Podcasts about laguardia high school

Follow-up time! We did some boots-on-the-ground reporting, and so did you: We have updates on anxiety bookshelves, Santa, calendar systems, PowerPoints as gifts, and (but of course) Kuromi..   Delighted to spot Kuromi in the flash tattoo folder at Haven Tattoo Studio!   If you're heading to the theater soon, we highly recommend seeing Buena Vista Social Club and Grief Camp—and you'll find us at LaGuardia High School's All-School Musical come December!    Do you have any updates on our updates? Share ‘em at 833-632-5463, podcast@athingortwohq.com, @athingortwohq, or our Geneva.   Learn from the greatest (and most charming) with MasterClass and an additional 15% off any annual membership when you use our link. Get growing with Fast Growing Trees. Take 15% off your first purchase with the code ATHINGORTWO. Sleep better and get 20% off your Helix mattress when you use our link.  Give your hair some love with Nutrafol. Take $10 off your first month's subscription with the code ATHINGORTWO. YAY.

Thanks for reading Broadway Drumming 101! This post is public so feel free to share it.In this episode of Broadway Drumming 101, host Clayton Craddock sits down with the incredibly talented drummer Jaylen Petinaud to discuss his journey from an eager young musician introducing himself at LaGuardia High School to playing with Herbie Hancock and holding the drum chair for Hell's Kitchen on Broadway.Jaylen shares stories about his early aspirations of playing in the NBA, how his love for music eventually won out, and his experiences at SUNY Purchase, where he studied both jazz and economics. He takes us through his path from jam sessions at Smalls and New Blue to working with artists like Kenny Seymour (For Colored Girls, The Harder They Come) and his pivotal mentorship with Zane Mark that introduced him to the world of theater.Jaylen talks about the moment he received a life-changing call from Herbie Hancock, his approach to preparing for the gig, and the whirlwind experience of balancing Broadway, jazz, and international touring. He also discusses what it was like auditioning for Alicia Keys' Hell's Kitchen, getting the approval of Adam Blackstone and Alicia Keys herself, and his first experience playing on electronic drums for the show.From studying Tony Williams and Jeff "Tain" Watts to working with Terrence Blanchard, Jaylen offers insights into developing his unique voice on the drums, handling the pressures of high-level gigs, and the importance of always being ready for the unexpected.This is an inspiring conversation for anyone looking to break into Broadway drumming, navigate the jazz scene, or just hear an incredible success story of a young drummer making waves in the music industry.

On this episode, Erin & Elizabeth talk to animal intuitive Phoebe Hoffman, one of the stars of the new documentary about NYC psychics, Look Into My Eyes (currently on Max). The film hints at Phoebe's colorful life growing up with her divorced father Stanley, who Phoebe lived with in a studio apartment in Manhattan throughout her teenage years, when she dropped out of LaGuardia High School of Music and Art in 9th grade. Stanley, an English teacher who nonetheless played fast and loose with the concept of mentoring, was compared to Philip Roth in 1974 when his debut novel was published, but his literary dreams ended with a gig writing forScrew magazine. As Phoebe chain-smoked the Marlboros her dad procured for her, she skipped school to watch John Waters movies on repeat, all while longing for boundaries, apologies, and parenting. A botched stint in therapy with Stanley led to Phoebe finding a way to lovingly detach from her dad, and led to an unlikely new purpose in life: pet psychic. Phoebe tells us about an otherworldly experience with a horse changed everything, what's up with animals as the conduits of our dead loved ones, and whether our pets love us as much as we love them. 

Dance Talk” ® with Joanne Carey and special guest, Giulia Faria, Ballerina, New York Theatre Ballet. In this episode of Dance Talk, host Joanne Carey interviews Giulia Faria, a dancer with the New York Theatre Ballet, about her journey from a young dancer to her current role as the Sugar Plum Fairy in The Nutcracker. Julia shares her early experiences in dance, the transition to a professional ballet career, and the importance of support systems in her life. She discusses her daily routine as a full-time dancer and provides insights into the unique adaptation of The Nutcracker that her company is performing this season. In this engaging conversation, Giulia shares her experiences and insights as she prepares to perform the iconic role of the Sugar Plum Fairy in the Nutcracker. She discusses the magical nature of the role, the importance of details in dance, and the significance of costumes. Giulia also offers valuable advice for aspiring dancers, emphasizing the importance of positivity and community support in the dance world. The conversation culminates with a preview of the upcoming Nutcracker performances and the special Land of the Sweets party. Giulia Faria is from Queens, New York, where she began dancing at the age of 3 at a local ballet tap and jazz school. At 11 years-old she began training at the New York Theatre Ballet School under the direction of Diana Byer. She attended Laguardia High School of Performing Arts as a dance major. She joined New York Theatre Ballet as an apprentice in 2015, performing in ballets The Nutcracker, Sleeping Beauty, Cinderella, and The Alice-in-Wonderland Follies. In 2017, she spent the year dancing with New York Dance Project under Nicole Duffy and Davis Robertson where she danced leading roles in Gerald Arpino's Birthday Variations and Africa Guzman's Sinfonia Escarlata. She rejoined NYTB for the 2018 season.   https://nytb.org/ Tickets for Nutcracker https://nytb.org/tickets  “Dance Talk” ® with Joanne Carey wherever you listen to your podcasts.  ⁠⁠⁠⁠ https://dancetalkwithjoannecarey.com/ Follow Joanne on Instagram @westfieldschoolofdance Tune in. Follow. Like us. And Share.   Please leave us review about our podcast!   “Dance Talk” ® with Joanne Carey "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

In Act 1, we explored some jaw-dropping stats on arts access in New York City, the transformative power of the arts on emotional well-being, and why the arts deserve a place alongside core subjects like history and social studies. Our guest, Judith Insell, shared her insights on how the arts can be an economic engine and an accessible career pathway. If you missed it, be sure to catch up on that conversation! In Act 2, we get personal. Judith takes us on her own artistic journey, from discovering her passion for music at a young age to attending the prestigious LaGuardia High School and Manhattan School of Music. Through a series of serendipitous events, she found herself gigging professionally and stepping into arts administration by the age of 24. Judith reflects on the reality of supplementing her career as a musician with teaching and how her experience as a practicing artist has shaped her unique approach to arts administration today. This is a powerful exploration of the intersection of artistry and leadership.

In this episode Elaine chats with actor, writer Isabel Renner about her show Wyld Woman- Legend of Shy Girl. The inspiration for the show, graduating in 2020 and the pros and cons of that, growing out of your shyness and bringing your first show to the Edinburgh Festival Fringe. Wyld Woman: Legend Shy Girl - Assembly Rooms - Drawing Rooms Dates: 2nd-25th August @ 4pm Tickets available here: https://tickets.edfringe.com/whats-on/wyld-woman-the-legend-of-shy-girl Wyld Woman: Legend Shy Gild Shy people, you there? This hilarious and tender tale follows Shy Girl's ambitious attempt to open up (emotionally, spiritually, uh... physically) in hopes of expanding her social life beyond the feeble realm of her imaginary friends and finding real human connection. Following sold-out, highly-beloved runs in NYC, Wyld Woman (written/performed by Isabel Renner, directed by Cameron King) is officially joining the ranks of international legendhood. Isabel Renner Isabel Renner is a New York based actor, writer, and aspiring saxophonist. She is a graduate of Mason Gross School of the Arts, where she received her BFA in Acting. She has appeared on Blue Bloods (CBS), as well as on the stage of Shakespeare's Globe in London. She is known widely for pulling hilarious pranks on both friends and strangers alike. She is also a graduate of LaGuardia High School in New York City HIPA GUIDES: HIPA GUIDES OUR WEBSITE - www.persistentandnasty.co.uk Persistent Pal & Nasty Hero - Pals and Hero Membership Email – persistentandnasty@gmail.com Instagram - @persistentandnasty Twitter - @PersistentNasty Coffee Morning Eventbrite - Coffee Morning Tickets LINKTREE - LINKTR.EE Resources Samaritans - Rape Crisis Scotland - Rape Crisis UK ArtsMinds - BAPAM Freelancers Make Theatre Work Stonewall UK - Trevor Project - Mermaids UK Switchboard LGBT+ - GATE PLANNED PARENTHOOD DONATE - DONATE ABORTION SUPPORT NETWORK UK - ASN.COM- DONATE

Matt Katz-Bohen,  began playing piano at age 7, expanded his repertoire to include cello, violin, and guitar. An alumnus of New York City's LaGuardia High School, he became the guitarist and Music Director for the drag queen rock troupe The Touchables, collaborating with notable artists like Jody Watley and Lady Miss Kier. Introduced to Debbie Harry at the Squeezebox party, Matt soon joined Blondie on keyboards for their 2008 world tour. As a co-writer of Blondie songs and a musical director for NYC's Bowieball party, he has also written for RuPaul and toured with Boy George and Tony Bennett.

Zach Bravo (Swing on Hamilton's Philip Tour) is here! This week, Zach talks about growing up as a Puerto Rican only child in Queens whose whole life changed when he tagged along to his cousin's dance class. Thanks to his incredibly supportive family Zach grew up training to do what he loves, from performing Aladdin Jr. to thriving at the famous LaGuardia High School of Performing Arts in New York City. Zach Bravo on Instagram /// Gillian's Website The Hamilcast on Twitter The Hamilcast on Instagram Join the Patreon Peeps

We had the pleasure of interviewing Ferry Townes over Zoom video!Ferry Townes releases new single “T.G.F.K” (Thank God For Kyle) via Licorice Pizza Records. The track is Julia Gargano's second release following “Be Here” under her new project Ferry Townes. An ode to her best friend, “T.G.F.K” includes a breathtaking chorus composed of isolated, layered choral vocals, a canonic bedroom pop guitar bridge, and lyrics imbued with sincerity: “just got nothing to do without you.” Sonically captivating, “T.G.F.K” serves as a reminder that everyone needs, and deserves a best friend.“T.G.F.K, which stands for Thank God For Kyle, is about my bestest friend. The initial idea came from being so grateful that our relationship is what it is- that we'll never have to fall in love and break up, but we will just be friends forever.” Gargano shares. The accompanying video, Directed by Stephanie Saias, perfectly encapsulates that forever kind of best friend love between Julia and Kyle.The sounds of Ferry Townes is an eclectic blend of acoustic and electronic elements, reminiscent of bands like HAIM and boygenius, yet with a distinct melodic narrative and alternative pop flair. She shares “Every page of lyrics tries to be closure to a tumultuous day, trying to compost the hard shit and turn it into energy, heartbreak into audacity, anxiousness into meditation. Nothing about life right now is normal and we are all off-roading emotionally and these songs should feel like a 4x4 for listeners.”Born and raised in Staten Island, the name Ferry Townes pays homage to The Staten Island Ferry, a symbol of Julia's teen years commuting to LaGuardia High School, family days, dates, and watching the Statue of Liberty pass by. She shares, "Staten Island, often underestimated, grows more irreplaceable to me every time I'm on the road.”From her deep Staten Island roots, grows a vivid musical exploration of feminine identity and growing pains, sprinkled with anxious flashes and flirty obsessions. Today's single “Be Here” is just the start of the Ferry Townes' melodic and coming of age journey. She shares, “I can literally see my growth as a person when I look at these songs. They were written over the span of the past 3 years, which were a rollercoaster. Mid twenties are such a weird age. Ferry Townes was born out of a need to say things we should but don't. Our songs are like those intense, never-sent letters, filled with raw overshares that one might only say with brave thumbs, but not their mouths." ABOUT FERRY TOWNESHailing from the streets of Staten Island, Ferry Townes emerges as a poignant voice in the indie music scene, channeling the raw, unfiltered emotions of its frontwoman, songwriter, Julia Gargano. The name Ferry Townes is an homage to The Staten Island Ferry, a symbol of Julia's upbringing commuting to Manhattan for school, family days, dates, and watching the Statue of Liberty. Having had her public debut on American Idol Season 18 and finishing in the top 7, Gargano's debut collection is an eclectic blend of acoustic and electronic elements, reminiscent of bands like HAIM and boygenius, yet with a distinct melodic narrative and alternative pop flair. Ferry Townes is a vivid musical exploration of feminine identity and growing pains, sprinkled with anxious flashes and flirty obsessions.We want to hear from you! Please email Hello@BringinitBackwards.comwww.BringinitBackwards.com#podcast #interview #bringinbackpod #FerryTownes #JuliaGargano #NewMusic #ZoomListen & Subscribe to BiBhttps://www.bringinitbackwards.com/followFollow our podcast on Instagram and Twitter! https://www.facebook.com/groups/bringinbackpod

“Dance Talk” ® with Joanne Carey and  Karisma Jay. In this episode of  “Dance Talk” ® with Joanne Carey,  join host Joanne Carey as she chats with Special Guest: Karisma Jay founder of the AbunDance Academy of the Arts, teaching and mentoring abundance in the lives of all her students . The AbunDance Academy is the first Black Owned Non-Profit Arts Organization to produce an original production written by Karisma herself. With a healthy and robust curriculum, AbunDance Academy of the Arts offers specialized classes in Dance, Audition Prep, Adult Fitness and Aerial Yoga. Its diverse faculty roster includes highly skilled teaching artists who are passionate about their artistry and the budding artistry of every student. Located in Brooklyn's Prospect Heights / Lefferts Gardens neighborhood, AbunDance Academy gives students the opportunity to explore their passions without having to travel to another borough. The organization will host the second annual Abundance Awards to be held at the Billie Holiday Theatre in Brooklyn to Benefit The Abundance Academy of Arts on February 4th. Tickets are available through the link below https://www.eventbrite.com/e/the-2nd-annual-abundance-awards-tickets-523131930687?aff=oddtdtcreator The AbunDance Awards were created in 2023 and raise funds for the AbunDance Arts Academy, founded by award-winning artist and entrepreneur Karisma Jay to show youths what they can accomplish in the dance world and to honor people of color who have made significant contributions to the field. 2024 honorees include Reginald Van Lee, Assane Konte, Obediah Wright, Karen Thornton, Jamel Gaines, Chloe Arnold, Maud Arnold, Arcell Cabuag, and Nicole Deweever.  Karisma Jay is a Brooklyn native , dancer, actress, singer, director, playwright, choreographer, coach, teacher, entrepreneur and host who has been performing, curating and creating for three decades. She is the recipient of a Dance Teacher Magazine 2021 Dance Teacher Award and a 2023 Women of Distinction Award Recipient. Her work has been featured on Netflix, Lifetime, BET, MTV, NBC, and VH1. In 2013, Karisma joined STOMP. In 2016, Family Circle magazine coined her a “Local Hero,” and Lifetime TV called her “a Female Entrepreneur to Watch.” In 2017, she won the “Power Women in Business” award for her work as Artistic Director/Founder of AbunDance Academy. A recent Summa Cum Laude Dance MFA graduate of Hunter College, she also Guest Teaches Dance/Culture at Hunter. A Guest Teaching Artist at The Juilliard School, LaGuardia High School, Hunter College, Ballet Tech, and Broadway Dance Center, she was also the choreographic apprentice of David Byrne's American Utopia and choreographer for COMMON's Music Video, "When We Move."  Jay is dedicated to providing affordable classes and opportunities to perform for young aspiring dancers of color. She conceived, co-wrote, and co-directed the 2022 short film C.R.O.W.N., which tells the story of a young Brown ballerina who has to tame her hair into submission for the biggest audition of her life. The film was inspired by Jay's own attempts to fit into a ballet world with her thick, curly hair and Afro-Latina curves. Crown sparked an important conversation around embracing one's differences and loving one's hair texture and skin tone in ballet. Jay also directed the 2021 short film Just Like YOU to inspire young people to love themselves regardless of their skin color, hair texture, body shape, or background. Follow on Instagram @abundance_company @iamkarisamajayFind out more https://www.abundancearts.org/our-journey ⁠Follow Joanne Carey on Instagram @westfieldschoolofdance And follow  “Dance Talk” ® with Joanne Carey wherever you listen to your podcasts. Tune in. Follow. Like us. And Share. Please leave us review about our podcast  “Dance Talk” ® with Joanne Carey "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

We meet a percussionist from the famous LaGuardia High School for the Performing Arts who gives a tour of the marimba to Peter Dugan, a 13-year-old cellist who loves both ballet and music, and a pianist who relates with the emotions of Schubert.

Janett Liriano is known as a transformational CEO. But her business acumen stems from an unexpected place: her time in the theater department at New York City's famed LaGuardia High School of Music and Art and the Performing Arts.Liriano and her sister Erika co-founded Inaru, a premium chocolate company that operates on a profit-sharing model with cacao farmers in the Dominican Republic. But the chocolate startup isn't her first entrepreneurial endeavor.She recently joined City National Bank's David Cameron, EVP of Personal & Business Banking, for a conversation about her mission to improve the chocolate industry in the Dominican Republic and her collaborative approach to business.

This episode features a very special guest, Deepak Marwah a CITE SBL alum and newly appointed Principal of Laguardia High School. This episode is pretty special since Principal Marwah attended Laguardia High School as a student. Listen as we discuss what it's like going from student to administrator of your former high school. We also get into what it's like transitioning from teacher to administrator, tips for educators looking to get into admin and so much more. Learn more about our administration program at www.alfredapply.com

Actor Sam Vartholomeos is this week's featured guest on Hollywood at Home with The Creative Coalition. In this episode, Vartholomeos speaks about landing a role on Apple TV+'s “The Crowded Room,” working with Jason Isaacs and Michelle Yeoh on “Star Trek: Discovery,” attending the esteemed LaGuardia High School for the Performing Arts, and more.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5520856/advertisement

Yasi and Steven talk with the incomparable Galit Friedlander, professional dancer, choreographer for the LA Sparks Dance Team, fitness coach, and host of the DanceSpeak podcast. She is also part of Doctors for Dancers, founded by CEO Jennifer DePaola, who work to bring dance medicine specialists together to care for dancers of all ages and levels. They join us today to discuss their journeys to advocating health and wellness nationwide. Galit also discusses her personal battles, facing self-doubt, depression and rejection at a young age to choreographing for Prince, dancing with Pharrell Williams and MC Lyte, and now working as a certified trainer and conditioning coach. Above all, Galit shows us the power of telling yourself "Yes I Can". For Galit's website, go to https://www.gogalit.comGalit's instagram is @gogalitThe DanceSpeak podcast instagram is @dancespeakFor Doctors for Dancers website, go to https://www.doctorsfordancers.comDFD's instagram is @doctorsfordancersFor Athletes and the Arts website, go to https://www.athletesandthearts.comOur instagram is @athletesandtheartspodcastBios:GALIT FRIEDLANDER is a professional dancer, choreographer, coach, and host of the popular podcast DanceSpeak, now entering its 7th year.Although Galit's training began in New York with Jazz, Ballet, Modern, and West African, she soon fell in love with the world of street dance, where she learned from the best of NYC's underground dancers. At the age of 14, she was accepted to LaGuardia High School, also known as the 'Fame' school, where she studied Theatre and each day and then train in dance in the afternoons and evenings. Her unique ability to bring these two worlds together has contributed to her style of choreography and dance.In 2011, Galit defied all odds when she worked as the Assistant Choreographer for PRINCE's Welcome 2 America Tour, choreographed the film A Reason To Sing, and began teaching workshops and classes throughout Los Angeles. Credits include Pharrell's record-breaking Happy video, choreographing and dancing in tours across the U.S. and China, MC Lyte (Cravin), and traveling to Guatemala as a ‘Pepsi' dancer.Recently, Galit has been brought on as Director for the LA SparKids (Dance Team for the National WNBA Champions, the LA Sparks) and continues to travel between Los Angeles, New York, and other cities sharing her love for dance in classes and workshops.Galit is also a recurring host for the Doctors 4 Dancers online talk series. Galit's mission is to expand the knowledge and untapped gifts of others through dance, exercise, and intentional choreography.JENNIFER DEPAOLA: Jennifer is the founder of Doctors For Dancers. She started dancing at the tender age of 2, starting with ballet and tap. As she grew, Jennifer developed a deep appreciation for various dance styles, particularly jazz and hip-hop. Her training encompassed prestigious establishments such as Plumb Dance Studio, under the guidance of Sheila and Lisa Plumb, and The Dance Source in Scottsdale, Arizona, where she had the privilege of learning from renowned instructors Judi and Brian Friedman. However, Jennifer's dance career faced setbacks due to persistent back pain. This personal struggle ignited her to establish Doctors For Dancers in 2019, dedicated to connecting dancers with specialized healthcare professionals when they require expert care. Her mission is to serve as a vital resource for dancers worldwide, bridging the gap between Dance Specialists and the dance community. Through educational initiatives, comprehensive resources, and community outreach programs, Jennifer strives to ensure that dancers receive the proper care and support they deserve.

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Today on Crushing Classical, you'll hear my interview with Ariel Grossman, Founder & Artistic Director of Ariel Rivka Dance. I've never talked with a choreographer before and I just loved finding all of the parallels between our worlds.  This episode is brought to you today by Happiest Musician Coaching. You are amazing, and I believe in you. What are you trying to create?  What do you need your career to be and do for you? What are you not seeing that you need to do and work on?  I love these conversations and supporting musicians like you. For a limited time, I'm offering a free 30-minute call to get you some clarity around your next steps, and see how I might help you get unstuck!  Ariel Rebecca (Rivka) Grossman is a native New Yorker, who trained at LaGuardia High School of Music & Art and the Performing Arts and Joffrey Ballet School. In 2008, she founded an all-female contemporary company, Ariel Rivka Dance. Most recently, Ariel received a 2023 Fellowship from the New Jersey State Council on the Arts. Ariel's work has been presented worldwide, including BAM Fisher, NJPAC, Bryant Park, NYLA, Baruch Performing Arts Center, Martha Graham Studio Theater, NYU Tisch, Rutgers University, Roxbury Performing Arts Center, and in Philadelphia, Baltimore, Houston, Cleveland, Florida, Oklahoma, Detroit, Memphis, Istanbul, Turkey, and in 2023, Perigord, France and Bari, Italy. She has been commissioned by Dance Lab NY, Konverjdans, Ballet Vero Beach, and Skidmore College. Collaborations include Rioult Dance NY, Taylor 2, Heidi Latsky, Carolyn Dorfman Dance Company, and Sean Curran. Ariel is a past recipient of the New Jersey Performing Arts Center (New) Moves Fellowship, Monira Performance Residency, and a Nimbus Arts Center artist residency. ARD is an awardee of Mid Atlantic Arts Foundation, the Nathan Cummings Foundation, The Charles & Joan Gross Family Foundation, the O'Donnell-Green Music & Dance Foundation, Jersey City Council of the Arts, and New Jersey State Council on the Arts and more. Ariel draws inspiration from the struggles and joys of the human experience, particularly through being a woman and mother of two. Through collaboration, Ariel encourages her artists to bring themselves to the work—molding pieces that are striking, evocative, and multi-layered. This conversation was fascinating. Firstly, because I loved hearing Ariel talk about her art in a way that was both brand new to me and also completely relatable. The connections are so clear and it's amazing to think about movement, interpretation, and leadership in a totally different field than my own.  Secondly, because I loved hearing her take real ownership of her own strengths - I don't hear this nearly often enough from people, even the amazingly accomplished people I'm interviewing right here, and ESPECIALLY from working musicians.  I know you will love this interview. If you are in NYC, catch Ariel Rivka Dance's 15th Annual Season presented by NYU Tisch at the Jack Crystal Theater on May 31st-June 2nd, and a special family matinee co-presented by 14Y Theater on June 3rd.  Here's a teaser for her upcoming collaboration, Never Fade Away Follow Ariel Rivka Dance on Instagram at @arielrivkadance or @arielgrossman; or on Facebook Thanks for joining me on Crushing Classical!  Theme music and audio editing by DreamVance. You can join my email list HERE, so you never miss an episode! Or you could hop on a short call with me to brainstorm your next plan.  I'm your host, Jennet Ingle. I love you all. Stay safe out there!  

Zurin Villanueva talks "Murder Mystery 2", playing Tina Turner in "Tina: The Tina Turner Musical", and the time she auditioned in front of Lin Manuel Miranda! About Zurin: On Broadway, television, and film Zurin Villanueva has been performing professionally from the age of 15. Her first professional role was reenacting the narratives of enslaved children for Nickelodeon's program Nick News. At 16, she won Amatuer Night at the Apollo with her tap group, Loud and Clear. She trained in ballet, jazz, tap and modern in New York City but most notably at the Dance Theatre of Harlem. At 17, she was awarded the American Theatre Wing scholarship for most promising students at LaGuardia High School for the Performing Arts as a Drama Major.  Zurin debuted on the professional stage at Arena Stage prior to graduating from the now Chadwick Boseman School Of Fine Arts at Howard University earning a BFA in Musical Theatre. Zurin made her Broadway debut amongst the living legends, Audra McDonald, Billy Porter, Brian Stokes Mitchell, choreographer Savion Glover and director George C. Wolfe in Shuffle Along.  Zurin's most cherished roles were Charlayne in Ain't Misbehavin', hand picked and directed by Andre DeShields. Whom recently received a Tony and Emmy for his role in the original Broadway Cast. Then went on to star as Josephine Baker in a new self-titled musical, directed and choreographed Maurice Hines, "the" rap dance icon of Hines, Hines and Dad. Since going to Broadway Zurin has continued non-stop. She performed as an original cast member in Mean Girls, The Musical, becoming the first Black Plastic "#blastic" when she debuted as Gretchen Wieners. In her New York principal debut Zurin starred as Dionne Davenport in Clueless The Musical opposite Dove Cameron. Ben Brantley of the New York Times deemed her performance “appealing”. Zurin's tv/film credits include Detroit where she played Martha of the Vandellas. She has guest starred in Insatiable on Netflix, and has a recurring role on Marvelous Mrs. Maisel. Pre pandemic Zurin recently played Nala and Shenzi in The Lion King on Broadway. She also starred in Teenage Dick, a high school adaptation of Richard the Third at Pasadena Playhouse as Lady Anne. The LA Times called her portrayal “searingly honest”. Although Zurin has many talents she will always be an actor first. She is also a writer, having written poems since she was a child. Zurin is currently working on her first feature film. Last but never least she has started a coaching business built to teach actors new to Broadway how to successfully navigate the business without burn out. A native of Brooklyn, Zurin Villanueva calls NYC home when she is not working. Check out "The Case Within" on Seed&Spark: https://seedandspark.com/fund/the-case-within  Follow the show on social media!          Instagram: https://instagram.com/thanksforcominginpodcast/          Twitter: https://twitter.com/tfci_podcast          Facebook: http://facebook.com/thanksforcominginpodcast/           Patreon: patreon.com/thanksforcomingin YouTube: https://www.youtube.com/channel/UCXj8Rb1bEmhufSBFSCyp4JQ Theme Music by Andrew Skrabutenas Producers: Jillian Clare & Susan Bernhardt Channel: Realm For more information, go to thanksforcominginpodcast.com  Learn more about your ad choices. Visit megaphone.fm/adchoices

Guest Contributor Darryl Jordan with the Fiorello H. Laguardia High School for Music & Art and Performing Arts (that's a mouth full) shares of the great things happen with the school's gospel choir, and mixes up the conversation with Greg about the importance and value of choir in church, school, and community.https://www.laguardiahs.orghttps://www.youtube.com/watch?v=2rQLJxJRbvYhttps://www.youtube.com/watch?v=EtrvXpjCQpU"What do you do when you're singing next to a person that absolutely CAN NOT sing, but they've got all the energy, vitality, and volume of a professional singer? The CRQ this week will certainly have you chuckling and thinking as the co-hosts share their thoughts.  Come on into "The Choir Room"!Perpetuating and Promoting the Christian and Positive Idea Through the Medium of Music and Other Arts.

Co-Parenting is hard work, but it can also be incredibly beautiful. This week, author Joel Leon joins Michelle Dempsey-Multack to share his experience as a co-parenting dad. Joel and Michelle look at things from a dad's perspective. Together they will educate listeners on: What it feels like to be a co-parenting dad Showing your children that is it okay to put yourself first Having uncomfortable conversations with children Teaching our children that they have endless people who love them Being more intentional with your parenting time AND SO MUCH MORE!! Joel L. Daniels, also known as Joel Leon, is a performer, author and story-teller who writes and tells stories for Black people. Born and raised in the Bronx, Joel specializes in moderating and leading conversations surrounding race, masculinity, mental health, creativity and the performing arts, with love at the center of his work and purpose. He is a F.H. LaGuardia High School of the Performing Arts alum, winner of the Bronx Council of the Arts BRIO Award in Poetry and is the author of "Book About Things I Will Tell My Daughter" and "God Wears Durags, Too", published by Bottlecap Press. His recent TED talk on healthy coparenting has been viewed over 1M times, globally. He's worked with The Gates Foundation, Nike, Twitter and HBO, and has been featured on the TODAY Show, Insider, the Columbia Journal, BBC News, Sirius XM, Forbes, Medium, Philadelphia Printworks, Blavity, and the Huffington Post. He lives in Brooklyn and is the father to Lilah and West. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, Khadijah, a grounded soul with energy and vivacity for life, must confront her deep-seated people-pleasing tendencies and accept her self-worth in order to level up her business and achieve her goal of shifting culture.   Khadijah is a multidisciplinary creative and brand strategist from Erbil, Iraq. She is a Visual Arts graduate of LaGuardia High School in New York City, a Barnard College alumni in Middle Eastern Studies, and a graphic design student from Shillington College.   In this episode, you will learn the following: 1. Turning Chaos Into Order: How can we use our creative energy to level up, transform our lives and businesses, and find stability in the midst of chaos? 2. Redefining Identity: How can we explore and celebrate our cultural identities and create meaningful representations of ourselves in the world? 3. Money Mindset: What are the deeper issues behind money mindset, and how can we redefine our value and worth through our daily routines?   [4:30] Khadijah's challenge [6:14] The big learnings and takeaways [9:13] Exploring people pleasing  [11:00] People pleasing as a trauma response  [13:15] Reframing the “niche” business  [14:49] Reframing the limiting belief that there isn't enough work for Khadijah [17:36] Khadijah's three examples that debunk her limiting belief  [20:30] The challenges with identity  [22:50] Moving towards what calls you [23:48] Shaping Khadijah's thought-leadership  [28:03] Next steps and actions   Quotes “People pleasing is often a trauma response. It's what we've done in the family system to stay safe, to stay lovable, to not be abandoned. And you and I are both Arab. A lot of Arab cultures are collective cultures, right? Collective culture and codependent culture can sit side by side because oftentimes, we are told to defer to our elders or it's really patriarchal. So we're taught oftentimes to abandon ourselves or to put others first. There's this big, huge reclamation that's happening for you that's saying, no more.”   “87% of women actually ascribe genius, brilliance, ambition to men, and think of it as a male trait.”   “What I'm hearing is breaking the cultural stereotypes in design. And you know how big that is? There are stereotypes everywhere in design. You get out on stage or on Instagram, and you talk about that, your books will be full.” Connect with Amina AlTai Website: aminaaltai.com Instagram: @aminaaltai TikTok: @theaminaaltai Linkedin:   linkedin/in/aminaaltai   Connect with Khadijah Abdul Nabi Website: YaKhadijah.com Instagram: @YaKhadijah   Loved this episode? Leave us a 5-star review and rating here:  

Henry Hillman, Silver Streak, Reed College, Max Kessler, M.S. 51, The William Alexander School, P.S. 321, Booker T. Washington Middle School, Public Middle School, Public High School, Camp Starlight, Oklahoma, Oh What a Beautiful Morning, Drama Program at M.S. 51, Photography Program at M.S. 51, Mr. McEnany, Playwriting, Monologue Writing, LaGuardia High School, Frank Sinatra High School, Isabel Hillman, Manhattan Theater Company, Bobby Cannavale, Alana Fishberg, The Station AgentBobby Cannavale Performing Monologue Written by Milo:https://www.youtube.com/watch?v=zzx-FZk6GJQ 

Mag Dalé's singer-songwriter journey started six years ago, after being blessed with her son through adoption after 10 years of fertility struggles. A native New York and of Haitian descent, she was always passionate about music and singing, taking after her musical parents. She graduated from the LaGuardia High School of Music and Art in New York (the "FAME" school, previously known as High School of Performing Arts), where she focused on dramatic studies, though she was accepted into both the voice and drama programs. She has sung in choruses and small bands, performing in various esteemed venues, such as: Carnegie Hall in New York; the Gasteig Performing Arts Center and the Herkulessaal of the Residenz Palace, in Munich, Germany. But after the struggles she went through and blessings she received, her purpose became clear – to provide encouragement and motivation through her music to others facing adversity. With her spiritually influenced and inspirational brand of indie soul, she wants to give a musical testimony so others can take heart: "God has helped me so much throughout my life; has blessed me so much - whether it was getting through the heartache of infertility, the miracle of our adopted son, the relationships and people who guide me, overcoming so many painful areas in my life - my heart is overflowing with joy. I have to thank and praise Him, and share that news with others, through my songs". So don't give up! And hold onto faith and hope - it's a hope that does not disappoint.  

Nate Sabat is a bassist, singer-songwriter, arranger and instructor based in Brooklyn, NY. He is a founding member of the award-winning string band Mile Twelve. A native-New Yorker, he attended LaGuardia High School as a vocal principal and went on to study upright bass at the Berklee College of Music. He has performed on stages throughout Europe, Japan, New Zealand, Australia, Canada and the United States, at festivals and venues including Celtic Connections, Savannah Music Festival, ROMP and Carnegie Hall. ​Nate's bass playing , while rooted in American folk music, goes far beyond any preconceived notions of the instrument's role within the genre. With a relaxed, vocal sound and equal fluency with pizzicato and the bow, Nate takes full advantage of the never-ending variety of sounds and textures the bass has to offer. Recently, he has begun performing solo, with upright bass as his only tool for accompaniment. ​Nate Sabat has worked with artists such as the T Sisters, Tony Trischka, Darol Anger, The Foreign Landers, Eliza Edens and Honeysuckle. In fall 2020 he had his first moment in the producer's chair, bringing Deviant Folk , the debut album of Boston-area singer-songwriter Mark Abruzzese , to life.

Nate Sabat is a bassist, singer-songwriter, arranger and instructor based in Brooklyn, NY. He is a founding member of the award-winning string band Mile Twelve. A native-New Yorker, he attended LaGuardia High School as a vocal principal and went on to study upright bass at the Berklee College of Music. He has performed on stages throughout Europe, Japan, New Zealand, Australia, Canada and the United States, at festivals and venues including Celtic Connections, Savannah Music Festival, ROMP and Carnegie Hall.​Nate's bass playing , while rooted in American folk music, goes far beyond any preconceived notions of the instrument's role within the genre. With a relaxed, vocal sound and equal fluency with pizzicato and the bow, Nate takes full advantage of the never-ending variety of sounds and textures the bass has to offer. Recently, he has begun performing solo, with upright bass as his only tool for accompaniment.​Nate Sabat has worked with artists such as the T Sisters, Tony Trischka, Darol Anger, The Foreign Landers, Eliza Edens and Honeysuckle. In fall 2020 he had his first moment in the producer's chair, bringing Deviant Folk , the debut album of Boston-area singer-songwriter Mark Abruzzese , to life.​Instagram / Twitter / Youtube View More Episodes

Nate Sabat is a bassist, singer-songwriter, arranger and instructor based in Brooklyn, NY. He is a founding member of the award-winning string band Mile Twelve. A native-New Yorker, he attended LaGuardia High School as a vocal principal and went on to study upright bass at the Berklee College of Music. He has performed on stages throughout Europe, Japan, New Zealand, Australia, Canada and the United States, at festivals and venues including Celtic Connections, Savannah Music Festival, ROMP and Carnegie Hall.​Nate's bass playing , while rooted in American folk music, goes far beyond any preconceived notions of the instrument's role within the genre. With a relaxed, vocal sound and equal fluency with pizzicato and the bow, Nate takes full advantage of the never-ending variety of sounds and textures the bass has to offer. Recently, he has begun performing solo, with upright bass as his only tool for accompaniment.​Nate Sabat has worked with artists such as the T Sisters, Tony Trischka, Darol Anger, The Foreign Landers, Eliza Edens and Honeysuckle. In fall 2020 he had his first moment in the producer's chair, bringing Deviant Folk , the debut album of Boston-area singer-songwriter Mark Abruzzese , to life.​Instagram / Twitter / Youtube / Website / BSA/ View More Episodes

Anais Reno first made her appearance on this show when she was only 17. She blew me away with her voice and her talent. Anaïs has been involved in the performing arts since age 8. After winning the 2016 Forte International Competition's Platinum Award at Carnegie Hall, Anaïs won Second Place at Michael Feinstein's Great American Song Book Academy competition in the summer of 2018. She was the youngest contestant ever, First Place at the Mabel Mercer Foundation competition, in New York. In March of 2019, at age 15. In 2020, she won the Julie Wilson award. On November 2021, she was announced as one of the finalists for Young Arts in jazz voice - - - -out of 3 voice finalists nationwide! Studying voice since 2013 with Sarah Tolar at the 92nd Street Y as well as with her father, a former opera singer, Anaïs graduated in the spring of 2021 from LaGuardia High School where she studied drama. Anaïs is now a college student, and attends SUNY Purchase, where she is studying jazz voice with Alexis Cole and opera with Sherry Overholt, as an Ella Fitzgerald scholar! When she was 10, Anaïs began singing with highly acclaimed professionals in the field and performing in prominent venues. She has performed with the NY Philharmonic in David Geffen Hall with her own compositions. Her debut album, celebrating the music of Duke Ellington and Billy Strayhorn, titled, “Lovesome Thing: Anaïs Reno sings Ellington & Strayhorn with the Emmet Cohen trio,” was released in 2020 and received international critical acclaim, as well as climbing to NUMBER 6 on the jazz chart after performing in the Top 10 for 4 consecutive weeks. Anais was featured on Inside Edition and Good Day NY, on the “New York State of Mind” welcome back to NY video, with such stars as Idina Manzel and Stephen Colbert, and she sang “America the Beautiful” for the 2021 9/11 Mets/ Yankees game. Pick up Anaïs Reno's album NOW! "Lovesome Thing” - Anaïs Reno sings Ellington & Strayhorn Featuring The Emmet Cohen Trio” Look for upcoming tour dates on her website: www.anaisreno.com On Instagram: @anaisrenojazz

I'm so excited to be speaking today with Rianjali, a South Asian American singer, songwriter, and now producer hailing from Queens, NY. While in school, she was trained in Western vocals during her acceptance to the prestigious LaGuardia High School for the Performing Arts. While speaking with Rianjali off the mic, I learned she was a former domestic violence case worker in hopes of becoming a mental health therapist. As someone who initially saw music as a passion project, her passion turned into a full-blown career as opportunities came knocking on her doorstep. And we're not talking about small opportunities - we're talking about opportunities to personally train with world-renowned AR Rahman in India, which had her think twice about her initial career aspirations, and she chose to take that flight and follow her dreams. In this episode, we will highlight Rianjali's music journey, how she learned to monetize in this space and create a career with multiple streams of income, any guidance she's willing to share, and what's in store for her future. Welcome, Rianjali!!To connect with Rianjali for mentorship and her services:Instagram: @rianjalimusicWebsite: www.rianjali.comE-mail: mgmt@rianjali.comIf you liked this podcast episode, please leave a review and follow me on Instagram @ambilyxx to stay up-to-date on the latest guests and content I post! Thanks for tuning in

Intro: Nasty neighbors in the Great Unraveling, The Rest MovementLet Me Run This By You: RejectionInterview: We talk to Tina Huang about soap opera acting, LaGuardia High School, the Playwrights Horizon program at Tisch, breaking down barriers for Asian actors, Ammunition Theatre Company, Revenge Porn or the Story of a Body by Carla Ching, Bay Area Theatre, Pig Hunt, starting a fake management company,  Word for Word Performing Arts Company, Intersection for the Arts, Campo Santo, Amy Tan, 1:1 Productions, Karla Mosley, Jeanne Sakata. FULL TRANSCRIPT (unedited):1 (8s):I'm Jen Bosworth Ramirez this, and I'm Gina Pulice.2 (11s):We went to theater school together. We survived it, but we didn't quite understand it.3 (15s):20 years later, we're digging deep talking to our guests about their experiences and trying to make sense of2 (20s):It all. We survive theater school and you will too. Are we famous yet?0 (34s):You2 (35s):Part of the building.1 (36s):Okay,2 (37s):Great. I don't know how it's gonna go.1 (41s):I mean, nobody knows how it's gonna go. It's unknowable until we know it.2 (45s):That is true. Good morning.1 (48s):Good. Margie,2 (50s):Your makeup looks amazing.1 (53s):Thank you. I'm not doing well, so I'm acting opposite. You know that skill?2 (59s):Oh, I know. Oh, that's like, I would say like 90% of adulthood. Anyway. What's happening? What, what is, if you wanna get into it, like what's the overall arching shittiness,1 (1m 10s):The overarching thing is just, Well, my neighbor I told you about.2 (1m 15s):Okay. And I just wanna put it out there and we'll get into the story, but I wanna put it out there that I, we are in, and we've said this before on the podcast in what I would call, and others like Gina would call probably similar, the great unraveling of our society. So it's like Rome is falling and I, I don't even say it, it sounds so cavalier the way I'm saying it, but I literally every day see evidence of the great unraveling of the American sweater. You know what I mean? Like it's coming out. Yes. Yeah. And we, it's okay. And I think one of those things is terrible neighbors, right? Like, people who are terrible are just getting more terrible.2 (1m 58s):So Gina has a neighbor that is very terrible.1 (2m 0s):Yeah. People just over the last several years do seem to feel way more comfortable just being extremely hor. Horrible. Horrible. So what, So this is the same neighbor that I've talked about before. And basically the deal with her is it's like she's obsessed with us. And, and like, what she doesn't understand is that we just work very hard to avoid her, you know, avoid interacting with her at any cause. I realized yesterday after she screamed at me that she has screamed at three fifths of my family members.1 (2m 40s):She only hasn't screamed at the nine year old and the, and the 14 year old. It's so insane. She's the one who Aaron was walking the dog and he had a flashlight and the dog was really young and he was trying to train him. So he kept like stopping and starting screens out. It's very disconcerting to be sitting in my living room and seeing a flashing light in front of my house, house. Like, he's like, I'm walking the dog. And the same one who when she was walking her dogs and he was walking our dog, she's like, It's not a great time to be walking your dog because her dogs are out of control. And she's yelled at my son a few times. Anyway, so what happened was, I walked the dog, I picked up the poop, I had the little baggy. If it's anybody else's house, I feel comfortable putting it in their trash2 (3m 23s):Can. Yeah. Here's the deal. Here's the deal. I hate to tell you people, but poop is trash. There's like nowhere else to put it. So if you, if you are like not okay with pooping in your trash in a bag tied up, then you don't need to live in a society where there are dogs or where there are trash. Cause that's what it1 (3m 44s):Is, Honestly. Honestly. And it's like, I feel like a big part of what's driving all this bad behavior is just like, so much entitlement. Like, I'm entitled to have only my trash in my trash can. And it's like, okay, you've never lived in New York City, right? Cause you don't understand anything about cooperative living. And anybody, whether they live in my neighborhood or not, is welcome to put their poop2 (4m 6s):Back. Yeah, dude.1 (4m 7s):So I'm walking by and I'm talking on the phone stuff, somewhat distracted, and I see this trash can, and I go, I like reach out ever So tentatively, not tentatively, but like, I had barely started to reach out, realized it was their house didn't. And within milliseconds, she is out of her house screaming at me. And I hadn't even, you know, put the poop in there. And I, I'm talking about misbehavior. I mean, I've, I don't think I've ever done this except for like having road rage in the car where the other person really can't hear me. Like I just screamed every obscenity Yes.1 (4m 48s):In the book. I, I hope nobody else, I'm sure somebody else heard, but nobody, nobody's contacted me. And, you know, I'll say this, I'm much better about taking a beat. Like, I really wanted to blast her. I really wanted to like write a horrible message to her. I really want, and I, and I don't, I'm not refined enough, well enough evolved enough to like get right to like, what's, what's the need of the matter? But I have figured out that I should probably just not say anything until, until I've thought about it. I had a good long think she messaged me on social2 (5m 22s):Media. What1 (5m 23s):She said, I'm sorry, I accused you of throwing trash in our trash can. And I just blocked her. I'm just like, you know, I, I, I wanted, what I wanted to say is like, you have no idea how much time we spend trying to avoid you. You are unwell. You have yelled at three fifths of my family, like, never speak to me or my children ever again. Forget I exist. Forget I live right across the street from you because that's what I'm trying to do about you. So2 (5m 50s):Instead you just blocked her. Well listen that, that, because when you told me this story yesterday that she, the the reach out on social media hadn't happened. So now I'm like, I think what, before you said that part, I was gonna say like, I think our only recourse is what people do, which is start videotaping the insanity. And I'm not sure that's a really a good solution. Like, I think that like, oh sure, people put it on social media and then there's a laugh, but then we're really laughing at sort of the horribleness and the, and the mental illness of others. And it's their person and who knows how that's gonna negatively affect them or their job or their family. So I don't, like, I understand the, the urge to videotape everything, but I'm not sure that's really the answer with, with non-criminal behavior.2 (6m 40s):If it's a crime, then it's something else. But if it's just to embarrass or ashamed someone I, I'm, I have second thoughts about the videotaping now, but good for you for just blocking it. It, you know, what it is, is if to say, we are done with this, we are done with this.1 (6m 57s):Yeah. Yeah. And you lie down with dogs and you get fleas. Yes. And I don't really wanna bring that energy into my life. And sometimes, you know, if you get, if you're like a person who consumes as much media as I do, you get this false sense of like, what I would do in that, you know, in a certain situation when it's theoretical, I feel very, like, not even brave, but just like aggressive and entitled. And I can get to a point where I feel like I could hear myself saying like, Oh, I would kill that person. Or I would, which of course I would never do. In fact, I don't even wanna like, say anything unkind about them in a very public way. So knowing me and knowing my values, and you could just never go wrong if you stick with your own values. Like, it's not my value to, it's not my value to tell people, You know what, here's a thing you need to know about yourself.1 (7m 43s):And it's not my val even though I do that with people, people that I know, but not strangers. And it's my value to like, keep as much peace in my life as possible. And it's not my value to engage with toxic people with whom I could only ever have a toxic Yeah. You know,2 (8m 0s):Interaction. Right. It's not gonna get better. It's like a legit never gonna get better because it's just, that's not how, that's not how it works if you engage in that. So anyway, that okay. But that, that has nothing to do with the overarching shitty No,1 (8m 14s):The overarching thing is just like, wow, parenting is so hard. People, people are really, people learn at different rates. People learn lessons at different rates. People mature at different rates. Like, and having patience for somebody who's really behind in so many ways is exhausting and overwhelming to me. So there's that piece. There's like, you know, a relative with having a health crisis, there's,2 (8m 45s):Oh,1 (8m 46s):There's just stuff going on. Yeah. And, but this is what I'm doing differently this time. Okay. I am trying to stay with myself, which is to say, yes, things are terrible, things are going wrong, but I am not gonna abandon myself in the process. Yeah. Of like, feeling my way through it. And in fact, that's another new thing, is I'm feeling my way through it and I'm really trying to apply this thing about taking a beat and like how crazy, you know, Aaron is also having, we're simultaneously having this growth moment. And, and you know, he recently made a big stride with somebody in his family who's having a health crisis, and he, he said, You know something I like, I'm not gonna go to crazy town.1 (9m 32s):Like I, he, I saw the light bulb for him. Like, I have a choice about whether or not I wanna go to crazy town on this. And actually I don't, because actually it's bad for my, because you know, I was thinking about this when I was at Costco today and I was doing some something small and I was wanting to like, do it really fast. And I thought, why do I wanna do everything so fast? Like, my shoulders are tense all the time. Like, I don't wanna do anything so fast anymore. There's no reason I'm not in any rush. Like I, there's, it's, it's just a habit from youth. I feel like just doing everything in a big rush, rush, rush. Yeah. And I think it's time to let that go.2 (10m 9s):Oh, I mean it's, so I feel like it's such an intense and like right on timing because there's this whole movement about rest. Have you heard about this? Like rest is radical, Rest is as a revolution. So there's a black woman and I believe I, I I I, I am ignorant to what her like specialty is area. And I just started hearing about it. And Miles my husband was listening to her an interview with her about how rest, not napping, not, but like r really snatching and holding dear to the idea of rest as, as radicalism, rest as a revolution opposite of hustle.2 (10m 50s):Culture is like gonna be the way that we, this is my interpretation of what she's saying. Like, the way that we sort of fight injustice and in fight racism, all the isms is by really embracing rest culture as opposed to hustle culture. So1 (11m 8s):I love that. And by the way, black women are spawn every good thing there is in the world. Like, you find a trend that's happening in society that you like and think is really positive. You can definitely trace it back to a black woman who, who, who, who started, who started it. So that's great. I'm pro rest, I'm, and I'm also trying to do less of like I'm a human being, not a human doing. And like, if I don't cross everything off of my to-do list, that doesn't, you know, it's not, it's not like I'm, it's not a wasted day if I didn't get all my little tasks done, you know, especially I was emotionally dealing with something else.2 (11m 45s):Yes, yes. That's the other thing. It's that the, the emotional, you know, I think like if it's become such sort of a, I don't know, buzzword or whatever phrase, emotional labor, but I do think that the time that I spend thinking, feeling and, and, and doing internal work, I've never counted as anything. And I think the way, and, and watching, especially having watched in white male dominated Hollywood for so long, Let me tell you something, Those motherfuckers rest okay. They rest when they, when, So don't you think for one second that the people who are on top or seemingly running shit or whatever or are running shit are not resting because they are, they can, they may set the trend for hustle culture, but they're really talking ultimately about the rest of us hustling because they have yachts and vacation homes.2 (12m 43s):They rest. I don't care what you say. You know what I mean? Yeah.1 (12m 46s):It's, it's such a, it's such a, I don't even know how to describe it. It's such, it's like a comical notion that these masters of the universe are really hustling all the time because all of their work is built on the backs of people who are oppressed in one way or another. So really everybody under them is hustling. Correct. Much, much more than they are,2 (13m 8s):Right? Yes.1 (13m 9s):And we've been able to outsource all their, you know, a domestic, everybody we've been able to out Yeah. Everything. Yeah.2 (13m 16s):And like, I think, I think the other, the other sort of weird shit is that like, you know, the older I get, and we've talked about this a lot on the podcast, is the more I realize like it's all a pyramid scheme, right? Like, so any capitalism thing that you are into, whether it's Hollywood, whether it's Wall Street, whether it's, I don't care, like anything, whether you work in tech, anything is all basically a pyramid scheme because that is what capitalism is. And so I feel like there are just more and more subtle ways in which I am seeing that the, you know, the rules are never fair and the what's behind the curtain is always the same, which is a select few who tend to be, you know, white males are really running the show.2 (14m 10s):And we shall see what if it, if it changes with, without a civil war. Like, I, I don't know.1 (14m 17s):Yeah. Yeah. And you know, I I I always think of like great ideas for memes, but then I never make them. But we should do one of like, you know, a picture of that, of the Wizard of Oz and, and when we see the curtain and you know, what the internet is what has opened the curtain really, you know, kind of exposed and reality TV to some degree has exposed and documentaries have exposed like the truth of what's going on. The great unraveling is also like the great discovery of what the actual truth is.2 (14m 48s):Sure. Yes. I mean, when you, when you unravel the sweater, it's like what is under there is is like this old decrepit white dude who's flabby and, and not in shape telling the rest of us that we're fat lards and need to get it together. And that is what's happening. So I'm not, and the other thing I'm not doing, it's really interesting. It's like I've made a conscious decision to literally stop following up with people who are not following up with me.1 (15m 22s):Yes. Yeah.2 (15m 23s):I'm not following up, I'm not circling back. I'm not, I'm not hitting you up again. I'm not waiting three months and then putting it on my calendar to circle back. I'm done, I'm done with all that. I don't, I don't have anymore resources to circle back. Like, I'm not willing. Yeah. So if we have a thing and we're supposed to meet and you can't do it, or you, you keep putting it off, it's over. Unless you wanna come out of the blue and say, Hey, I realize that like we never met. Are you interested in meeting on this day at this time? And then I am okay. Because it is just my following up is taking up too much time. I'm not, I'm not1 (15m 58s):Interested taking too much time. It's, that's emotional labor too. And also, like I've gotten to the point in life where I, if, if I reach out and somebody says, Yeah, and then we go, you know, we try to firm it up and they, they ghost me, which by the way, I have done bajillions of times me to, I just understand it as the way that you're communicating to me non-verbally that you actually don't wanna be part of this thing. Correct. Which is totally fine because a lot of us over commit and can't, you know, carry out our commitments. It's fine. But I'm less inclined even after like one interaction that because the person is telling me who they are, if not who they are, how they actually feel. You know, because you make, you make, you make time for whatever you want to make2 (16m 38s):Time for. That is absolutely true. And I also feel like I am so like, okay, so we bought this house, we bought, I don't know if you know this, but we bought the second house. We didn't buy the first house. The first house was got invested with no, Oh yeah. I forgot to tell you this because I was waiting for the podcast. But, and then, anyway, that first house, I have to send you the pictures of our real house. The first house was owned by Open Door, which is a horrible private equity company that just bought up all the houses in southern California. And anyway, they communication is horrible. They treated my realtor and us like crap. And, and so we just walked away from the deal, got our earnest money back because they would not fucking fix their fucking $8,000 termite problem.2 (17m 23s):So we were like, bye, I'm done. So then we found this other house built in 1980 that I fucking adore. And so it is so dope and I am restoring it to its 1980s glory. So it's gonna be an eighties. Like every room, every room is gonna have sort of an anchor of 1980. It's a very specific year because it's like the, the seventies are still, which is why I was like, can you make my neon sign1 (17m 48s):Pink? Yes, By the way, which I did look into and I would love to do for you, but to get what we wanna put on it is like a minimum thousand dollars.2 (17m 57s):Yeah, let's not do that. Don't do that. We'll do it. Yeah. We1 (18m 1s):Could slash I was trying to do like fa slash o you know, as a, as an acronym.2 (18m 9s):Let's just do people do it all the time. People put f fa Yeah, yeah, just do that. Don't worry about it. Okay. But so, okay, so what I'm saying is like, I'm obsessed now with picking out pieces for this new home that we, we, we close on the 7th of November and we move at the end of November. And so all this to say is like, I've realized I would much rather look at giant pink velvet sectionals that are retro refurbished from the 19, from 1980 than fucking follow up and circle back with your motherfucking whatever you're gonna help me with. Yeah. I would much rather look at, oh my God, they made what in the eighties.2 (18m 51s):That is, I I would much rather like focus it on my life and like how to bring creativity and art to this our first home that we're gonna own. You know, And then fucking track you, your ass down. Who doesn't wanna hang out with me in the first place? Bye bye.1 (19m 13s):Hey,2 (19m 14s):Let run this by1 (19m 15s):You today is about rejection.2 (19m 25s):I love it.1 (19m 26s):I'm sure we've talked about it here. Oh, I'm sure we run it by each other before here. But, you know, it's one of those perennial topics. So I, I liked truly by happenstance learned about an opportunity to direct something. Not with a theater company that I used to work with, but a different or organization. And it just so happened they were doing this play and, and the person who was producing it was like, Oh, we're looking for a director who's this and this? And I go, Oh my God, that's me. Yeah. So she says, Great, you know, and submit. And I submitted and, and I had, I submitted and four months before I got a call from anybody saying, Can you come in for an interview?1 (20m 10s):And then when they did, not a call, an email from somebody who emailed me at 2:00 PM asking me if I could come at 7:00 PM2 (20m 18s):Yeah.1 (20m 19s):Now I wanted to do this. So I, I did, I hustled, I got it together. I wrote up like my, I wrote like a thesis basically on who I am as a director. And then I went to the interview with, with eight, eight or nine people there.2 (20m 35s):Oh my god.1 (20m 37s):Yeah. And you know, there was one qualification for this job that I was missing, but it wasn't something, It wasn't, to me it wasn't a deal breaker. And I was, I was very upfront, I said it right in the beginning anyway, this theater is not necessarily that high profile, which is an understatement.2 (21m 0s):I just can't believe that's too many people in a fucking interview. No, I literally wrote eight person It's too scary in person.1 (21m 8s):Yes, in person. And honestly, like even that wasn't bad because I, you know how you can just get in there and be in the zone and turn it on. And I was charming and I was, you know, an answering questions like honestly, but in a way that I felt demonstrated my competence, et cetera. Now I didn't exactly have it in my mind, like they'd be lucky to have me, but when I got rejected, I thought they would've been lucky to have me. Like, that was a mistake. What2 (21m 32s):The fuck? Did they reject you? What the fuck? Who'd they pick? What the fuck?1 (21m 36s):They, I don't know. And I've, you know, I'm trying to be politic here cuz there's people that I like who are part of this group, but it just, it just didn't work out that way. They, they, so, I don't know, I don't know who they picked, but they, but at the end of her email she said, We'd like you to re resubmit for like, this next opportunity. And so I'm working on, you know, like, it's not that if I had to do it over again, I would've done it differently. But when I really got clear with myself about things, I, you know, I was not that excited about this opportunity because it wasn't going to do anything for my career.1 (22m 21s):It really was just gonna be like an opportunity to direct and flex my muscles, which I would've loved to do. And so I, I, you know, as an actor you have to deal with rejection all the time. I just would love to know, like, actors do seem to have amazing strategies, seasoned ones, and the thing I hear the most often people say is like, after the audition, just forget it. Don't ever think about it again. But I would love to hear what your strategy2 (22m 45s):Look are. I think that for people that are, that are working and auditioning or interviewing all the time that you, that that is a really good strategy. The Brian Cranston method, which is you, you just do it and forget it. However, for those of us who don't do that every day, all day long, where it's like the one thing is more important because it's the one thing that we go out for. Like, I, like for me, I don't audition all the time. So like, when I get an opportunity from my agent, I take it really seriously and I wanna book it. And I'm, I really put in a lot of work in time. Okay, fine.2 (23m 24s):So I, it's so easy to say one and done, like forget it. But I think that that's great if that's where people are, like Brian Cranston, Okay, does he even have to audition for things anymore? I don't know. But for me, the thing that really works is what something you just said, which is to really go through and say, did I, what, what did I want about this thing? Because did I just wanna be picked? Because of course that's really valid. Like who the fuck doesn't wanna be special and picked if you say you don't, you're a sociopath like that, I don't care. You know? So I wanna be loved and picked, so that hurts on that level.2 (24m 6s):And then if I go deeper, I'm like, okay, but what is the thing that I liked about this particular interaction? Possible collaboration. Okay, well I really wanted to get more practice on what for me would be like practice on set, working out how not to be nervous on set. Okay. So I I'm gonna miss that opportunity, but like if I look at the text, did I really connect to it? Not really. So it's not that. So I think it's just like literally like what you said before, which is giving yourself and myself the time to feel my way through and think, okay, like what is upsetting about this? What is upsetting for me? It would be, if I was in your shoes, it would be like, I spent a lot of time and energy interfacing with these people.2 (24m 50s):Even if it was like, so if you, from when you submitted, even though that you weren't like thinking about it all the time, it was still hanging in the air for four months. Right? It's a four month long. Even if it's in the back of your, of, in the ethos, it's still there. Okay. So it's still like on the table. And then you finally have an interview with all these people, lovely people, whether or not it doesn't matter, you're still give, putting out so much fucking energy. And so what it feels to me, like, I would feel like, oh, like I did my best. I put myself out there, I made a case for myself and my work in front of a lot of people and I didn't get the thing.2 (25m 31s):And that just feels shitty.1 (25m 33s):It does. It just, and there's no way around it. Like sometimes things just feel shitty. And I did definitely wanna be picked the, the idea that somebody would, you know, the, like I'm a sucker for an opportunity to be picked for something. I don't, I don't necessarily like avoid things. I don't avoid things that could, you know, possibly lead in rejection. I, I, I approach those things or I try to, but it was the thing I said earlier, like, I just wanted, I just thought, oh, it'd be so fun to, to work on this, but upon reflection there are 1 million things I could be working on and would love to work on. And that would've prevented me from do, you know, for a period of time that would've prevented me from working on those things.1 (26m 16s):So it's a blessing and I what's for you will not go by you. I totally believe in that. And it was my, in fact it was my mantra that, you know, yesterday when I found out. So,2 (26m 26s):And, and, and, and to be fair, like you just found out. So like, if it was like three months from now, like I've had friends who, and I, I mean I may have had this too, where like it lasts more than 24 hours. This feeling of why did I get rejected? Why, why, why? What could I have done? Why didn't they like me? Look, it's been less than 20, you know, you're fine. Yeah. Like, you're not, Yeah. So I, I but rejection is something that is like the, the true, the true greats that I love seem to, their take on rejection is like, it gets easier the more you get rejected.1 (27m 13s):Today on the podcast, we are talking to Tina Wong, You are in for such a treat. Tina is amazing. Not only does she star and has starred on almost all of the soap operas, you've seen her in television film, She's an actor, a writer, a director, a producer. She does film television. She's a voiceover artist too. She does theater. She truly, truly, truly does it all. We really loved talking to her and we hope you enjoy our conversation with Tina Juan,0 (27m 47s):I'm2 (27m 47s):Not totally losing, losing it. Anyway, you survived and you went, you did a lot of things. I, I mean, first we're gonna get to it all, but can I just say, and I can because this is, this is, this is the platform to say it. I love that you were on two soap operas and more people, maybe more than two. Were you on more than two or just4 (28m 7s):Yeah, yeah,2 (28m 8s):Because Yeah, go ahead.4 (28m 11s):No, most recently just two, but yes.2 (28m 13s):Okay. So here's the thing about that is that I don't care. We went to theater school and I know a lot of people think that that is, or some people talk shit about soap operas in terms of acting. Yeah. I have never seen or heard actors work as hard as my friends that have been on soap operas. And in terms of the pace and the pacing and the, the amount of work that is required of, of, of actors at soap operas a stunning. So I just love it because I think that it is like, from what my, what I know about it, it's like a gymnastics routine that people are doing on those sets. So we'll go, I just wanna say that I like give full props to that because it's not a joke soap opera work.2 (28m 55s):It is not a joke. Thank4 (28m 56s):You. Yeah, thank you. I appreciate that. Shut2 (28m 58s):Out. Yeah, thank you.1 (29m 0s):So I'll just ask then, pursuant to that, because I think you are the first person we're interviewing who was on a soap opera, and I would love to know everything about the process of your audition and how you, Cause I've heard, I, I used to, I used to, when I was in high school, my show was days and I read soap, Opera Digest and everything. But I would love to know, like I've heard some people describe it as more of a, it can sometimes have a feeling of more of a regular job since it's like daytime hours, et cetera. But I would love to hear what your experience of just the work of being on a soap opera.4 (29m 34s):Well, first of all, I love everyone that I work with. I'm, I'm on days, so, but you're2 (29m 40s):Still on it. Oh my, my gosh.4 (29m 41s):I'm still on it. I'm still on it. So in fact, I'm like shooting six episodes next week. So I'm, I'm on a little break in Canada, just like here having a little vacation before we go.2 (29m 54s):Good for you. Oh my gosh. Six in a week. It's like Saturday Night Live. What's happening? Okay. How did you get on these? What was your first one that you were on, first of all? Was4 (30m 2s):It the first one? The first one I was on was I think days. And then when I first came to LA and then I did General Hospital and then I did Young and the Restless, and then I did, then I was on Bold and the Beautiful and Days at the same time during the Pandemic. And then now I'm on days Doing days.2 (30m 24s):Oh my Tina, Tina Bow Tina. This is, this is, this is incredible because what this tells me is that you are extremely obviously talented, but we know that because I've seen you on Rezo and aisles, all the things, but it's also, you are, it must be really wonderful to work with because people keep bringing you back and back and back. So you must be like a real sort of team player, which I bet is part of your theater tra like you are an ensemble. Yes. Right?4 (30m 53s):Yes. I think the best part about doing any of this is the collaboration part. You know, when people don't want, it's funny when people don't like notes and don't like getting notes. I'm always like, I love notes. Like I can't just do this on my own and act in a bag. Like I need, I need you to like tell me what's going on. What do you see that I don't see, you know, all of that is, that's the best part. The collaboration. Yeah.1 (31m 14s):So I'm still eager to know a little bit more about like how you, how it started with your audition and how you experience the day to day work of being a soap opera for actor Sure. As opposed to any other type of actor.4 (31m 26s):Sure. Well, I, I got the audition to, to go in for days and I read for Marni Satya, who, I hope I'm saying her name right, who's the casting director. And it went well. And she said, you know, we have a call back. And I said, great. I can't remember if that was the next day or if that was the same day. It may have been the same day. And she told me to just wait, I can't remember. Cuz the producers were upstairs and they wanted to do producer sessions right away and, or it may have been the next day and she, they sent sides, you know, again, but I just assumed they were the same audition and it was like 14 pages. It was like a lot of pages. But just so you know, soap scripts are, you know, one and a half spacing.4 (32m 9s):Oh yeah. So it's not single spacing, but2 (32m 11s):Still, still it's a dialogue. Listen, I, I'm like an under 10. I like always do an under 10 because that's my jam. I have trouble with that. I don't, Oh my, you must be, you're okay. So you get all these pages and you assumed it was the same, but I'm guessing it wasn't the same.4 (32m 27s):So I show up and she wanted just read all of us ladies that came back in to, to for the producer session and just like talk to us and all that kind of stuff. And she said, So you got the new scenes? And I said, New scenes, No. And then she said, Oh well we gotta go, we gotta go up to the producers right now. So we all walked up and she goes, Don't worry, I'll put you last, you know, don't hear the new scripts.2 (32m 51s):Oh my god. The new scripts. I'm peeing my pants right here. Okay, go ahead. And I4 (32m 56s):Don't remember how different it was, but I, I think it was quite different.2 (32m 60s):Like,4 (33m 1s):And she said, just take, you know, whatever time we'll put you last. And there was like maybe four, four women that, excuse me, my nose is running, but four women ahead of me and I just studied. Oh2 (33m 12s):My God. You were like, okay, nyu. Okay, tons of Shakespeare, memorization don't fail me now. Right. So, okay, so you go, were you nervous? Which it's4 (33m 23s):Harder when you get older.2 (33m 25s):No shit. Okay. Right. So you go in the room and there's producers there, obviously it's a producer's session. And is the casting lady still in the room with you?4 (33m 34s):She, she's still in the room and it was only one producer, the executive producer, so it's just him. But it was a big conference room. Anyway, when I was waiting to go in, one of the actresses, like, I guess they overheard what had happened and this, this another actor said, You didn't get the sides? And I said, No, you didn't get the new scenes. I said, No. And she said, That's sucks. That's terrible. I'm like, Yeah, I'm just gonna study. Yeah, I'm2 (34m 3s):Just studying like, be quiet. Like leave me alone. Right,4 (34m 7s):Right.2 (34m 7s):Not helpful. Not helpful. Not helpful.4 (34m 10s):I'm, I'm not that person. I don't compete with anybody in the audition room. I compete with myself and I think maybe that's part of my success. I just, I'm hard enough on myself. I don't need to add like everyone else has a distraction. But it was really interesting. So, so then he, they called me in and it went really well. I mean, it was just this huge conference room with a giant table in between us. So it was like, not like a theater setup or an audition room, A normal audition room. And it went really well. I mean, I think I sobbed, I think I was shaking, I think like all of those things. And maybe it was from the, that cold read sort of nerves that just let me just go with my, just go with my intuition, you know?4 (34m 53s):Yeah,1 (34m 54s):Right. No time to think and obsess and, and worry about it. Right. Do you get to, like, considering how much dialogue you have to memorize every single day for the next day's work, is there any room for improvisation or do you, are you supposed to say it word for word?4 (35m 9s):Supposed to say it word for word? I think there's a little bit of leeway. You know, the longer you've been on the show, they, they don't, you can't improv for sure. It's all written, but, you know, if you get a the instead of and or you know, those little things, the pace is so quick that they're not gonna redo the, and we usually get one to two takes. Right. We don't get multiple takes.2 (35m 30s):Oh my, my God.4 (35m 32s):It moves at an incredible speed. So when you said what you said about soap acting and soap actors, I really have a tremendous respect. I think a lot of people like to put judgment on high art and low art. And I, I don't really get the point of that, but, but they, people love it. People watch it, it gives them a sense of comfort. And the actors that I've met are so hardworking and so talented, like very good actors. They're just in the job that they're in. You know what I mean? And a lot of it's a lot of this soap acting is soap work has gotten better. So1 (36m 5s):Absolutely. I would go so far as to say that's probably a sexist thing that soap, soap operas have whatever reputation that they do because you know, anything that a lot of women like people tend to denigrate. Right. Okay. So did you always want to be an actor? Did you always want to go to theater school? What was your journey when you were picking colleges?4 (36m 33s):Wow. You know, I, being a Asian American woman, I didn't really see that it would be a possible career path for me. I was like a secret artist, you know, like inside I really wanted to be on the stage and I really wanted to act and all of that. But I didn't have examples really. I think growing up I had like for a short stint Margaret Show and, and Lucy Lou and you know, very few and then like Chinese actresses that I knew of. But it was a tough journey. So I secretly auditioned for LaGuardia music and art and performing arts in New York City. You know, the fame high school? Oh2 (37m 12s):Yeah. Oh yeah. I know that you went there and I'm wondering, like you seek, what does it mean to secretly audition where you didn't tell your folks and you were like, I'm out.4 (37m 20s):Didn't tell my folks. Yeah, I mean, how old are you when you start high school? I mean, I was probably, Oh yeah, what are we, 12? No, 13. 13.1 (37m 28s):13. I, No, 13. Really young, really4 (37m 30s):Young.1 (37m 31s):13. Do that on your own.4 (37m 32s):So I, you know, I grew up in New York City, so I took the subway up. I I applied to audition and, well first I was in the, the fine arts program, so, which they also didn't like. And I had an amazing art teacher in junior high school who mentored me to make, make a portfolio and all this kind of stuff. So I'd gone up and did the art test without telling my parents. And I, and I got into the art program. Wait a minute2 (37m 55s):Differently. You didn't get into the, you went for fine art. For, for and you, what do you mean the art test? What the hell is that? That sounds horrifying. What do you mean an art test?4 (38m 7s):So, well I didn't, I didn't audition yet for theater cause I think it was too scary at that moment for me. So first I did the art program because I was encouraged by a grown up teacher who was like, thought she saw talent in me, which was very amazing to have a teacher like that. And the art test was, you had to have a full portfolio, like at least 10 or 15 pieces in a portfolio. So you carry that big old thing. Like imagine a 12 year old kid carrying a portfolio uptown. I mean it's just, it's, it's crazy when I think about it. And then you get there and there's like a still life setup and there's all the, everybody sits around on desks and you have to draw, you have to draw the still life,2 (38m 48s):My god, all the pressure. And4 (38m 49s):Then they bring in, and then they bring in a model and then you have to draw the model2 (38m 55s):A. This is like my nightmare of like any kind of that where you're like, it's a test. Anxiety, high pressure, pressure, creativity, high pressure on the spot, creativity. I would've been passed out. I would've passed out.4 (39m 10s):I don't think so. I mean, look, we we're all, it's a good prep for like auditioning and callbacks and just we're al you're always under pressure. We're under pressure right now doing the podcast. But, but yeah, I mean I think growing up in New York you're constantly under pressure. So I, I maybe I was used to it for that reason. But2 (39m 30s):I do have to say Tina, Tina, there is something about you. Yes, ma'am. That is like super badass, tough, even just the way you present and your voice in the best possible way. So like, and I wonder if that is a mix of, you know, New Yorker, Asian American parents. My, my guess is I'm the par a daughter of an immigrant. Your daughter of an immigrants. Right. Of immigrants. Yeah. Okay. So there's like a toughness about you and like all I could, like you're a badassery. Do you think it is New York? What is it? Where does that come from? Because you should play, you, you should play an assassin and a like a, like an action hero in, in like huge films.2 (40m 13s):Why isn't that? We gotta make that happen today anyway,4 (40m 16s):So let's just call Kevin Fig and just let him know like, I'm available. Well, I, I think you touched on it. I think it's all those things that make up who I am. I, I, I am tough. I am tough but I like, I I, but I don't see myself necessarily that way. I'm like, you know, I think we've, I think I spent actually a lot of years trying to counteract that tough expectation by being like smiley and sweet and doing the things that I think women tend to do. Women identifying women tend to do, like by softening themselves and being smaller in the room. And I think over the years as you get older you hit 40 and you're like, fuck that.4 (40m 56s):Oh, am I allowed to curse on this? Okay. You just kinda like, absolutely, you know, I'm, I'm, I'm fucking over this. But I think it's all those things. I think definitely New York and always having your defenses up and always having an awareness around you and having parents that worked extremely hard and sacrificed a lot and knowing that I could sacrifice more. I think that's also part of like surviving as an artist. Like do I need to eat that fancy thing today? Do I need to have that new outfit? Like no, I, if I want to succeed then those are the things I need to let go of in order to invest in my career.4 (41m 36s):So yeah, I think a lot of it is identifying as an Asian American female, I think having immigrant parents for sure that work really hard. I think New York City and all of its dangerous that I survived. So I survived theater school and New York City and now I'm trying to survive LA1 (41m 56s):Yeah, yeah. Right, right. Lot of surviving happening. So at what point did you, well obviously you told your parents that you applied and that you got in for the fine arts program. Yeah. They obviously had to get on board with that at some point, cuz you're still doing it. But then tell us about the switch into acting.4 (42m 17s):So it was my first year as a, as the, you know, a drawing, painting, sculptor. And I just found it really lonesome. Like I, I I was like a little emo kid, you know what I mean? Like all this angst I had just had so much angst cause I grew, I had a rough childhood and I, I just found, found myself in a little bit of a depression as a freshman in high school, which is I guess not that rare, but I just kept looking at the theater department and seeing these kids getting to like fully express themselves and be around others like them. You know, painting is a solitary thing I think like writing, I don't know if you have that experience, the two of you. Cause I read that you're both writers and I write as well and it's a very different world you're in.4 (43m 3s):So I decided to just do it apply to the theater department and that process first it's like two monologues, right? Contemporary and a classic.2 (43m 14s):Do you remember what you did? Do you remember what you did? Oh, it's okay.4 (43m 18s):Oh boy.2 (43m 19s):I bet was great. Whatever it was.4 (43m 22s):The modern piece, I don't remember the name of it or, or where it was from, but it was, it was a girl witnessing her parents', her parents' divorce and, but going through her house and talking about how the home represented the family, you know, and, and like where things belonged in the house and how those things are gonna be moved and that means their family no longer existed, exists. So it was a really beautiful piece. I can't remember where it was from. And then the other one was Shakespeare and I'm sure I did a terrible job. It may have been1 (44m 2s):Saying4 (44m 2s):I don't remember the Shakespeare. Yeah, I don't remember the Shakespeare. That's funny.2 (44m 6s):Yeah. But I bet you know, you go, you know, you know4 (44m 10s):It was Porsche, the quality and mercy is not strange.2 (44m 14s):Oh yeah, that's1 (44m 15s):Exactly what I did. Terrible.2 (44m 20s):Wait a minute. So we have, wait a minute, wait a minute, wait a minute. I'm just picturing both you two for Gina. I'm wondering, I'm thinking it was to get into DePaul's theater school, right? Okay. And Tina, yours was even younger cuz you were, you were like 15, 14 playing Porsche. Yes. Oh that's fantastic. 14 year old Porsche's all around. Okay, so you must have, okay, so then what did you did, did it go on from there? Like you did your monologues? Oh,4 (44m 46s):So yeah, so then you do that and then there's a call back. So you go to another room with a different auditor and I'm trying to make sure I don't blend my high school audition to my college audition. But then we went from that callback to a screen test. So you to do a screen test and then wait,2 (45m 4s):Wait, A screen test for LaGuardia? Yeah. Like4 (45m 8s):At, at the time. At the time, Yeah. I remember that because I remember they said you have to go to good screen, so there's like a camera and you whatever on camera audition. And then from there, oh I, I remember there was five steps. I can't remember what the, I remember we may have had to go into the theater and do like a, like the theater exercises and movement stuff and then we had to do a interview one-on-one interview with the head of the department. So it was, you know, a lot of steps to,1 (45m 39s):This is so far tougher than it was for our, the audition. Like we had to do those other things you're describing. But we did not, I don't think we did a one-on-one interview.2 (45m 48s):No. Was1 (45m 49s):It nerve wracking?4 (45m 51s):Yeah, I mean as a kid I, I guess I didn't really like, I didn't, maybe didn't sink in that I was, that that's what was happening. But I just, you know, followed the line. I, whatever they told me where I needed to go, I just went and did it. So. Yeah. Yeah, I think it was a lot more steps than my college audition as well as well.2 (46m 9s):So, So you got in, did they just tell you I'm the spot Tina or were you, how did it work? And then were you, did you tell, did your parents know you were switching?4 (46m 20s):No, they didn't know. No, they didn't know. No, I think I, I think I just got a letter. I don't, I don't know if, I don't think they, I think they gave me the sense that it was a good fit, but I don't think I knew until later. Cause it's like thousands of kids in New York City, you know what I mean? Right, right. Yeah. Auditioning. So,2 (46m 39s):So1 (46m 40s):I'm curious about whether the, like what, what the pipeline situation was from LaGuardia to conservatories. Cuz a lot of kids who get training young or get working young don't go for theater school because they figure like, well I already know what I'm doing. So like what, what, how was it at LaGuardia? Did mostly kids go and pursue performing arts in college or what?4 (47m 5s):You know, I think a handful of us did. But honestly I, I think a lot of people didn't continue on. So it was kind of a weeding out process. You know, a lot of people went into who poli political science. A lot of people went into, you know, a lot of different things. I mean a lot of people I, I remember I went to high school with are doing amazing things currently. I mean, one of, one of the girls I was friends with, she's like a pundit on cnn, like, like one of the leading, she went into politics and then became like a on camera. So those two worlds sort of merged. But yeah, no, I, I think I ended up applying to four schools.4 (47m 45s):Four conservatories. So SUNY purchase Rutgers, I don't remember nyu. And what was,2 (47m 55s):I'm gonna just throw out Carnegie Mellon.4 (47m 57s):Carnegie Mellon. I think it was Carnegie. I, no, no, it was Boston University. I actually, it was interesting. I didn't, I didn't, I was so, I don't know. I just, I didn't do Julliard and I didn't do Carnegie Mellon. I don't know why. Oh, I know why Pittsburgh. I didn't wanna go to Pittsburgh. Sorry if, if either of you have a fondness for Pittsburgh, but I didn't wanna be there.2 (48m 23s):Never been. And also, I have a friend that went to the Carnegie Mellon program in NI started in 1993 and they weighed them at the, in their acting classes, they weighed them. So I'm glad we didn't go. I mean, you know, whatever. We missing, not missing out. Forget, forget Pittsburgh. Also the weighing, Fuck you. So, okay, so you, you auditioned, Did you do like the urda, like all of them at once, Tina? Or did you go, how did it work for your colleges? And then tell us how, how you made your choice.4 (48m 57s):So yeah, I think I did do them. You know, they, they set up the appointments to the different places. I remember that I really wanted to go to SUNY purchase. I do remember that because Israel Hicks was the head of the department then. And I remember thinking, oh he's an amazing teacher to study under. And it was such a small conservatory program. So I went up there that, that, by that point I did tell my parents I was gonna theater school and they were not happy about it. I mean, imagine they're immigrants, right? They came across the world not speaking the language, giving up everything, working very, very hard to make a better life for their children. And then their one child that didn't go to CO that is going to college wants to be an artist.4 (49m 38s):I mean that's like pretty brutal for them to absorb. But yeah, I, You were saying when you leave high school, like why, why go into the theater school? I, because I, both my brothers had not gone to college. My older brothers and my parents were, you know, had immigrated here. And like, I just, I felt like college was really important. I felt like getting an education was really important. And maybe, I remember thinking at the time, imagine being 17 and thinking I'm ruining my career. Cuz I thought it was gonna slow down my career because I did have one. We have an industry night at the end of high school and I got a manager, a New York City manager and I was freelancing with all these different agents and for like, the few months that I was not gonna leave New York.4 (50m 25s):And wait2 (50m 26s):A minute, wait a minute, wait. A I gotta go back here cuz I'm in awe. Gina, are you in awe? Cause I'm in awe that you, you had an industry night in high school and you got a manager from that. You're how old it did? 17.4 (50m 41s):17, Yeah.2 (50m 42s):You have a manager and you're freelancing. What did that feel like? I mean I'm like that. I'm like in awe. Were you like I am the shit? Are you like, this is just what I do. You're like a young, like a 17 year old professional actor. What in the hell?4 (50m 57s):I think, I think I was kind of like feeling like my dreams were coming true in a lot of ways, but I don't think I was secure in it. I definitely for sure was like, this could go away tomorrow. Am I doing the right things? You know, that manager at the time, she was lovely, but it, she did say to me like, you should move to Los Angeles. And at that point I just wanted to go to college and it, and most of the options were on the east coast that I wanted to, to, you know, except for Boston University. Well, Boston's east coast too. But she just said like, Well I just feel like if you move to the west to LA like later you're gonna be over the hill. I was 17, oh my god I was 17. God.4 (51m 36s):And2 (51m 37s):That's, that's such projection. It's such projection. It's all, I mean they mean even if they mean well, it's still projection. So you had this manager, but you were, and you were auditioning, I'm assuming in New York City. Yeah, Yeah. But then, but you really wanted to go to college and so4 (51m 55s):I really wanted to go2 (51m 56s):To college. Okay, so you wanted to go to suny. What happened there? Why, how did you end up at nyu?4 (52m 2s):Oh, so I got in to purchase, which was, which was a tough choice because SUNY purchases, like at the time was so cheap for in-state, like residents. And then, but I, I can't explain this to you at all, but I went, when I went and auditioned for nyu, I fell asleep at the audition. I remember in the waiting room. I just like, kind of not at often, I just think I just needed to be relaxed, you know? So cuz there was2 (52m 31s):All these like, what a power move.4 (52m 35s):I don't know if I was just like, you know, overwhelmed or, I don't think it was overwhelming, but I just felt like I just needed to relax. And there was like, you know, a bunch of young act New York City actors. And at the time NYU was a top conservatory. And I think I, there was like all these young actors that were like, like doing all the warmups, which I believe in a hundred percent. I do it before shows, but like, but it intimidated me in some way cuz I was like, well I didn't start acting until I was much older. I mean, I was young, but you know, in New York it felt like everybody's a kid actor that was enacting. So, I don't know, I, I fell asleep and then they woke me up and said, it's your turn.4 (53m 18s):I was like, Oh, okay. And I went in and I remember in all my auditions I did this weird thing, which, which I don't know if it's an an i, I took my shoes off in every audition. Like I, I felt like I needed to be grounded. Oh my2 (53m 31s):God. It's a power move. It's a power move. Listen to me, anyone, this is how I feel now watching youngsters. I mean, I don't hold auditions, but when, when someone has a specific bold take on, on how they're going to enter a room, they, they're yards ahead of everybody else. You made a bold move, Tina and I, I support it. I support it. You, it's like you, you had a take. Good for you.4 (54m 1s):I, I think I just needed to take care of myself. And I, I think at the time I didn't really have a lot of protection and people taking care of me in that way as a young artist. So I think I just had my own process, but part of that was being weird and saying, I need to take my shoes off and taking off my shoes. I've never told anyone that before. So Yeah, I did all my, It's1 (54m 23s):So related. This is some related to you being tough and a badass, because I think kind of what I'm hearing is however, the, I mean, I don't know necessarily the right way to say this, but you haven't waited for permission. Like you didn't wait for permission from your parents to audition for this school and you didn't, you know, ask them. Is it okay if I take you, You just did a lot, You've done a lot of things and maybe it's because you have felt like you've had to do it this vein on your own since you didn't have any family members who, who, who pursued this career. But I wanna know, Oh, sorry. You were actually, I interrupted you, you were in the middle of finishing your audition story.4 (55m 3s):No, I, I don't Where were we? I don't off.2 (55m 6s):Okay, so you That's ok. That's ok. We, I'm, I'm clocking. So you are there, you, you, you did all your auditions and you said you don't know how to explain it, but when you got into nyu, when you did your NYU audition?4 (55m 20s):Well, when I was waiting in the waiting room, when I fell asleep, that's where I was going. I just felt like I belong there. I just felt like I belonged there. I was just like, this is where I need to be. Even though purchase was my first choice and purchase at the time was very competitive. They took like 10 people in that year. And I, and it would've been cheap. Really ch that's one thing, NYU's not cheap, but I for sure, I just had this overwhelming sense that this is where I needed to be. And yeah, I, I did the audition for Beth Turner, who was amazing, amazing, I think she was a dean at the time, but auditor. And then she asked me what studio I wanted to be in and I told her Playwrights Horizons, or I think Adler is what I chose.4 (56m 11s):And she asked me why playwrights cuz she thought I should be placed in experi what was then called experimental theater wing, which is very physical. So I understand it now. She saw in me that I'm a very physical person and I told her, this is the hilarious part, I told her playwrights was my number one choice because you can study, directing, acting and design, which is what I ended up doing. And I said, I need a fallback plan, which is2 (56m 38s):Like4 (56m 39s):Directing and design, like great fallback. But2 (56m 43s):Here's, here's the thing, here's the thing, The other thing that I'm seeing is that you knew fallback plan or not, you wanted to study more than one thing. And most people go in there saying, Oh, I just wanna be a movie star so I have to go into Atlantic cuz David Mammo will cast me in. Like, you wanted a more broad sense of Yeah. You, you were like, we have several actors on the show like this where it's, they're like more renaissance people in terms of writing, acting, directing, and they're, and they're true. Like for me what it is, is a true artist instead of an actor. It's a, it's more of a collaborator and doing, making art in a collaborative setting.2 (57m 23s):And it happens to be for you right now, acting and maybe writing and maybe directing if you have or something. So I, I love that. And also my NYU audition, I went without having picked a, a studio. So they asked me where you wanna go? And I said, I have no idea. Well, they didn't let my ass in, nor should they have.4 (57m 45s):Oh, no, I, you know, I appreciate you saying that. I mean, I think when I say fallback plan, I don't really think that is what it is. Cause I didn't think, obviously, you know, it's all a risk that we're taking. It really is true that I was very, I'm very interested in all aspects of storytelling. And I did tell her that, She asked me why directing, and I said, I am, I am incredibly stimulated in a different way when thinking about directing and how a story can be told and how it's structured and, and all of that. And, and I said, but it's not necessarily my heart. My heart is acting, but my mind is very connected to directing when she asked me that question.4 (58m 29s):So yeah. So cool.1 (58m 31s):Yeah. So you mentioned earlier your manager and saying you're gonna be over the hill and so forth. So we spent a lot of time talking about the whack messages that we got, especially being, you know, nineties, mid nineties, late nineties about like what you can and can't do and who you are and who you aren't and how you come across. And, and sometimes those opinions are wildly off base and sometimes there's smack Right on. What, what about you? Where did you fall on that with terms of like the, the feedback people was were giving you?4 (59m 3s):You know, it's, I think I'm still dealing with that today. I mean, I I, the feedback was people couldn't tell if I was a leading lady or if I was a character actor. And I will say they probably thought I was a character actor just because I was a woman of color. You know what I mean? Like, you're gonna be the best friend,2 (59m 27s):Right? It's because they couldn't see beyond their own biases and the biases of the industry. And look, I think some of that is a product of the environment those people are in, but also nobody challenged. And that's what I'm ask. I feel like people are at least starting to do now challenged why someone couldn't do something. So Yeah, sure. So they told you, Oh, we think you're gonna be like, you know, Sandra Bullock's best friend or like, whatever, what the sidekick, because probably because you, you were an Asian American woman, you know? Yeah.4 (1h 0m 2s):Nice. Or you're the nerd or you know, put on some glasses and now you're like, network nerdy, you know? So it's, it's, it's, How did you ask me? How did I deal with it? Is that the question?1 (1h 0m 15s):I'm just curious. Like, people usually have an anecdote or two about like, you know, I just told it on the podcast last week that, you know, I went to this thing when I was in high school, like how to get in the business. And the only thing I remember the guy saying is, thin is in, and you're either gonna get thin or you're not gonna be in, Like, it was just very binary. And by the way, that was true. Like he wasn't, he wasn't saying anything that wasn't true, but it doesn't matter because I internalized that message and then I never wanted to be in film. Then I was like, I'll, okay, that means I can never be in film and tv. Yeah. And I never even thought twice about it until like two weeks ago. That's when I remembered that.4 (1h 0m 55s):That's so heartbreaking. That's so heartbreaking. Yeah. I mean, my parents even honestly said, you can't be an actor. You're, you're Asian, you know, there's nobody like you. There's no, there's not many women like you, you're not gonna be successful. You're gonna be hungry all the time. You're never gonna, you know, and you know, they weren't totally wrong. They weren't trying to hurt me. They, you know, they, I think they were trying to protect me, but ultimately it hurt me. Do you know what I mean? It hurt my confidence, it hurt, you know? So a lot of my defense mechanism is to have confidence, if that makes any sense.2 (1h 1m 28s):Well that's, that's what I'm getting is that in response to the binary, you were able to go, Well, no, I'm gonna actually take care of my own self and take my own shoes off if I want to. Actually, I'm still gonna move forward and be like, I just love the idea of a woman of color being on a soap opera as one of the, like a recurring main characters. Because soap operas to me, in terms of casting, have not in the past been known to really embrace all kinds of things. But here you are on like Americana, which is soaps to me. And I mean, you have telenovelas and whatever, but the, but American soap operas are a thing and you're on one.2 (1h 2m 10s):So I know the word trailblazer is so overused, but I feel like you're a trailblazer. And what people fail to remember about trailblazers is, is that it's dirty, sweaty, hard work because you're literally in the dirt forging a path for yourself and perhaps those that come after you. Do you feel like that when you're working, that you're, and it's not fair to put it on people like women of color or women or othered people, but do you feel like in some way you're blazing a trail for other folks? Or do you just are just like, No, I just, I wanna work fuck the rest.4 (1h 2m 46s):No, I'm, I appreciate that question. I, I feel hopeful that that's what's happening. Do I think about it consciously when I'm working? Not necessarily, but I do intend to, if I can give other people opportunities, like if I don't suit a role, if they're like, Well this person's Vietnamese, will you audition? I pass. And I usually, you know, I've played other Asian races before because there are limited amount of roles. But I also believe like you have to get to a certain level and have a certain level of accomplishments in order to open the door for other people. So I will, I have, like I said, I'm passing on this, but this is this actress that you should look at. And I've sent names and you know, things, little things like that within my power.4 (1h 3m 30s):And I'm not trying to say like I'm a trailblazer or anything like that. I'm just trying to do the work, like you said, and take the opportunities when I can and try to do my best at it. And then hopefully set as some kind of example. I don't know what, but it is a lot.2 (1h 3m 45s):And I think that like trailblazing is, is is done primarily because there is something doesn't exist, which we want to see existing. And so then we have to do it on our own. Like, I agree that like I never woke up and thought, Oh, one day I'm gonna be like, do doing all this work. I just thought, no, like why doesn't this exist? Why can't plus size or Latinas do this? And then I went ahead and tried to make that space. But yeah, I feel like most trailblazers I know and iconic class or whatever don't like have that intention, right?2 (1h 4m 25s):We're not like, Oh, I'm gonna change. It's more like, No, this shit is wrong. It should exist and I'm gonna participate in change, right? Like a change maker.4 (1h 4m 34s):I'm gonna take, I'm gonna take space basically and not be apologetic for it. And, and that's a very hard thing to, to come to, you know, It's like, it's still, I wanna apologize all the time, you know what I mean? But that's my instinct. But because I wanna be a fair person. But I think ultimately it's like, no, I, I should claim the space and not be apologetic for it. I mean, I had a teacher in theater school and you're saying, What did people put on you who said to me, Tina, he said something very complimentary about a project I had just finished and something like, you know, good marks or something and said like, you're, you're very talented or whatever. And then he said, What I love about you is that you shatter stereotypes and on the, the face of it, you would think that's a positive thing, but I think it put a heavy weight on me.4 (1h 5m 24s):I think I felt this sort of, that's not what I'm, you're you're putting, that means you're putting so much on me when you even look at me, there's a, there's an expectation of you have to be excellent all the time. You have to be so good all the time. And if you not, if you're not excellent, people are gonna go, Oh, Asian women can't act, or Asian women shouldn't be doing this. And so there was a pressure, like I felt, wow. Like I guess he was trying to say something nice, but ultimately it just put this sort of,2 (1h 5m 51s):No, it puts more work. It's more work,4 (1h 5m 54s):More work. And it also puts like, you see me as a certain lens. You can't just see my work. You're seeing something else. Yeah. You know what I mean

Hillary Fisher (hillfish.com) was raised in New York City. She is a product of Whitney Houston Academy, LaGuardia High School of Music and Performing Arts, & Pace University's Musical Theater BFA program. She got my start as a New Jersey recording artist. She then found myself performing in arenas such as Madison Square Garden, and Radio City Music Hall. From there, she started doing theater professionally at the age of 11 at the American Girl Doll Store in NYC. This led her to my on-camera career starting with a Guest Star Role on Sprout. She has always been passionate about working on new projects that fulfill my duty as an artist to move society forward. When she is not behind the camera, or up on stage you can find her enjoying a roller skating rink, a high energy group fitness class, or the beach. 

Hillary Fisher (hillfish.com) was raised in New York City. She is a product of Whitney Houston Academy, LaGuardia High School of Music and Performing Arts, & Pace University's Musical Theater BFA program. She got my start as a New Jersey recording artist. She then found myself performing in arenas such as Madison Square Garden, and Radio City Music Hall. From there, she started doing theater professionally at the age of 11 at the American Girl Doll Store in NYC. This led her to my on-camera career starting with a Guest Star Role on Sprout. She has always been passionate about working on new projects that fulfill my duty as an artist to move society forward. When she is not behind the camera, or up on stage you can find her enjoying a roller skating rink, a high energy group fitness class, or the beach. 

Welcome to Episode 3 of BULLSHITTERY Podcast! Look at you, supporting this chaotic artist by listening to her chaotic podcast!? Legend!? Hellooooo! Join me as I chat with my friend Adam Rose; actor, dancer, content creator, comedy icon, blue-cardigan king, dad & hubby! Adam is the best & I'm so happy you're here to learn more about his illustrious life as a performer. Here's his IMDb bio: Rose made his debut opposite Robin Williams and Julie Kavner in Woody Allen's Deconstructing Harry. Born to a would-be Rabbinical cantor and an opera singer, Rose embraced music at an early age and excelled at Tap, Jazz, Ballet, and the martial arts training he underwent.It was during this same time that Rose was cast to be the voice of Peanut for three years, as the title-character on PB & J Otter, a cartoon on the Disney Channel. Soon after Rose would perform under the direction of Michael Mayer (Spring Awakening, Thoroughly Modern Millie) alongside Kristen Johnston and John Pankow in Peter Hedges' Baby Anger. The successful portrayal of a young boy with cancer led to subsequent guest spots on TV's Ed and Third Watch.Having developed a passion for live theater, Rose landed a role on stage with Theodore Bikel in The Gathering and went on to tour with three consecutive productions - including the pre-Broadway tour with Hal Linden. Throughout his time on stage and in recording booths, Rose continued to grow his love for dance, and at age 15 went on to become the youngest to ever teach dance at the renowned Broadway Dance Center in New York. While continuing to study the dramatic arts at New York's famed LaGuardia High School of the Performing Arts, he appeared on the hit series The Sopranos and the Comedy Central movie The Hebrew Hammer, starring Adam Goldberg. It was soon after that Rose had the honor of working with Noah Baumbach, Jeff Daniels, Laura Linney, and Anna Paquin in the Oscar-nominated The Squid and the Whale, as Otto - the best friend of Walt, played by Jesse Eisenberg.After four years of Shakespeare, character study, dialects, clowning (-study, not literally), vocal and dance training and all other school subjects, Rose was done with High School and ready to head west. The exodus was aided by his role on the production of Dead End, directed by Nicholas Martin at the Ahmanson Theater in Los Angeles' famous Music Center. Rose starred as Angel, one of the Dead End Kids, alongside Jeremy SIsto, Tom Everett Scott, Joyce Van Patten, and Kathryn Hahn. He later appeared in HBO's Voyeur Internet project, directed by Jake Scott, and soon after earned a role in Kenneth Lonergan's Margaret. Rose once again found himself on-set with Anna Paquin, along with Matthew Borderick, Matt Damon, Mark Ruffalo, and Kieran Culkin, just to name a few. While still acclimating to life in LA, Rose continued to make appearances on many hit TV shows.   Follow Adam everywhere at @realadamrose. Please subscribe to BULLSHITTERY wherever you get your podcasts and be sure to find me on YouTube at Mackenzie Barmen! And follow me everywhere at @mackenziebarmen. LOVE YOU! Stay chaotic. XoxoSee omnystudio.com/listener for privacy information.

Ivan Jackson is the unique front man of Brasstracks. In this episode, Pat Tully sits down with Ivan to discuss his life in music and how his passion drives him. Growing up in a musical family, Ivan's Dad was offered the band leader job on one of the longest running shows on TV. He tells the story of how his father said “no” and how that led to even bigger moves for his family.  Ivan attended the famous LaGuardia High School in Manhattan, the performing arts public high school that inspired the hit 80's drama “Fame.” From there he continued his education and quickly went into business for himself producing music in a Brooklyn loft he rented with a friend.  That hustle would continue as he continued to make a name for himself, collaborating with the likes of international K-Pop sensation BTS as well as Mark Ronson, Miley Cyrus and many more. Soon a collaboration with Chance The Rapper would lead to 2 Grammy Nominations. Another with Harry Styles would lead to another.  Hear more about these stories and some great music festival stories here on this episode of FestivalPass Stories.    To find out more about Brasstracks and their music: Brasstracks website: http://brasstracks.co/ Follow them on Instagram: https://www.instagram.com/brasstracks/  Connect on Twitter: https://twitter.com/brasstracks   Connect with Festival Pass! Facebook - https://www.facebook.com/getfestivalpass/ Instagram - https://www.instagram.com/getfestivalpass/  Twitter - https://twitter.com/getfestivalpass   Website - https://festivalpass.com

For Video Edition, Please Click and Subscribe Here: https://youtu.be/3Ie_C-ipr-s Every girl's (and some guys!) go-to makeup item and the power of a set of stained lips is celebrated on National Lipstick Day on July 29. Splurge on the high-end crimson lipstick you've been eyeing this July 29, National Lipstick Day! Lipstick has likely been around for thousands of years, made out of an insane array of items, from gemstones to crushed bugs.  Geraldine Ann "Geri" Jewell is an actress, stand-up comedian, diversity consultant, and motivational speaker, noted for roles on the 1980s sitcom The Facts of Life and the mid-2000s western Deadwood. Renee Katz received her vocal and musical theater training at LaGuardia High School of Music and Art, NYU and from Martha Gladston of the Julliard School of Music. A MAC Award and BroadwayWorld nominee, Renee appeared in the 29th Annual Mabel Mercer Cabaret Convention at Jazz at Lincoln Center and at Weil Recital Hall at Carnegie Hall in 2019 for the Jerome Kern tribute show- All the Things You Are. Roslyn Kind is an actress and songwriter. She is the maternal half-sister of Barbra Streisand. She has been performing on Broadway and other venues since her teenage years. https://roslynkind.com The new movie The Eyes of Tammy Faye recounts the landmark 1985 interview Tammy Faye Bakker did with Steve Pieters, who was undergoing treatment for AIDS, on her PTL network. Destino Rubiani “T'Bone Rube” is a Jersey Bound entertainer who, since childhood, has developed a strong love and passion for Broadway music and 50's Rock Culture.  David S. Zimmerman :Producer, Casting Director, Actor, Creator of "Meet The Biz", Owner of DSZ Productions and Next Breath Productions

Matt Pavich is a comedian and actor famous for his viral Handsome Dancer videos. He graduated from the famous LaGuardia High School in NYC. We talk about the fallout of the Handsome Dancer, his audition to get into LaGuardia, mental illness, reactions to uncircumcised penises, bipolar episodes, taking dancing instead of gym class, and being scared to lose your virginity for religious reasons. Follow Matt at @mattzpavich. Check out his special "Live at Bellevue" on YouTube! Follow @imjustakidpodcast!

Dylan and Connor are joined by the bestie stars of Which Way to the Stage, Sas Goldberg (Significant Other, The Marvelous Mrs. Maisel) and Max Jenkins (Dead to Me, Special). Listen in for a rip-roaring chat about all things about Stagedoor Manor vs French Woods, Max learning Sweet Charity choreo with Christina Applegate, how these two were doxxed by RHONY alumna Carole Radziwill, Sas' middle school affiliate Mischa Barton, that time Max and Sas went to prom together at Laguardia High School, the brilliance of Heléne Yorke, a Madonna lip sync that started it all, Jen Colella's number from Suffs, Gideon Glick, and playing the roles of a lifetime in Ana Nogueira's Which Way to the Stage, running through June 5 at MCC Theater.Get tickets to see Which Way to the Stage… now! Follow Sas on Twitter & InstagramFollow Max on Twitter & InstagramFollow DRAMA. on Twitter & InstagramFollow Connor MacDowell on Twitter & InstagramFollow Dylan MacDowell on Twitter & InstagramEdited by DylanGet your DRAMA merch (t-shirts, stickers, and more) HERE!SUBSCRIBE TO OUR PATREON HERE! Support us and help us continue producing content!Please subscribe on Apple Podcasts, rate us 5 stars, and leave a kind review!

Hip Hop Artist & Actress Empryss talks about how her Nigerian and Trinidadian roots influences her unique style of Hip Hop. Alimat Aka-bashorun also known as Empryss is a Nigerian and Trinidadian Hip-Hop Artist and Actress from Brooklyn, NY. With her versatile flow and sexy fierce energy, she is a force to be reckoned with. Since Empryss was 8 years old it was evident that she loved the performing arts. She participated in beauty pageants, and ballet schools programs, but had to stop because of finances when her mother had her younger brother.  Not giving up on her dreams, she applied to LaGuardia High School at New York City. Scared of not being accepted because of social class, she skipped the audition and attended Manhattan Theater Lab High School across the street from LaGuardia. There were she won awards for academics and theatrical performances, casting lead in most of her high school career and graduated with honors. ***Due to Copyright all original song audio has been removed from this recording.*** --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/koolkard/support

Willa Vennema's life is as wonderfully layered as the encaustic pieces she creates.  Raised by art-loving parents in New York City, she became a talented flautist, attending what is now called the LaGuardia High School of Music & Performing Arts—the school that inspired the ‘80 film, television series and musical, “Fame.”  She also began a decades-long relationship with Swan's Island, a remote enclave in Hancock County, Maine that claims its own musical connection through the 32-year-old Sweet Chariot Music Festival. While studying at Oberlin College and Conservatory in Ohio, Willa realized a newfound passion for the visual arts, spurred on by courses in art history and printmaking. She would go on to become an arts-focused preschool teacher, eventually moving with her family to Southern Maine. Throughout this time, Swan's Island has remained her muse, and her art—developed through layers of color and wax–an embodiment of her continued evolution. Join our conversation with Willa Vennema on today's episode of Radio Maine.

Chris and Courtney sit down with Joel Leon, storyteller, father, poet, and recovering rapper, to talk about passions, process, pitfalls, and poetry! Joel L. Daniels, also known as Joel Leon, is a performer, author and story-teller who writes and tells stories for Black people. Born and raised in the Bronx, Joel specializes in moderating and leading conversations surrounding race, masculinity, mental health, creativity and the performing arts, with love at the center of his work and purpose. He is a F.H. LaGuardia High School of the Performing Arts alum, winner of the Bronx Council of the Arts BRIO Award in Poetry and is the author of "Book About Things I Will Tell My Daughter" and "God Wears Durags, Too", published by Bottlecap Press. His recent TED talk on healthy co-parenting has been viewed over 1M times, globally. He's worked with The Gates Foundation, Nike, Twitter and HBO, and has been featured on the TODAY Show, Insider, the Columbia Journal, BBC News, Sirius XM, Forbes, Medium, Philadelphia Printworks, Blavity, and the Huffington Post. He lives in Brooklyn and is the father to Lilah and West. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

In the sanctuary of the dance studio, Arts Ed Now advocate and Dance Educator Claudine Ranieri has been dancing since her youth and teaching for over three decades. Classically trained and an alumni of the LaGuardia High School of the Performing Arts in NYC, Claudine graduated from Brooklyn College's Dance program and dove into a life dedicated to the arts, arts advocacy for all, and sharing a passion for dance that she lives and breaths. Her insights abound... from creating an environment of trust for her students, the joy and grind of rehearsals, the switch to performance preparation, and the profoundness of sharing what is done in the vulnerability of the studio for the public. She has easily brought together a profound collection of repertoire from the history of dance for her students with the improvisation of contemporary dance as it discovered in her classroom. Claudine is a powerhouse whose personal dance career outside of education is exhaustive, but she describes performing "All That Jazz" in three and a half inch heals at age 39, at 40 putting her point shoes on again, and performing an original choreographed piece for Maya Angelou as the highlights so far. She reminds us that dance is what we do when we don't have words, what we do to connect people, to express what is within, and with that it speaks for issues of justice, hope, planting seeds, and the connection of souls. --- Send in a voice message: https://anchor.fm/thestolenhourspodcast/message

On this episode, John catches up with his great friend and singer/actor Ana Ortiz. You've seen Ana on Ugly Betty, Devious Maids, Love, Victor and so much more. A NYC native and LaGuardia High School alum, she specializes in strong characters with vulnerable cores, all uniquely different. Musicals, stage abuelas, and crying on cue... All that and more on this week's episode of Household Faces! Listen to Household Faces Ad-Free on Forever Dog Plus: http://foreverdogpodcasts.com/plus Follow Household Faces: https://twitter.com/householdfaces https://www.instagram.com/householdfaces Ana on: IMDB Twitter Instagram Hosted by John Ross Bowie Follow John on Instagram Produced by Ben Blacker and Forever Dog Production Assistance by @lefthandedradio Follow Ben on Twitter If you enjoy this podcast, you'll probably also enjoy The Writers Panel Household Faces is a Forever Dog podcast https://foreverdogpodcasts.com/podcasts/household-faces Learn more about your ad choices. Visit megaphone.fm/adchoices

Follow Maren on Instagram: @supermarenAnd on Facebook: https://facebook.com/maren.montalbanoDr. Kass's article about La Traviata in the time of COVID: https://www.operaphila.org/virtual-learning/dress-rehearsal-program/la-traviata/public-health/Sign up for the Bodice Ripper Project newsletter and get exclusive behind-the-scenes content: http://www.bodiceripperproject.com/Purchase Maren's debut book, Pandemic Passion: A COVID-19 novella on Kindle: https://amzn.to/3guGck0Transcript and Show Notes: http://www.bodiceripperproject.com/e027/

Sydney Silver is a founding member of the seminal, all-female punk band The Lunachicks. The band released six albums and toured internationally for almost thirteen years. The New York Times described them as “feminist, trashy, righteous, foul-mouthed and certainly fun.” Sydney and her bandmate's have a book out titled Fallopian Rhapsody: The Story of the Lunachicks. which was released this past Tuesday by Hachette Books. The book is a coming-of-age tale about a band of NYC teenagers who would eventually become the Lunachicks. These teenagers forged a sisterhood, found salvation, and fervently crashed the gates of punk rock during the '90s, accidentally becoming feminist icons along the way. More than that, the book is a story about the enduring friendship among the book's three main character: Theo Kogan, Gina Volpe and Sydney, who formed the Lunachicks at LaGuardia High School in the late '80s and had a record deal with Blast First Records as teenagers, as a result of being discovered  one night by Kim Gordon and Thurston Moore. In addition to being an author, Sydney also is a successful entrepreneur. In 2005 she opened the acclaimed Roebling Tea Room in Willamsburg Brooklyn. Currently she runs Boss Coaching, which provides life and business coaching services.

We have an incredible guest for you today, a collaborator, friend and artist I admire: Nicole Kontolefa!!    Nicole is a native New Yorker, Russian trained actor and applied theatre practitioner. Her theatre work has taken her from Moscow to Montreal to Ekaterinburg and even Moldova. She always lands back in NYC where she believes that the means of theatre production should be given to the people (thank you, Augusto Boal!) as a way to celebrate communities, share wisdom and imagine a brighter future. Nicole is a Graduate of The Moscow Art Theatre School, CUNY SPS Applied Theatre Masters Program, co-founder of Studio Six of The Moscow Art Theatre and The Journey Theatre Project.    From the moment Nicole pretended to be a snake at five years old, she knew she was an actress. Her theatrical studies and pursuits took her from LaGuardia High School to the Stanislavski School in Cambridge, to being part of the first American studio at the Moscow Art Theatre, to performing all over the globe.   In Part I of our conversation, you will learn: Difference between Russian/American systems and how the jungle gym of Russian structure provides freedom How Nicole co-created the theatre company Studio Six with her fellow MXAT classmates How Studio Six had 7 full-length productions but nowhere to host them in NYC The process of creating 3 plays in 1 month at the Artsland Festival in Cambridge How Studio Six worked with Vladimir Pankov's SounDrama Studio to create the sensational Gorod.ok on the border of Belarus for 6 weeks of intensive rehearsal work Why any material is used as creative inspiration (literature, sound, poetry, dance, music, etc…) in the Russian training system and repertory  When there's a new play in the US, the audience comes to see the play: the author is the reason we gather. In Russia, one goes to see what the director did with the play that's been done 100 times  How acting teachers in Russia are working actors, whereas in the US, most are not and that can be detrimental to a young acting student How performances stay in your body, even after long interludes    And SO much more!! Nicole and I are so eager to hear what resonates with you so be sure to take a screenshot of this episode and tag @nickilefa and @serabanda in your Instagram stories to share your thoughts and takeaways!! And get ready for Part II next week!   Learn more about Nicki on her website and check out her phenomenal work on The Journey Theatre Project! And follow @thejourneytheatreproject on Instagram!   #speechforthestage: a e i o u P pay-pee-pai-poh-poo pay-pay, pee-pee, pai-pai, poh-poh, poo-poo pay-pay-pay, pee-pee-pee, pai-pai-pai, poh-poh-poh, poo-poo-poo pay-pay-pay-pay, pee-pee-pee-pee, pai-pai-pai-pai, poh-poh-poh-poh, poo-poo-poo-poo   Learn more about Studio Six Theatre Company!   Discover more about SounDrama Studio!  Explore SounDrama Studio on Instagram!   Write me a wish letter and let me know what you want to discuss next! impulse@actortoartist.com   Join the International Ensemble on Instagram: @actortoartist   Grab my FREE energy exercise to co-create your dream #actorslife!    Disclaimer: Your use of the content on this podcast, content on actortoartist.com, content on our social media or content from our email list is at your own risk. Actor to Artist does not guarantee any results from using this content and is for educational purposes only. It is your responsibility to do your own research, consult, and obtain a professional for your medical, psychological, legal, financial, health or other help that you may need for your situation.

On this season 1 finale episode I am joined by The Real Housewives of After Midnight 3.0, which include Brenda Braxton, Leandra Ellis-Gaston, Asha-Brownie Gordon, Krystal Mackie, Iman Ayana Barnes, and Bria Williams. I had the pleasure of working with these beautiful ladies in the show After Midnight on the Norwegian Escape. So here is a little bit about each one: Ms. Brenda Braxton is an author, singer, dancer, Tony-nominated actress and native New Yorker. She originated the role of Brenda in Smokey Joe's Cafe and did double duty for some time running BBraxton's, a grooming salon for gentlemen, while in Chicago on Broadway. Mrs. Leandra Ellis-Gaston is an actress who hails from Columbia, South Carolina and now resides in New York City with her husband. She has toured with Beautiful:The Carole King Musical and made her broadway debut last year in Tina: The Tina Turner Musical. Ms. Asha Brownie-Gordon is a singer, actress, and occasional waitress/barista who is originally from Conyers, Georgia. She has worked at theme parks, on cruise ships, and in regional theatre for the last decade. Ms. Krystal Mackie is Brooklyn born and bred and is a dancer, singer, and teaching artist. She is an Alumni of LaGuardia High School and received her BFA from University of North Carolina School of the Arts. She made her Off-Broadway Debut in This Ain't No Disco and is currently in the 1st National Tour of Hamilton. Ms Iman Ayana Barnes is a performing artist rooted in dance and fitness. Starting in concert dance, she eventually crossed into the world of Musical Theatre doing productions of After Midnight, Oklahoma, and The Music Man. Dancing has always been her outlet of expression, joy, and fulfillment and finding these emotions in any performance opportunity is one of her main goals. She has now also started her own Youtube fitness channel.Ms Bria Williams is a dancer who hails from Baltimore, Maryland. She made her Broadway debut in Mean Girls and was the principal Duval Understudy. She also has a passion for interior design and has been finding ways to use those skills as well. We discuss sisterhood, taking off the mask, and discovering who we really are when everything is stripped away.Get in touch: Brenda Braxton Instagram: @bbraxtonact2Website: www.bbraxtonact2.comLeandra Ellis-Gaston Instagram: @leandraellisgaston I am a BOLD Woman; www.iamaboldwoman.comAsha Brownie-Gordon Instagram: @ashabg23Voice Lessons- Lenora Green; GreenRoomStudionsllc@gmail.com; Instagram: @norabora82Krystal Mackie Instagram: @krystalmackie Iman Ayana Barnes Instagram: @iman.ayanaYoutube: NamiBODY https://www.youtube.com/channel/UCUwqfC8ss6Yd6pRKejzoZnwBria Williams Instagram: @coralineflowerWebsite: www.briajwilliams.netAyana Major BeyWebsite: www.ayanabey.com Instagram: @ayanambey, @theartistpivotTranscript available at: https://theartistpivot.buzzsprout.com/1296095/6850045-season-1-finale-the-real-housewives-of-after-midnight-3-0-this-is-who-i-am

On this season 1 finale episode I am joined by The Real Housewives of After Midnight 3.0, which include Brenda Braxton, Leandra Ellis-Gaston, Asha-Brownie Gordon, Krystal Mackie, Iman Ayana Barnes, and Bria Williams. I had the pleasure of working with these beautiful ladies in the show After Midnight on the Norwegian Escape. So here is a little bit about each one: Ms. Brenda Braxton is an author, singer, dancer, Tony-nominated actress and native New Yorker. She originated the role of Brenda in Smokey Joe's Cafe and did double duty for some time running BBraxton's, a grooming salon for gentlemen, while in Chicago on Broadway. Mrs. Leandra Ellis-Gaston is an actress who hails from Columbia, South Carolina and now resides in New York City with her husband. She has toured with Beautiful:The Carole King Musical and made her broadway debut last year in Tina: The Tina Turner Musical. Ms. Asha Brownie-Gordon is a singer, actress, and occasional waitress/barista who is originally from Conyers, Georgia. She has worked at theme parks, on cruise ships, and in regional theatre for the last decade. Ms. Krystal Mackie is Brooklyn born and bred and is a dancer, singer, and teaching artist. She is an Alumni of LaGuardia High School and received her BFA from University of North Carolina School of the Arts. She made her Off-Broadway Debut in This Ain't No Disco and is currently in the 1st National Tour of Hamilton. Ms Iman Ayana Barnes is a performing artist rooted in dance and fitness. Starting in concert dance, she eventually crossed into the world of Musical Theatre doing productions of After Midnight, Oklahoma, and The Music Man. Dancing has always been her outlet of expression, joy, and fulfillment and finding these emotions in any performance opportunity is one of her main goals. She has now also started her own Youtube fitness channel.Ms Bria Williams is a dancer who hails from Baltimore, Maryland. She made her Broadway debut in Mean Girls and was the principal Duval Understudy. She also has a passion for interior design and has been finding ways to use those skills as well. We discuss sisterhood, taking off the mask, and discovering who we really are when everything is stripped away.Get in touch: Brenda Braxton Instagram: @bbraxtonact2Website: www.bbraxtonact2.comLeandra Ellis-Gaston Instagram: @leandraellisgaston I am a BOLD Woman; www.iamaboldwoman.comAsha Brownie-Gordon Instagram: @ashabg23Voice Lessons- Lenora Green; GreenRoomStudionsllc@gmail.com; Instagram: @norabora82Krystal Mackie Instagram: @krystalmackie Iman Ayana Barnes Instagram: @iman.ayanaYoutube: NamiBODY https://www.youtube.com/channel/UCUwqfC8ss6Yd6pRKejzoZnwBria Williams Instagram: @coralineflowerWebsite: www.briajwilliams.netAyana Major BeyWebsite: www.ayanabey.com Instagram: @ayanambey, @theartistpivotTranscript available at: https://theartistpivot.buzzsprout.com/1296095/6850045-season-1-finale-the-real-housewives-of-after-midnight-3-0-this-is-who-i-amSupport the show

As the Trump administration increases the pressure to reopen schools for in-person instruction, they're ignoring the lives and experiences of teachers and students. In this 2 part series we explore how teachers and educators from across the country are coping. In this first episode we speak with Erik Branman, a teacher at LaGuardia High School in New York City and Angela Harris a first grade teacher at the Dr. Martin Luther King Jr. in Milwaukee, Wisconsin. MLK is one of the only African American immersion schools in the country.

Josh's Ithacapella buddy, and LaGuardia High School alumni, Ross Kennedy joins us over voice-call to finally set the record straight about his alma mater, and how well it is portrayed in the infamous 2009 remake of Fame.

In this episode we talk about the technique behind Orgasm Meditation or OMing. We speak about the healing properties that are paired with this practice and living life in a mindful or orgasmic state. Marissa shares how OMing enriched her life and how we can implement these practices in our own lives. Marissa Ward is a California-based orgasmic meditation (OM) coach. She helps people improve their wellness and relationships through the practice of OM. She has been OMing for five and a half years and has taught in cities around the world, including New York, Los Angeles, San Francisco, London and Montreal. She has taught thousands of people to OM. Marissa was raised in Queens, New York and attended LaGuardia High School of Music & Art and Performing Arts in Manhattan. She graduated from the State University of New York at New Paltz with a double major in public relations and gender and sexuality studies. Marissa shifted her career to the health and wellness industry after working at an investment bank after college. https://instituteofom.com

[EPISODE] Martial Arts vs. Business DisastersWe'll hear from Sun Dojo owner, Laurel Carroll, on the connections between success in business and growth in martial arts, and how to recover your business after a natural disaster.Segment 1 Jeremiah opens the show with a quotes: “Don't wish things were easier, wish you were better”. Today's guest is Laurel Carroll. Laurel starts by talking about her upbringing and the neighborhood in which she grew up in. Laurel went to LaGuardia High School; where she learned resilience and independence. She talks about how her resilience helped her throughout her life and eventually helped her become an entrepreneur. Laurel ends the segment by telling the audience about a teacher that she remembers from High School; in which she gives credit to for her now being focused and disciplined. Segment 2 Jeremiah begins with talking about how jujitsu taught him the same principals that people in his younger life tried to teach him. The discussion continues by talking about different martial arts celebrities and how they encouraged kids all around the world to want to do martial arts. Jeremiah mentions the class he takes (which is taught by Laurel), and how it made him feel completely different, after just the second class. Laurel explains the Flow state of the body. Laurel continues the conversation by delving into the mind and how we have to work hard to change our way of thinking. Segment 3Laurel begins this segment by telling the audience about how she started in martial arts. She talks about how she initially thought jujitsu was a joke. They continue by discussing how jujitsu is much more than physical. Laurel goes on, by discussing the added value of jujitsu. Laurel references business lessons that she has learned from Tony Robbins. Laurel talks of how she wants her clients to feel confident. They end the segment by discussing how what you learn in jujitsu can help in life and in business.Segment 4They open this section by discussing the impact that jujitsu has on people. Jeremiah talks about how jujitsu creates a community within the participants. Laurel delves into her Tony Robbins experience. Her experience at his forum helped her in life and in her business. She talks about how you have to implement lessons into your life, in order to change it. She talks of how you have to know why you are doing what you are doing. We end this segment with a conversation about how you have to ask the right questions in life in order to do and be better. Support this podcast at — https://redcircle.com/the-entrepreneurial-web/donations