Purpose!" Thank you Mr. Jim Austin, Class of 1976 for the opportunity to host. Cedric Bailey

In this Episode Tim talks with the current Quartermaster Capt Neil Rudd who was also the first RSM who had only been QRH, hears from Col Nigel Beer about the preparations for the deployment to Bosnia and finally gets the latest from HHQ with Jim Austin and hears from Andrew Milton about Worcester Troop, it was very good to hear about the two of them working together to help a homeless Hussar!  

In this Episode Tim gives the origins of the Black Pig, talks to the SSM D Sqn about the build up to their deployment, hears from Col Simon Fox about his time in Hong Kong and finally chats with Jim Austin and Brig Chris Coles about the review of Remembrance Events.

Join your host Adam J. Sinclair and colorful commentator Mykkal Mulalley-Kapalo as we bring you the latest motorsports news and information. This week, we are proud to welcome Jimi Day, the President & CEO of FM3 Marketing, whose company puts on DriveAutoX as well as the OPTIMA Ultimate Street Car series. We also welcome Jim Austin, whose production company brought us the smoothest music festival of the Summer: The Juneteenth Live Streaming Music Festival and Celebrations!

A podcast hosted by Tim Lewis.  In this Episode Tim talks to the current Commanding Officer, Brig Nick Smith about all things Museum and catches up with the Regimental Secretary, Jim Austin, and Tp Sec Gulf Tp, Garry Donnelly.The Podcast is to develop a new way to engage with both retired, and serving, members of the QRH to provide updates, news and information.Any feedback welcome as are any ideas of what to include in future episodes

A podcast hosted by Tim Lewis.  In this Episode Tim talks to Brig Marcus Simson about life as a DA in Australia and catches up with the Regimental Secretary, Jim Austin.The Podcast is to develop a new way to engage with both retired, and serving, members of the QRH to provide updates, news and information.This is the first of what we hope will be series to be produced on a monthly basis.This is the first attempt to please bear with any minor niggles, we are still getting used to the technology.Any feedback welcome as are any ideas of what to include in future episodes

The first official episode finds hosts Paul Bishop and Richard Prosch visiting about book store finds, sharing reviews and discussing Paul’s favorite western, The Cowboy and the Cossack by Clair Huffaker.02:00 — Rich describes a recent visit to Springfield, Missouri’s Half-Price Bookstore and shares his finds. Books mentioned include The Comancheros by Paul Wellman, Jim Steel #6—Aztec Gold by Chet Cunningham, and the Fury series by Jim Austin, a.k.a. James Reasoner and L. J. Washburn.06:36 — Paul continues the conversation with the show’s main feature, an overview of The Cowboy and the Cossack, the story of a 19th century cattle drive across the Siberian trail.10:28 — Why no movie version? Paul explains, and Rich mentions Huffaker’s work on The War Wagon.12:01 — Rich reviews The Sons of Philo Gaines by Michael R. Ritt.16:06 — Paul and Rich discuss Western Fictioneers16:58 — Paul reviews Hot Lead Cold Justice by Mickey Spillane and Max Allan Collins.The episode finishes up with Paul and Rich trading their current reading list and chatting about the Owlhoot APA.Thanks to John Kilgallon for being our first Patreon member.Episode Two: The Magnificent Seven Vs. The Wild Bunch will premiere Monday, February 7th, 2020.Learn more about Western Fictioneers: http://www.westernfictioneers.com and https://westernfictioneers.blogspot.com True West magazine: https://www.truewestmagazine.comInspiration for Sixgun Justice comes from the good guys at the Paperback Warrior podcast: http://www.paperbackwarrior.comSixgun Justice Westerns is on Facebook, and you can visit our flagship web site for news, reviews, and features at: https://www.sixgunjustice.comSupport us at Patreon: https://www.patreon.com/sixgunjusticePlease drop us an email at: sixgunjusticewesterns@gmail.comThanks to our sponsor, Wolfpack Publishing, and all our friends and listeners.Support the show (https://www.paypal.com/donate/?token=suROpN0f2hQhThddyTchkgR4CytqmFW705g1jNJV3rCDT8OLxSCXKbf8j0oyifmCvb3fAW&fromUL=true&country.x=US&locale.x=en_US)

Caleb Lang filling in for Dr. Jim Austin

The story of one of the men who helped me on my path 23 years ago to be a writer.

We continue our coverage of the lobbying events happening in Olympia, first with Washington's League of Women Voters, who's co-hosting a lobby day with Fix Democracy First. We talk with the chair of LWVWA's democracy team, Kathy Sakahara, about the group's legislative priorities for 2019, which are focused on Democracy and voting reforms. Then we check in with Summer Stinson, president of the education advocacy group, Washington's Paramount Duty, who tells us about what they have planned for their lobbying day, and we get her take on Tuesday's special election, which was all about school levies and bonds. And finally, we talk with research team member Jim Austin about this week's calls to action, and to get his take on HB 1157, which is aimed at allowing local law enforcement to pick and choose which voter initiatives they uphold. A number of sheriffs in the state are choosing to not enforce the gun safety initiative, I-1639, which passed in November. Spoiler: Austin says the bill is likely to go nowhere. Links: The Washington League of Women Voters Lobby Day: https://lwvwa.org/event-3100942 LWVWA Issue Paper: "ELECTIONS, CAMPAIGN FINANCE, GOVERNMENT ETHICS": https://lwvwa.org/resources/Documents/2019_IssuePapers/2019%20Elections%20IP.pdf LWVWA's rundown of pertinent bills: https://lwvwa.org/democracy2019 Fix Democracy First: http://fixdemocracyfirst.org/ Washington's Paramount Duty: http://paramountduty.org/ Info on our state legislature: http://www.leg.wa.gov

Transforming healthcare and achieving the triple aim. We all know we need to do it. The question is how. Executive Master in Healthcare Leadership faculty member Jim Austin sheds light on this subject in his new book, "Transformative Planning: How Your Healthcare Organization Can Strategize for an Uncertain Future". The book is based on Austin’s extensive experience working with healthcare organizations, such as hospitals, physician groups, and pharmacy benefit managers. Enjoy this mini-interview to find out how Austin packs into 120 pages a “how-to” guide for leaders looking to drive transformative change in a rapidly changing industry. Austin is currently a principal at Decision Strategies International, and previously served as a former senior executive at Baxter Healthcare. Music - "As Colourful As Ever" by Broke For Free (CC BY 3.0)

In observance of the one-year anniversary of the deadly violence in Charlottesville, we're joined by three leaders in Washington State who are heading the fight against hate and racism: Makeda Hope Critchlow, board member of Black Lives Matter Seattle-King County; Aneelah Afzali, founder and executive director of the American Muslim Empowerment Network with the Muslim Association of Puget Sound; and Miri Cypers, regional director for the Anti-Defamation League, Pacific Northwest. The three discuss how we should respond when hate groups gather and demonstrate, how we can push back against a president who actively fosters hate, and about how we can each address and mitigate the institutional racism that pervades American culture. We also have our weekly calls to action with Indivisible Washington's 8th District research team member, Jim Austin. Links: Black Lives Matter Seattle-King County Website: https://blacklivesseattle.org/ Black Lives Matter Seattle-King County's Know Your Rights Event https://www.facebook.com/events/1901870650107281/permalink/1905125439781802/ Registration: https://www.brownpapertickets.com/event/3582511 Women in Islam's 3-part series will be posted on MAPS-AMEN's Facebook page when available (later this month), along with information about the "Faith Over Fear" roadshow that will restart in the Fall, and the Activists/Allies Training on Sept. 22 at MAPS: www.mapsredmond.org/amen Upcoming interfaith events and different ways to get to know your neighbors and overcome hate can be found at the Faith Action Network website: http://fanwa.org/calendar/ MAPS' next open house event on Oct. 20: https://www.facebook.com/events/1778934355749866/ ADL's No Place for Hate program we run in K-12 schools in the Pacific Northwest at no cost to schools: https://www.adl.org/who-we-are/our-organization/signature-programs/no-place-for-hate How to report incidents of discrimination or hate to ADL: https://www.adl.org/take-action/report-an-incident Register your opinion on the Trump Administration's efforts to freeze federal fuel-efficiency standards: https://www.regulations.gov/docket?D=EPA-HQ-OAR-2018-0283

"Grannies Respond" is comprised of grandmothers (and some grandfathers) who are leading a caravan down to the Mexico border in McAllen, TX. Along they way, they'll be stopping in a number of cities to hold rallies before arriving at the border on August 6th, where they'll be holding a series of 24-hour protests demanding an end to the Trump administration's immigration policies. We talk with two of the early members of the group, Claire and Barry Nelson, about why they've chosen to embark on this trek, and about what they're hoping to accomplish. Next, in light of Trump's recent threats against Iran, we chat with Cathia Geller, board president for the group Seattle-Isfahan Sister City Advocacy, about how, despite decades of tension between the US and Iran, Iranian people largely have very positive feeling toward Americans. We also discuss her organization's mission, to establish a sister-city designation between Seattle and the Iranian city of Isfahan. And, last, our weekly calls to action with Indivisible Washington's 8th District research team member, Jim Austin. Links: Grannies Respond: https://www.granniesrespond.org/ SISCA: https://seattleisfahan.org/ SISCA Facebook page: https://m.facebook.com/pages/Seattle-Isfahan-Sister-Cities/483156195181550 Iranian Americans Contribution Project: https://ia-cp.org Seattle Fastan: https://seattleisfahan.org/taste-of-iran/ Calls to Action Resources: https://www.indivisible.org/resource/trumps-new-cruel-immigration-policy/ Indivisible Washington's 8th District Activity Calendar: http://www.indivisible-wa8.com/ Indivisible CD-8 / FUSE Voter Registration Sign Up: https://docs.google.com/forms/d/e/1FAIpQLScSZItGhzEvgbdEcTGl6aspIThZVohXJ1JxHVxo1wQ1_zdEjQ/viewform Search for Upcoming Voter Canvassing Events: https://www.wa-democrats.org/event/index

Is it time for Democrats in Washington DC to shift their thinking about how they can win and maintain power? We talk this week with political scientist David Faris, author of the book, “It's Time to Fight Dirty: How Democrats Can Build a Lasting Majority in American Politics,” about the ways Republicans have used loopholes in the Constitution to their advantage, and how Democrats need to fight back by, among other things, passing a voting rights act, granting statehood to DC and Puerto Rico, expanding the number of justices on the Supreme Court, and doubling the size of the House of Representatives, among other cures. All of this can only occur, of course, after Democrats have taken back Congress and the White House, and Faris also has several thoughts on how to make that happen. We also have our calls to action with We also have our call to action with Indivisible Washington's 8th research team member Jim Austin, and our calendar of activist events with Erin Albanese. Activist Calendar of Events: Thursday, July 19th First 8th CD candidate debate 7-9 PM Hal Holmes Community Center 209 N. Ruby, Ellensburg, Washington Saturday, July 21st Votes for Women 9 AM 1103 Sylvester St., Pasco, WA Sunday, July 22nd Everett Earth Day March Begins at 3 PM at the Everett Community College parking lot on Wetmore in Everett https://www.facebook.com/events/134840950642247/ Sunday, July 22nd TAKE Action! Support families separated at the border 2 PM - 4 PM Queen Anne Community Center 1901 1st Ave W, Seattle, Washington 98119 Saturday, July 28th Health Care for All-WA Summer Gala & Auction 7-10 PM 415 Westlake Ave N, Seattle https://www.facebook.com/events/198418357472762/

Award winning Adult Film Star Vicki Chase, Sexy little new XXX starlet Sadie Pop, Stripchat.com's Jim Austin, and more surprise guests will be dropping in to join host James Bartholet on Inside the Industry. Michelle Maylene will be returning as co-host. During the broadcast, the guests will be discussing their careers, and new projects, and they will be taking calls live from the listening audience. This week's contests also include; a free promotional product from itsthebomb.com, and free passes for Hotmovies.com. Plus, a chance to win a free pass to The Urban X Awards

Award winning Adult Film Star Vicki Chase, Sexy little new XXX starlet Sadie Pop, Stripchat.com’s Jim Austin, and more surprise guests will be dropping in to join host James Bartholet on “Inside The Industry”. Michelle Maylene will be returning as co host During the broadcast, the guests will be discussing their careers, and new projects, and they will be taking calls live from the listening audience. This week's contests also include; a free promotional product from itsthebomb.com, and free passes for Hotmovies.com. Plus, a chance to win a free pass to The Urban X Awards

Award winning Adult Film Star Vicki Chase, Sexy little new XXX starlet Sadie Pop, Stripchat.com’s Jim Austin, and more surprise guests will be dropping in to join host James Bartholet on “Inside The Industry”. Michelle Maylene will be returning as co host During the broadcast, the guests will be discussing their careers, and new projects, and they will be taking calls live from the listening audience. This week's contests also include; a free promotional product from itsthebomb.com, and free passes for Hotmovies.com. Plus, a chance to win a free pass to The Urban X Awards

The repeal of Obamacare represents a seismic shift in the healthcare industry. To find out how the Brown Executive Master of Healthcare Leadership (EMHL) program prepares leaders to move their organizations forward in uncertain times, we talk with Jim Austin, an EMHL faculty member and Principal at Decision Strategies International. Previously Jim established an HMO in Chicago and served as a Vice President at Baxter Healthcare. Recently Jim Austin jointly published, Leading Strategic Change in an Era of Healthcare Transformation, with two other EMHL faculty members, Judith D. Bentkover and Larry Chait. For information on our Executive Master programs, visit brown.edu/executive Music: "Divider" by Chris Zabriskie (CC-BY)

Displays Sony 4K OLED display Under a Microscope Galaxy S7 Shootout OLED TV Shootout Qualcomm Mirasol E-Ink Report on Apple Recruiting Mirasol Team Bloomberg Article on Same 1440p max Mirasol Size The Machine Linux Weekly News article Memristor HP Removes Memristor’s from machine Jim Austin’s Computer Museum Aftershow Bad microwave interface design KnobFeel - the non-porn Tumblr Iain’s student microwave, Comrades.

On Thursday I went to see The Addams Family Musical, a performance by Federation University’s 2016 graduating Musical Theatre class. The musical comedy was written by Marshall Brickman and Rick Elice, with music and lyrics by Andrew Lippa and based on Charles Addams’ iconic characters in his comic strip The Addams Family. It was performed at Theatre Works on Acland St in St Kilda and its closing night was on Saturday. As soon as the orchestra began playing the overture you knew this play would be a crowd pleaser. Rainer Pollard conducted a talented group of musicians, who were both expressive and controlled, and their performance suggested a strong connection between the conductor and musicians. The play then began with the Addams family gathered around the family tree in the graveyard, a yearly ritual to celebrate life and death, and honour their ancestors. The ensemble of ancestors, portraying figures like Marie Antoinette, a WW1 soldier and a suffragette, were summoned out of their graves for the first number; When You’re an Addams. What a spectacular start to the show. The entire cast were charismatic and the blocking of the dancing was inspired and well planned. Adrienne Chisholm’s set and costume design was fantastic, notably the ancestors looked like spooky spectres as they swanned across the stage. As the family return to the house, Uncle Fester (Liam Dodds) stayed behind and closed off the gates to the underworld, enlisting the help of his ancestors to ensure a dinner scheduled for that night went smoothly. Wednesday Addams, (Tess Walsh) had suddenly fallen in love with a preppy young man from Ohio, Lucas Beineke (Jack Saunders) and invited him around for dinner so their two families could meet. Two worlds were about to collide, and the couple needed all the help they could get for One Normal Night, the name of another musical number which was spellbinding. Many of the family members struggled to understand Wednesday’s new found feelings, as she began to favour bursting into song over torturing her brother Pugsley (Mackenzie Pinder). Her parents, Gomez and Morticia Addams (Andrew Thomas, Bridget Mylecharane) are gravely concerned by her new attitude but try to set aside their differences for the sake of their daughter’s happiness. However, Pugsley fears he will lose his sister to the light side and plots to break up her relationship during the dinner. The prim parents of Lucas, Mal and Alice Beineke (Shaune Davis, Cathryn McDonald) arrive and are seated for supper. They end the meal with a game called Full Disclosure, where you slip from a chalice and tell the absolute truth. Pugsley pours a potion into the cup, a concoction which is designed to bring out one’s dark side, and it is intended for Wednesday but is instead intercepted by Alice and she transforms into her less inhibited self. A special mention goes to Patrick Schnur, who played the butler, Lurch, and to Emma Austin who played Grandma Addams. They were delightful to watch for their comedic timing in particular. A highlight of the night was when the Beineke’s had arrived and the family was trying to be as ordinary as possible. Grandma, returning from the cemetery of ancestors, suddenly bursts through the front door, and seeing them exclaims, “Boy, is it normal out there!” Another highlight was the expressions on all performers faces during the scene where Alice asks whether they have a little girls room, and Gomez replies “We used to but we let them all out.” Liam Dodds should be commended for his convincing and expressive performance of Uncle Fester, a character who is in love with the moon. My only criticism would be concerning the Tango De Amor towards the end of the Act Two, which felt a bit underwhelming on the technique side in comparison to the other dance numbers. However, it was an extremely strong performance by all cast and crew. The director, David Wynen, Musical Director, Rainer Pollard and Production Manager, Jim Austin, should be pleased with their show. Review written by Erin ConnellanSee omnystudio.com/listener for privacy information.

On Thursday I went to see The Addams Family Musical, a performance by Federation University’s 2016 graduating Musical Theatre class. The musical comedy was written by Marshall Brickman and Rick Elice, with music and lyrics by Andrew Lippa and based on Charles Addams’ iconic characters in his comic strip The Addams Family. It was performed at Theatre Works on Acland St in St Kilda and its closing night was on Saturday. As soon as the orchestra began playing the overture you knew this play would be a crowd pleaser. Rainer Pollard conducted a talented group of musicians, who were both expressive and controlled, and their performance suggested a strong connection between the conductor and musicians. The play then began with the Addams family gathered around the family tree in the graveyard, a yearly ritual to celebrate life and death, and honour their ancestors. The ensemble of ancestors, portraying figures like Marie Antoinette, a WW1 soldier and a suffragette, were summoned out of their graves for the first number; When You’re an Addams. What a spectacular start to the show. The entire cast were charismatic and the blocking of the dancing was inspired and well planned. Adrienne Chisholm’s set and costume design was fantastic, notably the ancestors looked like spooky spectres as they swanned across the stage. As the family return to the house, Uncle Fester (Liam Dodds) stayed behind and closed off the gates to the underworld, enlisting the help of his ancestors to ensure a dinner scheduled for that night went smoothly. Wednesday Addams, (Tess Walsh) had suddenly fallen in love with a preppy young man from Ohio, Lucas Beineke (Jack Saunders) and invited him around for dinner so their two families could meet. Two worlds were about to collide, and the couple needed all the help they could get for One Normal Night, the name of another musical number which was spellbinding. Many of the family members struggled to understand Wednesday’s new found feelings, as she began to favour bursting into song over torturing her brother Pugsley (Mackenzie Pinder). Her parents, Gomez and Morticia Addams (Andrew Thomas, Bridget Mylecharane) are gravely concerned by her new attitude but try to set aside their differences for the sake of their daughter’s happiness. However, Pugsley fears he will lose his sister to the light side and plots to break up her relationship during the dinner. The prim parents of Lucas, Mal and Alice Beineke (Shaune Davis, Cathryn McDonald) arrive and are seated for supper. They end the meal with a game called Full Disclosure, where you slip from a chalice and tell the absolute truth. Pugsley pours a potion into the cup, a concoction which is designed to bring out one’s dark side, and it is intended for Wednesday but is instead intercepted by Alice and she transforms into her less inhibited self. A special mention goes to Patrick Schnur, who played the butler, Lurch, and to Emma Austin who played Grandma Addams. They were delightful to watch for their comedic timing in particular. A highlight of the night was when the Beineke’s had arrived and the family was trying to be as ordinary as possible. Grandma, returning from the cemetery of ancestors, suddenly bursts through the front door, and seeing them exclaims, “Boy, is it normal out there!” Another highlight was the expressions on all performers faces during the scene where Alice asks whether they have a little girls room, and Gomez replies “We used to but we let them all out.” Liam Dodds should be commended for his convincing and expressive performance of Uncle Fester, a character who is in love with the moon. My only criticism would be concerning the Tango De Amor towards the end of the Act Two, which felt a bit underwhelming on the technique side in comparison to the other dance numbers. However, it was an extremely strong performance by all cast and crew. The director, David Wynen, Musical Director, Rainer Pollard and Production Manager, Jim Austin, should be pleased with their show. Review written by Erin Connellan

Jeremy Introduces the pulled in podcast, and interviews Two Wheel drive pilot Joey Frasur and 2014 Lucas Oil Champ Bethany Nelson.  Jeremy also remembers the late great Jim Austin.  Pulling,Truck Pulling, Tractor Pulling, Truck and Tractor Pulling,

Morning Message by guest speaker Dr. Jim Austin on 12/09/12