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

Kristen Bell & Justine Lupe (Nobody Wants This) join the Armchair Expert to discuss the incredibly involved, long-game prank pulled on set, how this season of their show is a love story between her their characters, and why wanting to evolve into a better person is so aligned with wanting to become a better actor. Justine, Kristen, and Dax talk about Justine coming to a place in her life where it feels good to not deliver a counterpoint, having a penchant for justice in accordance with her name, and her harrowing journey to audition for Juilliard. Justine explains feeling a part of the unit of TV which makes it so much less brutal than working in theater, wanting to know the futures of her on-screen relationships to assist in building them but being open to the mystery, and the relevance of imaginary podcast money math.Follow Armchair Expert on the Wondery App or wherever you get your podcasts. Watch new content on YouTube or listen to Armchair Expert early and ad-free by joining Wondery+ in the Wondery App, Apple Podcasts, or Spotify. Start your free trial by visiting wondery.com/links/armchair-expert-with-dax-shepard/ now.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Will Leathers is Principal Trumpet of the Nashville Symphony and the Santa Fe Opera, an extraordinary accomplishment for a young artist recently graduated from Juilliard. He was recognized by CBC Music as one of Canada's “30 Hot Classical Musicians Under 30” and has performed with New York Philharmonic Brass, Cleveland Orchestra, St. Louis Symphony, Toronto Symphony, and Philadelphia Orchestra and others, solidifying his place as one of his generation's most promising classical musicians. He joins us to discuss his recent debut album, "Blue Sky, Purple Clouds".     Will Leathers is a performing artist for Bach Brass and Vennture Mouthpieces. www.WillLeathers.com www.CraftBrewedMusic.com   

Lindsay McIntosh is Juilliard-trained historical oboist with an impressive resume in the music world. She has appeared under world-renowned conductors such as William Christi and Masaaki Suzuki. In 2013, while completing her graduate studies at Juilliard, she founded New Vintage Baroque, an innovative period instrument ensemble dedicated to performing 21st-century repertoire on historical instruments. The ensemble received critical acclaim for its imaginative, cross-temporal programming and vibrant energy – hallmarks of Lindsay's creative leadership. As artistic and executive director of NVB, McIntosh self-produced 25 distinct programs, fundraised more than $100,000, cultivated the organization's board of directors, commissioned and performed 17 world premieres, collaborated in three opera productions, recorded and released an album of original works on the VIA label and performed in over 75 performances in the U.S. and abroad.Recognizing her professional strengths beyond that of a freelance oboist, in 2015 McIntosh joined the founding team of National Sawdust, a new, critically acclaimed music venue and non-profit arts Institute located in Brooklyn. There, Lindsay worked on the artistic team creating, implementing, producing and tracking projects at the core of the venue's mission, including ten group residencies and fourteen opera productions. Lindsay's charisma and experience as a musician led her to become a lead producer for major events and her sensitivity to an artist's needs led her to become a lead artistic liaison to hundreds of professional musicians and ensembles.Life in the NYC arts scene was busy, intense and exciting but, for Lindsay, it was not a pathway to living her best life. She felt a tremendous pull to return home to Truckee, in rural northern California. So, she did just that.Remarkably, following her instincts has resulted in more creative opportunities and a more fulfilling life than ever for Lindsay. The added bonus was providing her two young children the kind of childhood she herself had enjoyed.After relocating to rural northern California, Lindsay created Musica Sierra as an extension of New Vintage Baroque's programming, with a focus on bringing much-needed music and arts education to rural and underserved communities. Blending her experience in historical performance with a passion for environmental literacy and youth empowerment, Lindsay has grown Musica Sierra into a regional leader in arts integration, offering performances, educational residencies and community programs across Sierra County and beyond. Among Musica Sierra's multitude of projects, Lindsay and her husband, co-artistic director Owen McIntosh, launched the Musical Headwaters series – a visionary seven-album commissioning initiative rooted in the belief that music can deepen empathy, eco-literacy and environmental stewardship. Through this lens, composers, songwriters and ensembles are invited to create original music that reflects the natural world and supports children's social and emotional development. Since 2021, Musica Sierra has premiered four albums aligned with the Next Generation Science Standards for primary education in California, featuring acclaimed collaborators such as Majel Connery, Fire & Grace & Ash, Time For Three and The Red Hoop Singers, exploring themes like watersheds, trout, mammals and birds. In 2025, Lindsay McIntosh led Musica Sierra in commissioning a fifth nature-inspired album, Garden, for which she served as producer, and which was released on August 1.“We strive to bring cultural diversity to our programming for the benefit of everyone. Since we are a primarily white population in a very rural area with no access to the performing arts, we foster curiosity, joy and exposure through our culturally diverse educational programming."Learn more: https://musicasierra.orghttps://www.facebook.com/musicasierra/https://www.instagram.com/musica_sierra

In our latest tribute, Janet, John, (and Pen) celebrate the life and career of a revered American actor who found fame in a leading role across many different genres... Vel Kilmer! His career page on the stage, beocming the youngest person at the time to be accepted into Juilliard, and get his start in an off-Broadway musical The Slab Boys (1983) with Kevin Bacon and Sean Penn. His overnight breakthrouhg came with the 1984 comedy Top Secret!, marking his first major motion picture role, launching him into mainstream Hollywood almost instantly. A couple years later, Kilmer was fimly planted in the Hollywood A-list with his role as Iceman in Top Gun (1986). Kilmer became the go to leading man for every genre throughout the 1990s, raning from the likes of Doc Holliday in Tombstone (1993) to Batman in Batman Forever (1995). The films he starred in would grossed more than a whopping $3.8 billion worldwide, which include but not limited to Top Gun (1986), The Doors (1991), Tombstone (1993), and Batman Forever (1995), Heat (1995), The Prince of Egypt (1998). His final role came in the form of a reprisal of Iceman in Top Gun: Maverick (2022).   To learn more about this episode and others, visit the official Cinema Sounds & Secrets website!

In this episode, I sit down with actor, author, and speaker Edwina Findley Dickerson to talk about her new book, The World Is Waiting for You. Edwina shares her journey of listening for God's voice, navigating seasons of waiting, and discovering a deeper purpose beyond achievement. Together, we explore the tension between intentional planning and radical surrender, how to overcome fear and step into our God-given dreams, and why true purpose is found not only in what we do, but in who we are becoming. This is a conversation for anyone longing to live with clarity, courage, and faith in a noisy world.Edwina Findley is an award-winning film, television, and theatre actress, celebrated by critics as "a marvel to watch." Known to global audiences as the hilarious 'Sheila' in Shonda Rhimes' hit Netflix series "The Residence," Edwina first captured hearts as 'Tosha' on HBO's groundbreaking series "The Wire,” and garnered critical attention for her role as Rosie in Ava DuVernay's Sundance award-winning feature "Middle of Nowhere.” She then earned an Independent Spirit Award nomination for Best Supporting Female for her "skin-prickling performance" in "Free In Deed.” A vibrant and versatile actress, Edwina starred opposite Toni Collette in Amazon's global thriller ”The Power,” as Kevin Hart's wife, Rita, in Warner Bros' hit comedy "Get Hard" with Will Ferrell, "Fear The Walking Dead," Tyler Perry's “If Loving You is Wrong,” HBO's “Veep,” “Rogue Agent,” “Black Lightning,” ”Chicago Med," HBO's "Treme," and "Shots Fired” from “Woman King” director Gina Prince-Bythewood.Edwina is a native of Washington, DC, where she attended Duke Ellington School of the Arts then studied drama at NYU's Tisch School of the Arts. Edwina continued her studies at UCLA, Upright Citizens Brigade (UCB), and with Yale Drama's Gregory Berger-Sorbeck. Theatrically, Edwina has performed around the world and at some of the nation's finest theaters, including The Kennedy Center, Shakespeare Theatre Company, Juilliard, Atlantic Theatre Company, Center Theatre Group, Baltimore Centerstage, and Cleveland Playhouse. Edwina received a Barrymore Award for Outstanding Lead Actress for the historical drama Gee's Bend, and an NAACP Theatre Award nomination for Eclipsed, set during the Liberian war.Proclaimed in the New York Times as a “life force,” Edwina is a global speaker, mentor, and CEO of Abundant Life University. Edwina's most cherished blessings are her loving husband Kelvin Dickerson and their bright and beautiful little girls, Victoria and London. Connect with Edwina at www.edwinafindley.comEdwina's Book:The World is Waiting For YouSubscribe to Our Substack: Shifting CultureConnect with Joshua: jjohnson@allnations.usGo to www.shiftingculturepodcast.com to interact and donate. Every donation helps to produce more podcasts for you to enjoy.Follow on Facebook, Instagram, Twitter, Threads, BlThe Balance of GrayFaith That Challenges. Conversations that Matter. Laughs included. Subscribe Now!Listen on: Apple Podcasts SpotifySupport the show

‘Downton Abbey: The Grand Finale' star Elizabeth McGovern joins the show. Over Greek snapper, Elizabeth tells me about her critically acclaimed play ‘Ava: The Secret Conversations,' which she adapted and stars in. We talk about what inhabiting the Hollywood femme fatale taught her. We also discuss her first series regular gig at age 49 as the iconic Cora Crawley in the hit franchise ‘Downton Abbey', getting an Oscar nomination at age 20 for ‘Ragtime,' and how director Robert Redford changed production for her Juilliard studies during ‘Ordinary People.' The episode was recorded at Estiatorio Milos in Hudson Yards, New York City. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Paul Cantelon grew up with music in his blood—his mother played trumpet in the Philadelphia Symphony, his father was a preacher. A prodigy on violin, he debuted at UCLA's Royce Hall at 13, then studied piano across Geneva, Juilliard, and Paris. At 17, a bike accident left him in a coma and wiped out his memory; he had to relearn music from scratch. He went on to co-found the band Wild Colonials, release solo piano albums, and score films like The Diving Bell & the Butterfly, The Other Boleyn Girl, and W.. He's also written for silent film classics like Battleship Potemkin.

What happens when elite music performance meets mindfulness? In this episode of the MindBodySpace Podcast, Dr. Juna Bobby shares 3 quick science-backed techniques to de-stress—and introduces her former student, composer Pablo Esquivel.A Juilliard and Berklee-trained musician, Pablo shares his personal story of burnout, healing, and how he now fuses music, meditation, and neuroscience to support mental wellness for high performers.

Hello and welcome to the Art Life Faith podcast. I'm your host, Roger Lowther. Every year, we have interns come work alongside us in what God is doing here in Japan through the arts. This summer, one of our interns was a phenomenal dancer named Anna Gardner Herren, with a huge heart for missions around the world. This was her third summer with us here in Japan, and she also made trips to Taiwan and Korea. Last August, I interviewed her in this podcast—"#61 Summer Internships” if you'd like to have a listen—so I thought it would only be fair to give her a chance to interview me this year. She has her own wonderful podcast called The Purpose of Beauty, where she explores the role of beauty in our lives talking with various artists from around the world. In this episode that I'm about to share with you, we discuss some things that I've never talked about before on this podcast, especially about the music of Bach and its impact in Japan, so I think you'll enjoy it. You can find other episodes of her podcast by searching for The Purpose of Beauty or by going to our show notes. Here is our conversation: Anna Gardner Hello and welcome to the “Purpose of Beauty” podcast. I'm here with Roger W. Lowther, founder and director of Community Arts Tokyo and worship director at Grace City Church Tokyo. He also just happens to be my boss as the Mission to the World team leader in Japan. So let's welcome Roger. Roger Thank you. Great to be here. Looking forward to talking with you about this. Anna Gardner I'm so excited to talk to you because you have so many books written about beauty, so I really wanted to hear some things that you had to say. Roger Sure. Well, where do we start? Anna Gardner Where do we start? Well, one of the things that I really enjoyed hearing you talk about is Bach, and especially Bach in Japan. So for those of you just tuning in, he is a really amazing organ player, has played all over Japan and America and probably other places as well. And he was telling me more about how Bach is so influential and important in Japan, possibly more so than America. Roger Yeah, I would say so. Anna Gardner But how did you first encounter Bach? Roger Oh, interesting question. I've actually never been asked that before. Anna Gardner Really? Well, I would love to know. Roger I was about to switch teachers between elementary school and junior high, and the teacher wanted to test me, audition me to see if he would take me on as a student. And so he gave me a lesson and said, “I want you to learn this piece.” It was from the Liturgical Year, the little pieces that Bach wrote, each one's like a page long, so it's not too hard. And I passed the audition. He said, “Wow, I've never had someone learn this so quickly.” I had nothing to compare it to so I didn't know. I practiced really hard. Anna Gardner So Bach is one of your origin stories of playing the organ? Roger Yeah, I mean, it was a very stressful situation, so I didn't actually enjoy playing the piece very much. But that was my first interaction. Yeah, and then it's grown from there. Anna Gardner Wow. Did you ever think you would be playing it here in Japan? Roger No, Japan was not on my radar at that point. But actually after that, my audition to Juilliard, to college, was through a piece. They make you memorize and play a prelude and fugue of Bach, which are much longer as organ works than piano. It's about 15 minutes, something like that. And so that was my first piece on the audition, and I will never forget any of the notes in that piece ever, because I had four other auditions before that one, and I recorded it, and it is permanently etched into my head. So yeah, right now I'm actually going through a whole project to record all of Bach's sacred organ works. Anna Gardner Why his sacred organ works? Roger Because people really haven't focused on that.

Eleven years and another life ago, Clara Bishop was a rising star pianist. Everything changed on the night of a festival marking the 145th birthday of Poland's revered composer and Clara's  distant relative, Aleksander Starza. She began that night as an artist in her own right—no longer defined by Madame, her exacting teacher. But after a devastating fire broke out in the concert hall, she left badly scarred. Since then, Clara hasn't touched a piano or spoken to Madame, whom she blames for her career-ending injuries. Now, at 30, she has a new life in Texas as a bartender. No one there knows about her past—until Madame dies and leaves her a cryptic inheritance: a metronome linked to a notorious 19th-century murder.In her literary debut, THE FIRE CONCERTO (Union Square & Co.; June 10, 2025), Sarah Landenwich presents a richly layered, twisty story about three women of remarkable musical talent connected by tragedy. For Clara, what starts as a search for the origins of Madame's unusual bequest turns into a mission to find the lost compositions and restore the tarnished reputation of a brilliant 19th-century female pianist from Poland. Along her journey, Clara uncovers startling truths about her formidable mentor and herself.        THE FIRE CONCERTO opens in 1997 with Clara as she struggles to make sense of the gift Madame left her. Could this oddity be the metronome, missing since 1885, that belonged to her ancestor, the composer Aleksander Starza? Was it the murder weapon used by the woman accused of killing him, the pianist Constantia Pleyel? How did Madame, an orphan who fled Poland in 1939 and made her own way into Juilliard and onto the concert stage, come to possess this priceless, storied antique?Seeking answers, Clara finds an unexpected ally in her childhood rival and teenage crush, Tony Park. Another of Madame's chosen beneficiaries, Tony offers to help Clara unravel the metronome's history. Can she trust him? He's not the only one interested in this coveted object. First, she receives an eerie phone call and then a threatening letter. Finally, someone breaks into and ransacks her home. Though filled with dread about revisiting the scene of her nightmare, Clara agrees to join Tony on a fact-finding trip to Warsaw, where Aleksander Starza lived and died.Scouring museum archives and private stashes of letters, Clara works to uncover the metronome's haunted past. Gradually, she realizes that nothing about Starza and his murder are what they seem. And the truth about his relationship with Constantia Pleyel, who was far from the raging madwoman history has alleged her to be, is complicated. What Clara discovers could rewrite the history of music. For Clara, the revelations also strike a deeply personal chord. The metronome has a hidden inscription in Polish, translated as: “From pain, we must make beauty.” Were these words engraved to speak to Starza or to Pleyel? Did Madame intend for Clara to take this message to heart?Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

In this week's inspiring episode, I'm joined by Brooklyn-based creative leader and founder of Dance Device Lab, Brandon Cournay. From his unexpected start in a small-town Michigan dance studio to earning a spot at Juilliard and building a career as a professional dancer, choreographer, rehearsal director, executive director and business owner, Brandon shares his multifaceted journey through the dance world.Key “Pointes” in this Episode

Mark-Eugene and Dylan dive into auditions, on-camera work, stage fright, and Dylan's college journey. Later, David speaks with Ellen Novack about her book Taming the Cyclops, a guide to mastering on-camera auditions. With decades of experience as a casting director and teacher at Yale, Juilliard, and beyond, Ellen shares invaluable insights that have shaped the careers of actors like Lupita Nyong'o, Winston Duke, and Brian Tyree Henry. Learn more about your ad choices. Visit megaphone.fm/adchoices

Andrea DeMarcus, a classically trained bassist and Juilliard grad. She returned to Georgia to do some self- help searching, being unsure and questioning her songwriting. So she left NY to head back to the place she felt would be best to take this reflection. Dave Kirslis, a self-taught guitarist riding freight trains in search of inspiration, met Andrea by chance. Though their first impression was awkward, they discovered not only a shared vision for music, but life together and soon married. They formed Cicada Rhythm, blending folk, rock, and Americana with harmonies and instrumentation that reflected their unique partnership. In 2011, they put out their first 4 song CD, “Fate in a Jar,” that was basically used for demo purposes. It began a procession of recording. In 2015, Drew Vandenberg (Drive-By Truckers, Of Montreal and Kishi Bashi) recorded two tracks “Do Not Destroy” and “Wait Til Morning.” Titled Two Wings - Live from Mt Zion Church, an historical 200 – year church in Sparta, GA. They released a self -titled album In October of 2015 that brought us a great collaboration with many musicians and songs that could fill your heart and soul. With “Everywhere I go,” released in April of 2018 Andrea and Dave brought us the unique menu of songs recorded in different studios, houses and any other place they laid down their instruments down as they toured and traveled. Their latest album, “Magic State” released in May of 2025, brought us a bit more mysticism with lyrics that might let you in to some of their struggles and some of their victories. It is yet another beautiful light of music from Andrea and Dave. Here is me with Andrea DeMarcus and Dave Kirslis. AthCastMusic (©): The Music of Athens Georgia, Now and ThenSEASON: 4. EPISODE: 43LENGTH: 1:20PUBLISHED: 07/08/2025DEDICATED TO PUBLISH WEEKLY ON THURSDAY'S WHEN POSSIBLE. ENGINEER: KAYLA DOVERRECORDED AT TWEED RECORDING AUDIO PRODUCTION SCHOOLhttps://tweedrecording.com (https://tweedrecording.com/)Produced by The Lightroom-AthPhotos and Camera: Ellison Suhoza and Lucca FagundesExecutive Producers: Guillermo Zouain and Wendy MuñizCONTACT FOR ATHCASTMUSIC:Email: marlene@athcastmusic.comInstagram: AthCastMusicYouTube: AthCastMusic (@MarleneSokolStewart-12)Facebook: https://www.facebook.com/profile.php?...THANK YOU SO MUCH FOR LISTENING TO AND WATCHING ATHCASTMUSIC! PLEASE CONSIDER REVIEWING, FOLLOWING US ON SPOTIFY, APPLE PODCASTS AND AMAZON MUSIC AND SHARING WITH YOUR FRIENDS. REMEMBER, “IF YOU DON'T LISTEN, YOU CAN'T HEAR.”

Oscar Isaac is an actor who's no stranger to epic movie franchises. Born in Guatemala, Oscar knows from an early age that he wants to do something creative. After landing on acting, he graduates from Juilliard, one of the country's most prestigious acting conservatories. From here - Oscar is off and running. The “Star Wars” and “Dune” actor has made a name for himself thanks to knockout performances in “Inside Llewyn Davis” and “Scenes from a Marriage.” Unsurprisingly, Oscar's staying booked and busy. And we know that this is just the beginning from one of Hollywood's reigning leading men.You can follow Brooke and Aricia on socials at @brookesiffrinn and @ariciaskidmorewilliamss. And check out the brand new Even the Rich merch store at www.eventherich.com.Be the first to know about Wondery's newest podcasts, curated recommendations, and more! Sign up now at https://wondery.fm/wonderynewsletterListen to Even The Rich on the Wondery App or wherever you get your podcasts. Experience all episodes ad-free and be the first to binge the newest season. Unlock exclusive early access by joining Wondery+ in the Wondery App or on Apple Podcasts. Start your free trial today by visiting wondery.com/links/even-the-rich/ now.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

It's Dance Movie August, y'all, and Paul & Erika are high-kicking it off like a pair of very short Rockettes with a discussion of 2001's Save The Last Dance! Along the way, they'll discuss chairs, couches, abandoned furniture stores, and, of course, the proper spelling of “Juilliard.” Lots of EECC-content dead ahead!You can follow That Aged Well on Bluesky (@ThatAgedWell.bsky.social), Instagram (@ThatAgedWell), and Threads (@ThatAgedWell)!SUPPORT US ON PATREON FOR BONUS CONTENT!THAT AGED WELL MERCH!Wanna rate and review? HERE YOU GO!Hosts: Paul Caiola & Erika VillalbaProducer & Editor: Paul Caiola

Is everybody ready to cut Footloose? Because we've choreographed this episode of Baconsale to be all about famous dance scenes in film. And will Joel, Kent, and Zack be singin' (in the rain) and dancing as they share their picks for such categories as Always Puts a Smile on My Face, Best Solo Dance Number, I Could Totally Do That, Memorable for the Wrong Reasons, and Hall of Fame? Bet on it. We've got canned heat in our heels and we will do our best to paint a picture of each scenario as we're dancing cheek to cheek. So whether you're into tap, ballroom, ballet, swing, modern, or hip-hop, we hope you enjoy our discussion, listener, because we've had the time of our life with this subject.   Press play to let us know if Sara got into Juilliard.    And visit Baconsale.com to find the YouTube playlist of scenes discussed in this episode.

Trumpeter Chris Gekker has done just about everything a brass player can do—and done it at the highest level. A longtime member of the American Brass Quintet (18 years) and now Professor of Trumpet at the University of Maryland, Chris has also taught at Juilliard, Manhattan School of Music, and Columbia University. His career spans recording Bach's Brandenburg Concerto No. 2 to sharing the stage with Sting, all grounded by a reflective artistic life shaped by literature and poetry.In Part 1, we talk about the books that feed his imagination, his father and early upbringing, the interpretive world of the Hindemith Sonata, trumpet mentors from Gerard Schwarz to Thomas Stevens, and the winding arc of a career that prizes curiosity over categories.[Subscriber Content] In Part 2, Chris reflects on the transition to full-time teaching at Maryland and takes us deep into his approach to trumpet playing and musicianship—drawing on insights from his writing, especially Trumpet Talk.DoricoProfessional music notation and composition software from Steinberg. Download a free 30-trial today!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

This year we had the pleasure of hosting two Collider Ladies Night panels at San Diego Comic-Con. The first leaned heavily into the horror genre by putting the spotlight on Dafne Keen, Sophie Nélisse, Alexandra Shipp, Katie Douglas, Hassie Harrison and their upcoming IFC and Shudder titles. Then, the next night, I had the great honor of taking the stage with Danielle Brooks, Jennifer Holland, Danielle Pinnock and Marissa Bode to celebrate Peacemaker, The Bad Guys 2, Ghosts and Wicked.Every edition of Collider Ladies Night demands a significant amount of prep work, including these live versions of the show. But, ultimately, the success of a Ladies Night interview comes down to the guests, and with this group, we truly hit the jackpot. Bode, Pinnock, Holland and Brooks all took the stage with a sky-high passion for their current projects, a deep respect for what it took to hit this point in their careers, and an eagerness to celebrate one another.During the panel, Holland recalled first moving to Hollywood as a teenager and her ongoing journey of finding a sense of belonging, Pinnock looked back at her time “scamming” and the day she found out she booked her first series regular role, Brooks discussed why her time at Juilliard teed her up for great success in the superhero genre, and Bode discussed making her feature debut with one of the biggest hits of 2024, Wicked.After that, all four took a moment to look forward to all the good on the horizon - specifically Peacemaker Season 2, Ghosts Season 5 and Wicked: For Good. Hosted on Acast. See acast.com/privacy for more information.

Stuck or overwhelmed? Use these three step science backed journaling prompts to gain momentum and emotional resilience so that you can focus on what really matters to you.

On this heartfelt installment of Men of Steel, Case and Jmike are joined by Ryan Luis Rodriguez (One Track Mind, Reels of Justice) to discuss the powerful documentary Super/Man: The Christopher Reeve Story. We reflect on Reeve's legacy as both a performer and a real-life hero, unpack the emotional depth of the film, and celebrate the enduring impact of the Man of Steel. #ChristopherReeve #Superman #SuperManDocumentary #MenOfSteelPod #ReelsOfJustice #OneTrackMind Find Ryan at: https://podcasts.apple.com/us/podcast/one-track-mind-with-ryan-luis-rodriguez/id1431611476 and https://www.patreon.com/onetrackmindpodcast Overview Episode 150 of the Men of Steel podcast celebrates hosts Case Aiken and Jmike Folson's significant milestone, with guest Ryan Luis Rodriguez joining in the discussion. Ryan Luis Rodriguez boasts a 4-0 record on the Reels of Justice podcast, with an upcoming Frozen 2 prosecution case highlighting his expertise. The hosts shared personal memories of the impact of Christopher Reeve's 1995 horseback riding accident, shaping their childhood experiences at ages 9 and 11. A well-edited documentary chronicling Reeve's life compiles 40 years of footage, avoiding melodrama while effectively communicating emotional depth. Christopher Reeve's casting as Superman faced doubts; his physical presence and several life factors contributed to his iconic portrayal of the character. The documentary discusses the deep emotional bond between Reeve and Robin Williams, revealing their supportive friendship nurtured during their Juilliard days. Following Reeve's accident, Dana Reeve emerged as a dedicated caregiver, transforming their tragedy into advocacy for disability rights and research funding. The podcast notes Reeve's advocacy for stem cell research and his collaboration with John Kerry, which marked him as a significant political figure in this area. Reeve's legacy is sustained through the Christopher Reeve Foundation, which continues to advance research funding for spinal injury treatment. New Patreon initiatives were introduced, with gratitude extended to executive producers supporting the Men of Steel podcast and connected shows.   Notes ️ Episode Introduction & Guest Background (00:00 - 04:36) Episode 150 milestone celebration of Men of Steel podcast, marking significant achievement for hosts Case Aiken and Jmike Folson Ryan Luis Rodriguez joins as guest, known from Reels of Justice podcast where he serves as prosecutor/defender in fake movie court format Ryan's current 4-0 record on Reels of Justice, with upcoming Frozen 2 prosecution case Ryan also hosts One Track Mind podcast focusing on film through audio commentaries, featuring Case as previous guest ‍️ Personal Memories of Christopher Reeve's Accident (06:01 - 08:33) 1995 horseback riding accident deeply impacted all hosts as children - Case was 11, Jmike was 9, Ryan was 9 years old Case recalls watching news coverage at grandparents' house, vivid memories of the media coverage Jmike remembers his mother explaining 'Superman is paralyzed' while he was watching Superman animated series Ryan's emotional reaction as 'very feeling autistic child' to learning Superman would never walk again Documentary Structure & Production Quality (31:52 - 37:15) 40 years of footage compiled into remarkably well-edited documentary that feels like 55 minutes despite being 1 hour 40 minutes Stone Christopher Reeve statue used as visual metaphor throughout, starting pristine then showing cracks from kryptonite after accident No narrator approach - uses interviews with children and friends to weave story together organically Documentary avoids being 'tragedy porn' while still being emotionally impactful Christopher Reeve's Early Life & Career (12:35 - 48:44) Difficult relationship with father Arthur, described as 'douchebag' socialite poet who disapproved of Superman role Juilliard training alongside Robin Williams as roommates, establishing lifelong friendship Superman casting process involved auditioning 'everybody including the casting director's dentist' - Reeve wasn't obvious choice Arrogance during Superman production - some friction with cast/crew, though sources questioned Superman Performance & Legacy (44:37 - 50:09) Transformational acting in famous scene where Clark almost reveals identity to Lois - complete physical and vocal transformation Instinctive banking during first flying scene showed natural acting choices that made role work Height and physical presence key factors, though not initially seen as obvious Superman type ️ Personal Relationships & Family (19:26 - 25:47) First relationship with Gae Exton, mother of his first two children, ended after Superman IV failure Walking away from family after Superman IV disappointment, described as blindsiding them Dana Reeve entered life after separation, not as 'homewrecker' but as supportive partner Strong relationships with theater community including Susan Sarandon, Whoopi Goldberg, Jeff Daniels The Accident & Immediate Aftermath (09:56 - 38:42) May 1995 horseback riding accident during equestrian competition, paralyzed from neck down Life-threatening complications including potential suffocation from tubes, intense anxiety in early days Mental health struggles openly discussed, showing fears and adaptation process through rehabilitation ‍️ Dana Reeve's Role & Sacrifice (25:47 - 27:16) Incredible caretaker burden - being sole caregiver to paralyzed person described as 'herculean task' Transformative advocacy work - turned tragedy into hope for disabled community, advanced research funding Death from lung cancer at age 44 despite never smoking, tragically dying shortly after Christopher Will Reeves orphaned - lost both parents, overheard phone call about mother's death while pretending to sleep Advocacy & Political Impact (25:47 - 40:15) 1996 Oscar appearance - standing ovation moment showing his continued cultural influence Stem cell research advocacy - became major political figure, worked with John Kerry on legislation Christopher Reeve Foundation continues work through his children, funding research that has helped people walk again Federal funding advancement for spinal injury research and surgical procedures Robin Williams Connection (16:47 - 16:47) Juilliard roommates and lifelong close friends, surprising depth of relationship revealed Emotional documentary moment - suggestion that 'if Chris was still alive, Robin would be too' Mutual support system throughout both their careers and challenges Superman Film Legacy (22:16 - 47:26) Superman IV personal project - Reeve wrote the story, making its failure particularly devastating Anti-nuclear message in Superman IV, though film was commercial failure Production challenges of original Superman films, including Salkinds' questionable business practices Salkind Clause in actor contracts resulted from producers splitting one movie into two without additional pay Podcast Network Updates (55:58 - 57:26) Patreon launch at patreon.com/certainpovmedia covering Another Pass and Men of Steel productions Executive producers thanked: Carter Hallett, Sean Muir, Lee Greger, Memento Young, Logan Crowley, Joe Mastropiero, Nancy and Casey Aiken, Adam Samtur, Keith Lehtinen New network shows: Long Live the Legion (Legion of Superheroes podcast) and We Have Issues (Keith Lehtinen's show)

Journaling literally reshapes your brain!

Michael's conversation from deep in the archives with with Steve Lopez, author of "The Soloist: A Lost Dream, an Unlikely Friendship, and the Redemptive Power of Music." An intimate portrait of gifted violinist Nathaniel Ayers traces his promising education at Juilliard, his struggles with schizophrenia, and the factors that led to his homelessness in Los Angeles, circumstances that prompted their friendship and the author's efforts to improve the musician's life in spite of numerous setbacks. Original air date 16 August 2009. The book was published in 2008.

Much like the staggering beauty of her voice, Audra McDonald is impossible to ignore. The only artist to sweep all four acting categories at the Tony’s, she’s the most decorated Broadway star of all time. Reviews of her award-winning performances overflow with accolades, describing her stage presence as “spellbinding,” “haunting,” and “genius.” But for the California native, things haven’t always been easy. She talks to Alec about getting into Juilliard, making it on Broadway, and the suicide attempt that helped shape who she is today. Originally aired July 25, 2017See omnystudio.com/listener for privacy information.

Clarity and Brevity are the highest creativity. But “clear and brief” does not mean simple and predictable.One the most talented writers of advertising in the world would be surprised to hear me call him that. Jonathan Edward Durham is a novelist. He recently posted this random thought.“‘Why am I so sad today?' I ask myself after staring at my little handheld sadness machine and clicking all the sad little things that will definitely make me sad.”You may not agree with Durham's statement, but you will agree it was artfully crafted.What Durham gave us was clarity and brevity without predictability. This is the mark of a great ad writer.“Why am I so sad today?” immediately gets our attention. We are compelled to keep reading.We are surprised that he owns “a little handheld sadness machine.” But our cleverness allows us to translate it as “iPhone” and we receive a tiny spasm of delight.You have never heard of “a little handheld sadness machine” but you knew exactly what it was.His 30-word sentence demonstrated clarity, brevity, and creativity, but none of what Jonathan Edward Durham wrote was simple or predictable.Durham's ability to bring us – his readers, his listeners, his customers – into active participation in a one-way conversation is pure genius.Jonathan Edward Durham causes us to become engaged with what he is saying.You can do it, too.“Time + Place + Character + Emotion.” That's it. That's how Stephen Semple turns a weak story into a powerful one in his famous TED-X talk.Here's how Jonathan Edward Durham uses Time + Place + Character + Emotion to tell us a story in less than 30 seconds.“About two years ago, we moved across the country. It was a big, stressful move, and anxieties were high all around, and it had only been about six months since we rescued Jack, so he was really just beginning to adjust to having a forever home. Needless to say, Jack didn't understand why a bunch of strangers were taking all of our things, and he was having a very, very ruff time with the whole process.”“We want Jack to live forever. That's why we feed him The Wizard's Magic dog food.”Jonathan Edward Durham's wonderful story became an excellent ad with my addition of just 16 words. “We want Jack to live forever. That's why we feed him The Wizard's Magic dog food.”You already know how to write the 16 words. Now you need to learn how to tell a wonderful story in 76 words like Durham did.Time + Place + Character + Emotion. Give it a try.Roy H. WilliamsPS – Most people use too many words to make too small a point. The average writer wraps lots of words around a small idea. Inflated sentences are fluffy and empty like a hot air balloon. Good writers deliver a big idea quickly. Tight sentences hit hard. – Indy Beagle“Facts tell. Stories sell.” – Tom SchreiterWho do you call when you need your people to cooperate, innovate, and create? Meta, Google, Salesforce, and other big companies call a woman who has a golden reputation for legendary results. Her methods are unorthodox, unconventional, and irresistible. And her credentials are unique: she is an improv entertainer who trained to be a dancer at Juilliard. Her name is Melissa Dinwiddie and she can play the ukulele. Roving reporter Rotbart...

What if we could cure genetic disease before a baby is even born? In this episode, pediatric and fetal surgeon Tippi MacKenzie shares how in utero gene therapy and stem cell transplants could stop devastating diseases before life begins. Dr. MacKenzie is a pioneer in fetal genome surgery and in utero stem cell therapy, with a mission to give every child a healthy start. As Director of the UCSF Broad Stem Cell Center, she leads groundbreaking clinical trials treating disorders like alpha thalassemia while pushing the boundaries of what's possible in regenerative medicine. She also opens up about her personal journey—from Juilliard-trained pianist to surgeon-scientist—and the New England Journal of Medicine article that changed the course of her career. We discuss the unique biology of the fetus, why fetal immune tolerance presents a once-in-a-lifetime treatment window, and how her team is using lipid nanoparticles to develop future-ready gene editing strategies. We also explore how to better support the next generation of clinician-scientists and why stronger partnerships between academia and industry are key to bringing therapies from lab to patient. Do you have thoughts on this episode or ideas for future guests? We'd love to hear from you. Email us at hello@rosenmaninstitute.org.

This week, we're joined by Eric Huang—Queens native, Juilliard-trained cellist, and the chef behind Pecking House, New York's cult fried chicken sensation. In a wild ride of an episode, Eric walks us through his transformation from classical musician to Michelin-level chef, dishing on brutal kitchen culture, racial dynamics in fine dining, and the unexpected pandemic pivot that made his chicken world-famous.He opens up about being hospitalized from stress the same day Eleven Madison Park was crowned the world's best restaurant, and how stepping away from the obsession with stars helped him find purpose in wok-fried lettuce, family roots, and feeding people real food.From stir-fried nostalgia to viral password-only menus, Eric's story is one of grit, grace, and gastronomic reinvention. Plus: his go-to NYC haunts, the “curse” of success, and why buffalo wings might just be the perfect starter.Recorded in London during his residency at Carousel and The Standard Hotel. Don't miss this one.-------Please leave us a great rating and a comment and share it with your friends - it really helps us grow as a show.If you're in the industry and are looking for the greatest POS system in the world than look no further as Blinq are tearing up the rulebook—no long-term contracts, no hidden fees, and no per-device charges.Just £49 a month for unlimited devices and 24/7 UK-based support that's always there, in person when you need it.Built for hospitality, by hospitality, blinq is the fastest, easiest POS system on the market—so intuitive, anyone can use it. And while others take weeks to get you up and running, with blinq, you're live in just 2 hours.Join the hospitality revolution today & use the code GOTOBLINQ to get your first month free - https://blinqme.com/ Hosted on Acast. See acast.com/privacy for more information.

Melissa Dinwiddie doesn't have an MBA. She's never worked for a consulting giant, such as McKinsey, Boston Consulting, or Bain. She is a ukulele-playing, jazz-singing, Julliard-trained dancer and improv entertainer. Yet when companies, including Meta, Google, Uber, Intuit, and Salesforce, seek fresh thinking on innovation and team creativity, they turn to Melissa for results. Melissa draws parallels between performance troupes, such as her All That Jazz improv jazz group, and business teams. To be successful, she notes, all members must listen closely, support one another, adapt on the fly, and create something from nothing.   Melissa is the founder and CEO of Creative Sandbox Solutions, communication, connection, and creativity experts. Her firm's specialty is helping teams blast through creative roadblocks. She is the author of The Creative Sandbox Way: Your Path to a Full-Color Life, which she wrote to help readers be comfortable with and embrace their own, authentic creativity. As Melissa explains this week, her unconventional background and unorthodox methods —  including having six- and seven-figure salaried executives build with Lego bricks — consistently unlock breakthrough ideas and enhance team performance. Monday Morning Radio is hosted by the father-son duo of Dean and Maxwell Rotbart. Photo: Melissa Dinwiddie, Creative Sandbox SolutionsPosted: July 21, 2025 Monday Morning Run Time: 49:42 Episode: 14.7

Happy Tuesday, everyone! Today's episode was such a blast. I'm talking with none other than the amazing Alan Tudyk! Alan is currently starring as Harry Vanderspeigle in the new season of Resident Alien. He also plays K-2SO in Andor, Hoban ‘Wash' Washburne in Firefly, Wat in A Knight's Tale and so so many iconic voice roles, including Valentino in Wish and the Duke of Weselton in Frozen. We have so much fun in this conversation and I loved learning more about Alan's journey from doing stand-up in a Holiday Inn, to Juilliard dropout, to working with some of the biggest names in Sci-Fi. Plus, we get to bond over our experience in the Star Wars universe and what it's like to be be part of a franchise that fans desperately want to revive (Battlestar for me, Firefly for him). Be sure to stick around after the conversation for the Hindsight, where I get together with my producer Jeph to talk over the episode, talk about upcoming convention appearances and answer fan questions from the Mail Sack! Send me an email thesackhoffshow@gmail.com Produced by Rabbit Grin Productions Mail Sack Song by Nicolas @producer_sniffles Join us on Patreon! http://patreon.com/thesackhoffshow ----------------------------------------------------- Support our Sponsors: New EveryPlate customers can enjoy a special offer of only $1.99 a meal. Go to everyplate.com/podcast and use code katee199 to get started! Applied as discount on first box, limited time only.

Send us a textIn this joyful and energizing episode of UX Leadership by Design, Mark Baldino is joined by creativity catalyst Melissa Dinwiddie — a Juilliard-trained dancer turned artist, jazz singer, improviser, and innovation strategist and coach. Melissa helps individuals and teams get unstuck and unlock their creative potential, even (and especially) when they don't see themselves as creative. She walks us through her deceptively simple “Create the Impossible” framework—Play Hard, Make Crap, Learn Fast—and dives deep into why perfectionism is the enemy of progress.Whether you're a self-identified “non-creative,” an overthinking perfectionist, an analytically minded problem-solver, or a leader trying to build more innovative teams, this episode is packed with insight, laughter, and incredibly actionable advice. Bonus content: Melissa was kind enough to create an IMPACT Innovation Checklist for all of our listeners.Key TakeawaysPlay Hard, Make Crap, Learn Fast – Melissa's 3-part framework helps people move through creative blocks with intention and joy.Everyone is Creative – The belief that creativity is for “others” is one of the biggest blockers to innovation.Perfectionism Kills Progress – Creatives often get stuck chasing an unattainable ideal. Melissa advocates for “intentional imperfectionism.”Improv Builds Better Teams – Activities like “Time Traveler” help teams build empathy, communicate better, and influence with impact.Self-Compassion Fuels Innovation – Letting go of judgment and leaning into curiosity enables us to grow, create, and experiment more freely.Chapters00:00 – Welcome & Guest Intro00:22 – From Juilliard to Jazz02:24 – The Creativity Myth05:40 – The “Create the Impossible” Framework07:02 – Breaking the “I'm Not Creative” Label11:41 – Improv for Innovation & Communication18:16 – Play Hard, Make Crap, Learn Fast24:03 – Helping Creatives Let Go of Perfectionism27:52 – Mark's Tile Confession32:40 – Where to Find Melissa & Listener ResourcesResources & LinksConnect with Melissa Dinwiddle on LinkedInMelissa's Website and YouTube ChannelThank you gift: IMPACT Innovation Checklist Connect with Mark on LinkedIn Fuzzy Math - B2B & Enterprise UX Design Consultancy

What if emotional resilience—not test scores—is the real key to success?In this powerful episode of the MindBodySpace podcast, Dr. Juna shares what really made a difference in raising teens who not only got into Ivy League schools like Harvard and Princeton—but did so while prioritizing well-being.How do you raise high-performing kids—without burning them out?In this powerful episode, bestselling creator and mom of three Dr. Jenny Woo flips the mic to interview Dr. Juna Bobby, Harvard-trained educator, board certified physician, Juilliard resilience curriculum creator and faculty, and founder of MindBodySpace.Juna's kids got into Harvard and Princeton—but that was never the goal.Instead, she focused on cultivating:

This is the last time to get it right, because this week we're talking about the final installment of the HSM franchise! Tune in as BenG and Kelsey discuss the absurd amount of Troy and Gabriella duets in this movie, the logistics of flying out reps from Juilliard to give out a scholarship, and how at the end of the day Troy Bolton is just a simp.

Eleven years and another life ago, Clara Bishop was a rising star pianist. Everything changed on the night of a festival marking the 145th birthday of Poland's revered composer and Clara's  distant relative, Aleksander Starza. She began that night as an artist in her own right—no longer defined by Madame, her exacting teacher. But after a devastating fire broke out in the concert hall, she left badly scarred. Since then, Clara hasn't touched a piano or spoken to Madame, whom she blames for her career-ending injuries. Now, at 30, she has a new life in Texas as a bartender. No one there knows about her past—until Madame dies and leaves her a cryptic inheritance: a metronome linked to a notorious 19th-century murder.In her literary debut, THE FIRE CONCERTO (Union Square & Co.; June 10, 2025), Sarah Landenwich presents a richly layered, twisty story about three women of remarkable musical talent connected by tragedy. For Clara, what starts as a search for the origins of Madame's unusual bequest turns into a mission to find the lost compositions and restore the tarnished reputation of a brilliant 19th-century female pianist from Poland. Along her journey, Clara uncovers startling truths about her formidable mentor and herself.        THE FIRE CONCERTO opens in 1997 with Clara as she struggles to make sense of the gift Madame left her. Could this oddity be the metronome, missing since 1885, that belonged to her ancestor, the composer Aleksander Starza? Was it the murder weapon used by the woman accused of killing him, the pianist Constantia Pleyel? How did Madame, an orphan who fled Poland in 1939 and made her own way into Juilliard and onto the concert stage, come to possess this priceless, storied antique?Seeking answers, Clara finds an unexpected ally in her childhood rival and teenage crush, Tony Park. Another of Madame's chosen beneficiaries, Tony offers to help Clara unravel the metronome's history. Can she trust him? He's not the only one interested in this coveted object. First, she receives an eerie phone call and then a threatening letter. Finally, someone breaks into and ransacks her home. Though filled with dread about revisiting the scene of her nightmare, Clara agrees to join Tony on a fact-finding trip to Warsaw, where Aleksander Starza lived and died.Scouring museum archives and private stashes of letters, Clara works to uncover the metronome's haunted past. Gradually, she realizes that nothing about Starza and his murder are what they seem. And the truth about his relationship with Constantia Pleyel, who was far from the raging madwoman history has alleged her to be, is complicated. What Clara discovers could rewrite the history of music. For Clara, the revelations also strike a deeply personal chord. The metronome has a hidden inscription in Polish, translated as: “From pain, we must make beauty.” Were these words engraved to speak to Starza or to Pleyel? Did Madame intend for Clara to take this message to heart?Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

In this episode, the Munsons are joined once again by veteran guest Munson, Cam Sully, for a deep dive into the unparalleled career of Trinidadian-American actress Lorraine Toussaint. A Juilliard graduate with over 30 years in film, TV, and theater, Toussaint consistently delivers powerhouse performances, making even small roles unforgettable. We explore her impactful work in Selma, her iconic turn as Vee in Orange Is the New Black, her underrated brilliance in Nightjohn, her chilling role in Scary Stories to Tell in the Dark, her ongoing presence as Vi in The Equalizer, and her latest performance in Better Sister. Plus, we revisit the classic Dangerous Minds to see if it still holds up. How does she rank on the Munson Meter? Listen to find out.

The Horn Signal is proudly brought to you by Bob Reeves Brass. Join hosts John Snell and Preston Shepard as they interview horn players around the world.  Today's episode features Julie Landsman, former Principal Horn of the Metropolitan Opera and teacher at University of Southern California. About Julie: Principal horn with the Metropolitan Opera Orchestra for 25 years, Julie Landsman is a distinguished performing artist and educator. She received a bachelor of music degree from The Juilliard School in 1975 under the tutelage of James Chambers and Ranier De Intinis, and has served as a member of the Juilliard faculty since 1989. A native of Brooklyn, New York, Landsman achieved her dream of becoming principal of the MET in 1985 and held that position until 2010. She has also shared her talent to many other ensembles within the city as a current member of the Orpheus Chamber Orchestra and having performed and recorded with the New York Philharmonic. Additionally, she has performed with numerous groups outside the city, including her co-principal position with the Houston Symphony, substitute principal position with the St. Paul Chamber Orchestra, and recent performances with The Philadelphia Orchestra as Associate principal horn, and the Los Angeles Chamber Orchestra, principal horn. She has recorded for RCA, Deutsche Gramophone, CRI, Nonesuch and Vanguard labels, and is most famous for her performance of Wagner's “Ring” cycle as solo horn with the MET Opera under the direction of James Levine. Landsman has performed as chamber musician at many festivals and concert series, including the Marlboro Music Festival, Chamber Music Northwest, the Santa Fe Chamber Music Festival, Sarasota Music Festival, La Jolla Summerfest, the Chamber Music Society of Lincoln Center,  Orcas Island Chamber Music  Festival,  and the Metropolitan Museum of Art, where she appeared as a guest artist with the Guarneri Quartet. In the summers she performs and teaches at the Music Academy of the West , the Sarasota Music  Festival, and the Aspen Music Festival. World renowned as a master teacher, Julie Landsman holds faculty positions at The Juilliard School and Bard College Conservatory, and teaches frequently as a guest at the Curtis Institute. She has presented master classes at such distinguished institutions as The Colburn School, Curtis Institute, Eastman School of Music, Mannes College of Music, Manhattan School of Music, USC Thornton School of Music, Cal State Long Beach, Rowan University, University of Oklahoma, and University of Southern Mississippi, to name a few. She is also a visiting master teacher at the New World Symphony in Miami. Her international presence includes master classes in Norway, Sweden, and Israel.  In 2016 Landsman was an honored jury member at the ARD horn competition in Munich, Germany. Her students hold positions in the Metropolitan Opera Orchestra, Philadelphia Orchestra, Los Angeles Philharmonic, San Francisco Opera and Ballet Orchestras, Washington National Opera Orchestra, Dallas Symphony, St. Louis Symphony, New Jersey Symphony, Colorado Symphony, and the American Brass Quintet. She recently received the “Pioneer Award” from the International Women's Brass Conference and was a featured artist at the International Horn Society Conference in 2012 and 2015. Her recent series of Carmine Caruso lessons on YouTube have led to further fame and renown among today's generation of horn players. Landsman currently resides in Santa Barbara, California.

This is an Encore Presentation of my March 2025 interview with Sharon Isbin, one of the world's premier classical guitarists and a multiple Grammy winner. She heads the guitar departments at Juilliard and the Aspen Music School. She's won a boatload of awards and competitions. She studied with Andres Segovia. She's performed with over 200 orchestras and she's collaborated with classical and also non-classical musicians including Josh Groban, Joan Baez and Steve Vai.My featured song is my recent single, “The Rich Ones All Stars”. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!Click here for All Episodes Click here for Guest List Click here for Guest Groupings Click here for Guest TestimonialsClick here to Subscribe Click here to receive our Email UpdatesClick here to Rate and Review the podcast—----------------------------------------CONNECT WITH SHARON:www.sharonisbin.com________________________ROBERT'S RECENT SINGLES:“THE CUT OF THE KNIFE” is Robert's latest single. An homage to jazz legend Dave Brubeck and his hit “Take Five”. It features Guest Artist Kerry Marx, Musical Director of The Grand Ole Opry band, on guitar solo. Called “Elegant”, “Beautiful” and “A Wonder”! CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—----------------------------“DAY AT THE RACES” is Robert's newest single.It captures the thrills, chills and pageantry of horse racing's Triple Crown. Called “Fun, Upbeat, Exciting!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS___________________“MOON SHOT” reflects my Jazz Rock Fusion roots. The track features Special Guest Mark Lettieri, 5x Grammy winning guitarist who plays with Snarky Puppy and The Fearless Flyers. The track has been called “Firey, Passionate and Smokin!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS____________________“ROUGH RIDER” has got a Cool, ‘60s, “Spaghetti Western”, Guitar-driven, Tremolo sounding, Ventures/Link Wray kind of vibe!CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------“LOVELY GIRLIE” is a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com 

This is an Encore Presentation of Robert's January 2025 interview with Classical Music Superstar JoAnn Falletta. For 25 years JoAnn has been the Music Director and Conductor of the Buffalo Philharmonic Orchestra. She was the first female conductor in the United States of a major symphony orchestra. She's a Juilliard graduate. She studied with Leonard Bernstein. She's a 2x Grammy winner. My featured song is “New York City Groove”, from the album Made In New York by my band Project Grand Slam, in honor of the fact that both JoAnn and I grew up in New York City. Spotify link.—--------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!Click here for All Episodes Click here for Guest List Click here for Guest Groupings Click here for Guest TestimonialsClick here to Subscribe Click here to receive our Email UpdatesClick here to Rate and Review the podcast—----------------------------------------CONNECT WITH JOANN:www.joannfalletta.com________________________ROBERT'S RECENT SINGLES:“THE CUT OF THE KNIFE” is Robert's latest single. An homage to jazz legend Dave Brubeck and his hit “Take Five”. It features Guest Artist Kerry Marx, Musical Director of The Grand Ole Opry band, on guitar solo. Called “Elegant”, “Beautiful” and “A Wonder”! CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—----------------------------“DAY AT THE RACES” is Robert's newest single.It captures the thrills, chills and pageantry of horse racing's Triple Crown. Called “Fun, Upbeat, Exciting!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS___________________“MOON SHOT” reflects my Jazz Rock Fusion roots. The track features Special Guest Mark Lettieri, 5x Grammy winning guitarist who plays with Snarky Puppy and The Fearless Flyers. The track has been called “Firey, Passionate and Smokin!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS____________________“ROUGH RIDER” has got a Cool, ‘60s, “Spaghetti Western”, Guitar-driven, Tremolo sounding, Ventures/Link Wray kind of vibe!CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------“LOVELY GIRLIE” is a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com 

Molly Yeh is the Emmy- and James Beard Award-nominated star of Girl Meets Farm on the Food Network; owner of Bernie’s, a bakery and cafe in East Grand Forks, Minnesota; and a bestselling cookbook author. Her new cookbook is Sweet Farm, 100 dessert recipes that feature oh-so-Molly flavors like tahini, marzipan, hawaij and halva, plus a whole chapter devoted to Midwestern cookie salads! Molly tells host Rachel Belle how her relationship to sprinkles has changed as she’s gotten older; how she, a Juilliard graduate with a degree in percussion, ended up living on a sugar-beet farm on the Minnesota/North Dakota border; what a cookie salad is; and her secret to being an excellent baker. Molly bakes beautiful, buttery, super-moist cakes, sometimes testing a recipe more than 30 times to get it right. All that cake talk got Rachel thinking about Cake Picnic, an event in March that went super-viral, where home bakers brought and devoured nearly 1,400 cakes in a San Francisco park! Rachel welcomes Cake Picnic founder Elisa Sunga to the show to talk about how the event was born and how she keeps the cake chaos to a minimum. Listen to Molly Yeh on the Greta Gerwig episode of YLM, talking about her homemade Funfetti cake! Watch Rachel’s Cascade PBS TV show The Nosh with Rachel Belle! Season 2 out now! Sign up for Rachel’s new (free!) Cascade PBS newsletter for more food musings!Follow along on Instagram! Order Rachel’s cookbook Open Sesame. Support the show: http://rachelbelle.substack.com/See omnystudio.com/listener for privacy information.

In this episode, actress Justine Lupe shares her path from performing as a kid in Denver to training at Juilliard. She opens up about how Juilliard shaped her craft, building the confidence and resilience that would carry her through a career filled with bold, offbeat roles. Lupe discusses her roles in shows like Younger, The Marvelous Mrs. Maisel, Mr. Mercedes, and Succession, explaining her process of learning lines "molecularly" to allow for instinct and impulse. She gives behind-the-scenes insight into joining Succession (originally thinking it was just for two episodes), and how she filmed the first season of Nobody Wants This while pregnant. These are the unforgettable stories that landed Justine Lupe right here. CREDITS: Nobody Wants This Succession The Marvelous Mrs. Maisel Younger Madam Secretary Sneaky Pete Snowfall Bull Mr. Mercedes Home Economics The Good Wife Shameless Deadbeat Frances Ha GUEST LINKS: IMDB: Justine Lupe, Actress, Writer, Producer THAT ONE AUDITION'S LINKS: For exclusive content surrounding this and all podcast episodes, sign up for our amazing newsletter at AlyshiaOchse.com. And don't forget to snap and post a photo while listening to the show and tag me: @alyshiaochse & @thatoneaudition MAGIC MIND: Get 60% off with code ONEAUDITION60 THE BRIDGE FOR ACTORS: Become a WORKING ACTOR THE PRACTICE TRACK: Membership to Practice Weekly PATREON: @thatoneaudition CONSULTING: Get 1-on-1 advice for your acting career from Alyshia Ochse COACHING: Get personalized coaching from Alyshia on your next audition or role INSTAGRAM: @alyshiaochse INSTAGRAM: @thatoneaudition WEBSITE: AlyshiaOchse.com ITUNES: Subscribe to That One Audition on iTunes SPOTIFY: Subscribe to That One Audition on Spotify STITCHER: Subscribe to That One Audition on Stitcher EPISODE CREDITS: WRITER: Erin McCluskey WEBSITE & GRAPHICS: Chase Jennings ASSISTANT: Elle Powell SOCIAL OUTREACH: Alara Ceri

To set up a complimentary strategy call, CLICK HERE.  From prescreen recordings and performance auditions to professor connections and portfolio prep, the music admissions process is uniquely challenging. In this episode, we sit down with the experts from Inside Music Schools to unpack everything you need to know about getting into top conservatories and university music programs. Whether you're aiming for Juilliard, Berklee, or a strong music program within a larger university, this conversation is packed with advice to help you stand out. --- Register for our upcoming webinars. Questions, comments, or topic requests? Email jilian.yong@ingeniusprep.com. To learn more about InGenius Prep, visit us at ingeniusprep.com.

This episode we are joined by artist Marianna Gailus!  Marianna was recently Andrew Scott's understudy in Vanya and made her Broadway debut in Patriots starring Michael Stuhlbarg.  She got her MFA at the Juilliard School and is a proud of Group 51.  We speak with Marianna about when she decided to pursue a career in acting, her time at Juilliard, working on Vanya and much more!

Today we're joined by actress Vella Lovell, whose path to the screen began with a childhood dream of Juilliard—sparked by a Babysitters Club character—and eventually led her to the school not once, but twice. Vella currently stars opposite Joel McHale in Fox's Animal Control, returning for its third season in 2025. She previously starred alongside Ted Danson and Holly Hunter in Mr. Mayor, earning a 2021 HCA TV Award nomination for her role as Chief of Staff Mikaela Shaw. She's also beloved for her standout turns as ‘Heather' in Crazy Ex-Girlfriend. In this episode, Vella opens up about the intensity of Juilliard's training, booking her first pilot after a silent retreat, and how her background in classical piano unexpectedly informs her comedy work. She talks about navigating set life, the business side of acting no one teaches you, and why it's so important to celebrate the wins—big or small—along the way. These are the unforgettable stories that landed Vella Lovell right here. CREDITS: Animal Control Mr. Mayor Crazy Ex-Girlfriend Dollface The Big Sick Your Place or Mine Younger Girls Gracie and Frankie So Help Me Todd GUEST LINKS: IMDB: Vella Lovell, Actress, Producer, Singer THAT ONE AUDITION'S LINKS: For exclusive content surrounding this and all podcast episodes, sign up for our amazing newsletter at AlyshiaOchse.com. And don't forget to snap and post a photo while listening to the show and tag me: @alyshiaochse & @thatoneaudition MAGIC MIND: Get 48% off with code ONEAUDITION20 THE BRIDGE FOR ACTORS: Become a WORKING ACTOR THE PRACTICE TRACK: Membership to Practice Weekly PATREON: @thatoneaudition CONSULTING: Get 1-on-1 advice for your acting career from Alyshia Ochse COACHING: Get personalized coaching from Alyshia on your next audition or role INSTAGRAM: @alyshiaochse INSTAGRAM: @thatoneaudition WEBSITE: AlyshiaOchse.com ITUNES: Subscribe to That One Audition on iTunes SPOTIFY: Subscribe to That One Audition on Spotify STITCHER: Subscribe to That One Audition on Stitcher EPISODE CREDITS: WRITER: Erin McCluskey WEBSITE & GRAPHICS: Chase Jennings ASSISTANT: Elle Powell SOCIAL OUTREACH: Alara Ceri

Mark Bernat is a double bassist currently living in Austin, Texas. His groundbreaking recording and edition of the Six Bach Cello Suites were driving forces that led to their wider adoption in the double bass world. Mark studied at Juilliard and is a former member of the Israel Philharmonic, the Jerusalem Symphony, and the Seattle Symphony. He has taught at the Oberlin Conservatory, the University of Texas at Austin, and Emory University. In Austin, he formed the all-volunteer Red River Ensemble, which aims to bring music into high-stress hospital environments.   We dig into Mark's background, how his approach to practicing Bach has changed over the years, the remarkable accomplishments of his daughter Nina, and much more. Enjoy, and be sure to check out Mark's latest recording of all six Bach Cello Suites on YouTube, Spotify, and Apple Music!   Image credit: Photon Corral Photography   Subscribe to the podcast to get these interviews delivered to you automatically!   Connect with us: all things double bass double bass merch double bass sheet music   Thank you to our sponsor! Upton Bass - From Grammy Award winners and Philharmonic players like ME Max Zeugner of the New York Philharmonic, each Upton Bass is crafted with precision in Connecticut, USA, and built to last for generations.  Discover your perfect bass with Upton Bass today! theme music by Eric Hochberg

45 years after graduating from The Juilliard School, I have a chance to chat with my former violin professor there, Lewis Kaplan. At 91, Kaplan is a senior professor of violin and chamber music at Juilliard and is still running 2 Bach Festivals. We chat about the legendary Ivan Galamian, who we both studied with, whether or not I practiced as a student, being a founding member of The Aeolian Chamber Players, the changing art of teaching in the 21st century and more.

On this special episode, Little Kids, Big Hearts host Todd Loyd chats with award-winning composer, lyricist & performer Lance Horne

In this emotional and inspiring episode, Theresa Bruno recounts her extraordinary journey from Juilliard-trained concert pianist to award-winning creative director and founder of a multi-million-dollar fine jewelry brand. After a career-ending injury, she pivoted into advertising, secured major clients like Regions Bank, and later launched a jewelry business that caught the attention of The New York Times and even First Lady Michelle Obama. Bruno shares the highs of building a seven-figure brand and the devastating lows of fraud, business collapse, and the tragic loss of her husband. Her story is a masterclass in reinvention and resilience — with powerful insights into grief, identity shifts, and how creativity can be a lifeline through life's darkest chapters. She now channels her purpose into the Soul Talks podcast, her book He's Not Coming Back, and new AI video projects that blend storytelling with emotional healing. Notable Takeaways: Why Juilliard prepared her for both artistic and business risk-taking. How offering to work for free helped her pivot industries successfully. The hidden financial realities of luxury product businesses. Strategies for rebuilding identity and business after deep personal loss. How AI is transforming emotional storytelling in her latest projects. Learn more about your ad choices. Visit megaphone.fm/adchoices

In our journey together, we've explored the creative processes of authors, songwriters, interior designers, architects, and even scientists. Each guest has shared unique insights into how they bring their ideas to life and push creative boundaries. Today, we continue that journey with someone who knows all about transforming the 'impossible' into reality—Melissa Dinwiddie.Melissa's website -- https://melissadinwiddie.comMelissa's Instagram -- @a_creative_lifeMelissa's YouTube channel -- https://youtube.com/@MelissaDinwiddieMelissa's LinkedIn -- https://linkedin.com/in/melissadinwiddieSpecial Offer: Get book excerpt -- https://bit.ly/YWoCthankyouFrom dreaming of Juilliard as a teenager to now empowering leaders and teams through her Create the Impossible™ keynotes and workshops, Melissa has mastered the art of making big dreams come true.Your journey from taking your first dance class at 16 to attending Juilliard just three years later is inspiring. What mindset shifts did you have to embrace to turn what seemed impossible into reality, and how do you help others do the same?You have such an eclectic background—calligraphy, jazz singing, and now corporate innovation coaching. How have these diverse creative experiences influenced your approach to fostering innovation in major companies like Google and Meta?Your book, The Creative Sandbox Way™, encourages readers to play and experiment. What role does playfulness have in achieving breakthrough innovation, especially in high-pressure corporate environments?You work with analytical minds, helping them adopt a creative mindset, skillset, and toolkit. What are some common challenges these individuals face, and how do you guide them past those barriers?Your workshops and retreats are known for being highly interactive and results-driven. Can you share a standout success story where a team truly embraced your approach and achieved remarkable outcomes?Listeners, if you enjoyed today's episode, be sure to leave us a review—it helps more creative minds like you discover the show. And don't forget to tune in next time, when we'll continue to explore the many facets of creativity with another incredible guest.A big thanks to our sponsor, White Cloud Coffee Roasters. Enjoy a 10% discount when you use the code CREATIVITY at checkout. Visit whitecloudcoffee.com to grab your next favorite brew.

Listen up, you Saddle goose! Marc Roberts, former Blue Man Group performer and inventor of "The Bebot Bit", stops by The Churn. We recall stories about performing theater at The Juilliard of Missouri, creepy old man reveals, what happens when you go off your meds to get drunk, and creating a minor league mascot from scratch.SPONSOR: Brought to you by Winnie's Poo Wipes.

Josh Gad (In Gad We Trust, Frozen, Book of Mormon) is a Grammy Award-winning actor. Josh returns to Armchair Expert to discuss why he believes he would be the Unsinkable Molly Brown on the Titanic, the unthinkable bravery and precision of LA firefighters, and questions whether Dax thinks he would've ended up as an Ira Glass or a Howard Stern. Josh and Dax talk about having permission to send Kumail Nanjiani shirtless pics, growing up without his emerald kingpin father, and how his comedy was born out of the despair from his parents' divorce. Josh explains bombing his audition to Juilliard, how Disney became the salve to soothe loss in his life, and the acknowledgment of being your own worst enemy as long as you come out the other side.Follow Armchair Expert on the Wondery App or wherever you get your podcasts. Watch new content on YouTube or listen to Armchair Expert early and ad-free by joining Wondery+ in the Wondery App, Apple Podcasts, or Spotify. Start your free trial by visiting wondery.com/links/armchair-expert-with-dax-shepard/ now.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.