Podcast appearances and mentions of Lincoln Logs

Steed's twisted brilliant mind came up with Chubstep covering the most famous architect Frank Lloyd Wright and his controversial personal life. The guys start with a correction about the cocktail Bee's Knees, a business and maybe crime involving the street free libraries, dancing older on acid at the beach before getting into Frank Lloyd Wright. Steed and Jrad cover his design style, way staying out of school pays off, his most expensive and worst houses, his long string of scandalous relationships, getting arrested for cheating, his son inventing Lincoln Logs, a true crime mass murder at his “Love Cottage” involving a mistress, and of course the strong connection between Frank Lloyd Wright to Ben Affleck.

Not Today...  Jenn and Eddie talk about their new stuidio and how they need more plants. Some people live with super shoppers others just waste money. Eddie is a little worried with his wife's podcast listening habits. Jenn and Eddie realize that they really have no idea how their parents are doing.  Jenn believes men need to hang out with other men at least 2 days a week. Plus, Florida Man Friday!

Amy Marxkors, John Hancock, and Michael Kelley discuss St. Patrick's Day traditions, including wearing green and celebrating Irish culture. The conversation shifts to the economic impact of tariffs, reflecting on Ronald Reagan's views on trade protectionism and potential consequences of trade barriers. They also talk about the Missouri State Police's takeover of the St. Louis Police Department, exploring potential changes in police governance and addressing crime in the city. The trio shares fond childhood memories, reminiscing about toys like Nerf basketball, Lincoln Logs, and Crayons, and John shares his experiences with the Boy Scouts and earning merit badges.

Send us a textIn this quick episode, Daniel & Michelle announce the upcoming Sleepy Saturday event on March 8th from 10 AM to noon. Listeners are encouraged to subscribe and register to ensure they receive the necessary supplies for creating 'Tired but Not Sleepy' boxes. We provide a sneak peek into the potential contents of these boxes, including items like Lincoln Logs, eye masks, and lotions. The event promises fun, networking, and special surprises.00:00 Event Announcement00:29 The 'Tired but Not Sleepy' Box00:53 Subscription and Registration01:09 Box Contents & Demonstration02:54 Join the Sleepy Saturday Event!Theme music "Happy Days by FSM Team" courtesy of https://www.free-stock-music.com Support the showBecome a Sleep Takeout+ Supporter: https://www.buzzsprout.com/1692604/support Watch on Youtube: www.youtube.com/@sleeptakeoutwww.danielbaughn.comwww.dosleep.comsleeptakeout@gmail.com

This week, DJ discusses representation by the Senate. Also on today's show: how Kaz are you, arts and crafts with Noodle, Jimmy Carter's legacy, chat lies, Revel 9 news, driving to Africa and MORE! This ain't your mom's lunch box. #onthebox Be social with DJ and Revel 9! #youtuber #revel9 #hardrocklunchbox #thetoptwenty #todaysrant #99wnrr #streamingradio #radiohost #advice #culture #lifestyle #lincolnlogs #representation #senate #kaz #artsandcrafts #noodle #jimmycarter #legacy #halfmast #chat #lies #news #release #newmusic #localshow #amh #originalmusic #localmusic #driving #africa #playlist #hrlbplaylist #spotify  

I can't control the nature or message of the Ads this podcast distributor expresses. They are not my views, and I don't endorse them.COMMERCIAL FREE VIDEOS/PODCASTS and Exclusive Content: Become a Patron. https://Patreon.com/DisguisetheLimitsToday, Wed 10.25.2024 -Grab your coffee, drop your Lincoln Logs, flush and get ready to watch! We're going to take a short break from the Pasteurian Virus Lies coverage to discuss the Evils of the Last Days of Constitutional America. I'm referring to Abraham Roman-Agent Lincoln and the divide and conquer strategy that was carried out on the homeland. The Frankist Banking Family has had us fully since the last True Americans surrendered at Appomattox Court House.JOIN His Site!DR PETER GLIDDEN, ND Health Recovery Site:https://leavebigpharmabehind.com/?via=pgndhealthUse Code baalbusters for 50% OFF - LIMITED TIME Just For UsFor the 90 Essential Nutrients, Contact Brenda here: 888 618 1796 ext. 101 Mention the Show!YOU ARE the CHANGE. You ARE the Sponsors.Support the Show Here: https://GiveSendGo.com/BaalBustersEuropean Viewers You can support here: https://www.tipeeestream.com/baalbusters/GET My Clean Source Creatine-HCL Use Coupon Code FANFAVORITE for 5% Offhttps://www.semperfryllc.com/store/p126/CreatineHCL.htmlGo to https://SemperFryLLC.com to get all the AWESOME stuff I make plus use code Victory for 11% OFF just for BB viewers!Quick Links to Dr Monzo and Dr Glidden are found on my website.Want to send me something?Baal Busters Broadcast#1029101 W 16th Street STE AYuma, AZ 85364BE ADVISED: If you are compelled to mail a check for show support, it must be written out to Semper Fry, LLC.Thanks!Become a supporter of this podcast: https://www.spreaker.com/podcast/ba-al-busters-broadcast--5100262/support.

I can't control the nature or message of the Ads this podcast distributor expresses. They are not my views, and I don't endorse them.COMMERCIAL FREE VIDEOS/PODCASTS and Exclusive Content: Become a Patron. https://Patreon.com/DisguisetheLimitsToday, Thursday 10.26.2024 -Grab your coffee, drop your Lincoln Logs, flush and get ready to watch! We're going to take a short break from the Pasteurian Virus Lies coverage to discuss the Evils of the Last Days of Constitutional America. I'm referring to Abraham Roman-Agent Lincoln and the divide and conquer strategy that was carried out on the homeland. The Frankist Banking Family has had us fully since the last True Americans surrendered at Appomattox Court House.JOIN His Site!DR PETER GLIDDEN, ND Health Recovery Site:https://leavebigpharmabehind.com/?via=pgndhealthUse Code baalbusters for 50% OFF - LIMITED TIME Just For UsFor the 90 Essential Nutrients, Contact Brenda here: 888 618 1796 ext. 101 Mention the Show!YOU ARE the CHANGE. You ARE the Sponsors.Support the Show Here: https://GiveSendGo.com/BaalBustersEuropean Viewers You can support here: https://www.tipeeestream.com/baalbusters/GET My Clean Source Creatine-HCL Use Coupon Code FANFAVORITE for 5% Offhttps://www.semperfryllc.com/store/p126/CreatineHCL.htmlGo to https://SemperFryLLC.com to get all the AWESOME stuff I make plus use code Victory for 11% OFF just for BB viewers!Quick Links to Dr Monzo and Dr Glidden are found on my website.Want to send me something?Baal Busters Broadcast#1029101 W 16th Street STE AYuma, AZ 85364BE ADVISED: If you are compelled to mail a check for show support, it must be written out to Semper Fry, LLC.ThanksBecome a supporter of this podcast: https://www.spreaker.com/podcast/ba-al-busters-broadcast--5100262/support.

Sorry for the Political Ad barrage.  I can't control what they do, nor do I condone the messages these ads may promote. GET COMMERCIAL FREE VIDEOS/PODCASTS and Exclusive Content: Become a Patron. https://Patreon.com/DisguisetheLimitsToday, Wed 10.25.2024 -Grab your coffee, drop your Lincoln Logs, flush and get ready to watch! We're going to take a short break from the Pasteurian Virus Lies coverage to discuss the Evils of the Last Days of Constitutional America. I'm referring to Abraham Roman-Agent Lincoln and the divide and conquer strategy that was carried out on the homeland. The Frankist Banking Family has had us fully since the last True Americans surrendered at Appomattox Court House.JOIN His Site!DR PETER GLIDDEN, ND Health Recovery Site:https://leavebigpharmabehind.com/?via=pgndhealthUse Code baalbusters for 50% OFF - LIMITED TIME Just For UsFor the 90 Essential Nutrients, Contact Brenda here: 888 618 1796 ext. 101 Mention the Show!YOU ARE the CHANGE. You ARE the Sponsors.Support the Show Here: https://GiveSendGo.com/BaalBustersEuropean Viewers You can support here: https://www.tipeeestream.com/baalbusters/My Clean Source Creatine-HCL Use Coupon Code FANFAVORITE for 5% Offhttps://www.semperfryllc.com/store/p126/CreatineHCL.htmlGo to https://SemperFryLLC.com to get all the AWESOME stuff I make plus use code Victory for 11% OFF just for BB viewers!Quick Links to Dr Monzo and Dr Glidden are found on my website.Want to send me something?Baal Busters Broadcast#1029101 W 16th Street STE AYuma, AZ 85364BE ADVISED: If you are compelled to mail a check for show support, it must be written out to Semper Fry, LLC.Thanks!Become a supporter of this podcast: https://www.spreaker.com/podcast/ba-al-busters-broadcast--5100262/support.

PLEASE DO NOT BE UPSET WITH ME FOR THE ADS.  Every platform is going overboard with ads because of the election and politically themed Ad content that I DO NOT CONDONE.  I have no say in it.  If you want to avoid this, then get on the Patreon where it's Ad-Free:https://Patreon.com/DisguisetheLimitsToday, Wed 10.23.2024 -Grab your coffee, drop your Lincoln Logs, flush and get ready to watch! We're going to take a short break from the Pasteurian Virus Lies coverage to discuss the Evils of the Last Days of Constitutional America. I'm referring to Abraham Roman-Agent Lincoln and the divide and conquer strategy that was carried out on the homeland. The Frankist Banking Family has had us fully since the last True Americans surrendered at Appomattox Court House.DR PETER GLIDDEN, ND Health Recovery Site:https://leavebigpharmabehind.com/?via=pgndhealthUse Code baalbusters for 50% OFF - LIMITED TIME Just For UsFor the 90 Essential Nutrients, Contact Brenda here: 888 618 1796 ext. 101 Mention the Show!YOU ARE the CHANGE. You ARE the Sponsors.Support the Show Here: https://GiveSendGo.com/BaalBustersEuropean Viewers You can support here: https://www.tipeeestream.com/baalbusters/GET COMMERCIAL FREE VIDEOS/PODCASTS and Exclusive Content: Become a Patron. https://Patreon.com/DisguisetheLimitsMy Clean Source Creatine-HCL Use Coupon Code FANFAVORITE for 5% Offhttps://www.semperfryllc.com/store/p126/CreatineHCL.htmlGo to https://SemperFryLLC.com to get all the AWESOME stuff I make plus use code Victory for 11% OFF just for BB viewers!Quick Links to Dr Monzo and Dr Glidden are found on my website.Want to send me something?Baal Busters Broadcast#1029101 W 16th Street STE AYuma, AZ 85364BE ADVISED: If you are compelled to mail a check for show support, it must be written out to Semper Fry, LLC.Thanks!Become a supporter of this podcast: https://www.spreaker.com/podcast/ba-al-busters-broadcast--5100262/support.

Frank Starkey and his family are one of those rare breeds of Floridians that actually have deep roots in the Sunshine State. We talk about how they sought to owner their grand-dad's wishes as they ultimately developed the family cattle ranch in New Port Richey. A big part of their work was the Traditional Neighborhood Development (TND) called Longleaf. And later, the Starkey Ranch project.Here's a funny real estate video about Longleaf: (funny to me, anyway)If you listen to Frank, you'll learn how an architect has a whole different perspective on the present and the future, and why he thinks he has a luxurious lifestyle now in downtown New Port Richey. You can see some of his current efforts at this link to his website.This is episode number 50 of The Messy City podcast - thanks so much for listening. If you're new to this, welcome! I look forward to the next 50, as we explore the issues and people who love traditional human settlements, and are trying to create them. I love talking to the do-ers, to the creators, and everyone who has skin in the game that's trying to build a more humane world.Find more content on The Messy City on Kevin's Substack page.Music notes: all songs by low standards, ca. 2010. Videos here. If you'd like a CD for low standards, message me and you can have one for only $5.Intro: “Why Be Friends”Outro: “Fairweather Friend”Transcript: Kevin K (00:01.18) Welcome back to the Messy City podcast. This is Kevin Klinkenberg. I'm happy today to be joined by my friend and fellow new urbanist, long time participant, Frank Starkey, joining us from Florida. Frank, how you doing today? Frank Starkey (00:20.337) Howdy, Kevin. Doing great. Happy to be with you. I've been... Kevin K (00:22.908) I didn't even check. I assume you're in Florida at home, but you could really be anywhere. Okay. Frank Starkey (00:25.617) Yeah, I am. Yeah. Yep, I'm in our we recently moved into a townhouse that Andy McCloskey, who used to work for me, built in town here and we just bought one and we're very happy here. It's really nice. Kevin K (00:40.348) Cool, cool. And you're in New Port Richey? Frank Starkey (00:45.169) Yes, Newport Richey is on the northwest side of the Tampa Bay region. It's part of the region. We're in that suburban sprawl miasma that characterizes all Florida cities. And we're about 25 miles as the crow flies from Tampa, basically from downtown Tampa, and probably 15 to 20 miles from Clearwater and 30 miles from St. Pete. So we're And we're right on the Gulf. We have a river that runs right through town that river miles from where we are out to the Gulf is maybe five river miles. So you could easily kayak and paddle board right out there or upstream pretty quickly you're into the Cypress freshwater wetlands. So we've got a lot of good nature around. Kevin K (01:39.516) Do you ever do that? Do you ever get out on a kayak or whatever and get out there on the river? Frank Starkey (01:43.089) Yeah, it's been a while. But if you go up to there's a preserve that the city owns that's up in the freshwater area. And if you're in there, you think you're in the Tarzan. A lot of the Tarzan movies and shows were filmed in Florida swamps and you feel like you're in a Tarzan movie. You can't see that you're in the middle of town. And if you go out to the coast, the barrier island and right where we are. They really start and go south from here. So from here on up through the big bend of the Panhandle in Florida, the coastline is all marshes and salt flats and grass wetlands. It's a much prettier coastline in my opinion than the more built -up barrier islands. But you can go out and kayak for days and days out in the coastal areas and see all kinds of wildlife and water life. So it's pretty cool. Kevin K (02:40.124) That's cool. That's really cool. Well, Frank and I have been talking about trying to do this for a while. We'd hoped to hook up in Cincinnati, but schedules just got in the way, as is typical for that event. But I really wanted to talk with you today, Frank, because you hit on a couple of my hot points, which is that you're an architect and a developer. Frank Starkey (02:51.313) you Kevin K (03:06.332) And I know as a designer that you also care a lot about the kind of issues that we talk about routinely within the world of new urbanism and urban design, which is, you know, creating beautiful walkable places. So I just think it'd be interesting. You know, I talked to a lot of people who come into the world of trying to be developers. You and I probably both talked to a lot of fellow architects who we try to encourage to be developers. Frank Starkey (03:06.481) Mm -hmm. Kevin K (03:33.948) And so it's fascinating to me how people come to that. So I wonder if we could start just a little bit by talking about like your path and where, you know, how you got to this point. You, did you grow up in Florida or were you in Texas? Is that right? Frank Starkey (03:51.761) Now I grew up in Florida. I went to college in Texas, but I grew up on a cattle ranch just east of here, in an area that's now called Odessa. It was a 16 ,000 acre, beef cattle ranch that our grandfather had bought in the 1930s. And we were about 20, 20 miles from downtown Tampa and Newport, Richie was our hometown because of the county we're in Pasco County. And so we came to, you know, church school. shopping was in Newport, Ritchie. But I also kind of had an orientation towards Tampa because we were sort of closer that direction. And then my extended family all lived in St. Petersburg. My parents had grown up there and then my dad grew up in Largo on a branch down there that his dad had before the one in Odessa. I... Kevin K (04:41.564) So it's like the rare species of old Florida people, right? So. Frank Starkey (04:45.361) Yeah. Yeah, but man, I have a weird, I've always come from a very mixed, I mean, just a very much kind of background, culturally, geographically, economically. My great grandparents were from, mostly from the upper Midwest. And so we kind of, and my great grandfather on my dad's side. was William Straub, who was the publisher of the St. Petersburg Times. But I later found out that he was instrumental in getting the city to hire John Nolan to do a plan for the remainder of St. Petersburg. He was instrumental in getting the city to buy up a mile of its waterfront to create a continuous waterfront park along the bay in downtown St. Petersburg, which is the crown jewel of the city in terms of civic space. So I kind of grew up and then that that kind of orientation towards parks. He also helped the County, Pinellas County establish a park system, which was one of the earliest ones in the country. And so I kind of this park orientation and public space and civic life and civic engagement was a strain through my whole childhood. You know, my whole is kind of a generational thing in our family. And so that's one thread and. Living in the country, we didn't have much in the way of neighbors. The area of Odessa in those days was pretty poor. So I rode the school bus with kids that had virtually nothing and went to school in the suburbs of Western Pasco, which was where the kids were mostly from the Midwest. Their grandparents had worked for Ford or GM or Chrysler and then they... moved to Florida and the grandkids, you know, the kids moved with them. And so those were the kids I grew up with. And so I, you know, I didn't feel like I grew up in the deep south. People, but I, but I was close enough to it that I understand it, but I don't consider myself a, you know, capital S southerner, my accent notwithstanding to the degree that a good friend of mine, Frank Starkey (07:07.793) I grew up in Plant City on the east side of Tampa, which is much more in the farming world part of Hillsborough County. And he was much more deep south than I was, even though we grew up, you know, 40 miles apart. So it's just a very different cultural setting. So I grew up with, you know, upper Midwest heritage who had been in St. Petersburg since 1899. And then, you know, poor kids, middle -class kids, and then eventually wealthier folks. So I just kind of had this really all over the place cultural background that's not nearly as simple as, I mean, all of Florida has a tapestry of, a patchwork of different kinds of cultural influences. South of I -10, north of I -10, you're in South Georgia or Alabama, but. the peninsula of Florida is very culturally mixed up. Kevin K (08:11.228) So the old canard, I guess, was that the west coast of Florida was populated by people who came from the Midwest and the east coast was from the Northeast. Does that hold true in your experience? Frank Starkey (08:22.129) Yeah, that does hold true, although there were a lot of New Yorkers in Boston, not so much New England, but still a lot of New Yorkers found their way across. So I grew up around a lot of New York Italian descent folks, as well as Midwesterners. So I, you know, it's a wonder I don't have a New York accent or a Michigan accent or a Southern accent, because those were the kind of the three, more about more, you know, Northern accents than. than Southern accents from immediately where I grew up. But yeah, I -75 goes to Detroit and that I -95 on the East Coast goes to New York. And so that means that has an impact. Kevin K (09:06.844) Did you ever know about the Kansas City connection to St. Pete then with J .C. Nichols down there in downtown St. Pete? Frank Starkey (09:17.329) And tell me about it. I mean, I, because Bruce Stevenson's book, I think touched on that because they, they had an APA convention down here back in the 1920s. Kevin K (09:20.54) Well, that's it. Kevin K (09:28.54) Yeah, J .C. Nichols who developed the Country Club Plaza here, starting really in the 19 -teens, later in his life, he was asked to, or he bought property in St. Petersburg, in or near the downtown area. And the whole concept was they were going to essentially build like another version of Country Club Plaza there in downtown St. Pete. Yeah. And so I think like a small portion of it got built down there. Frank Starkey (09:32.785) All right. Frank Starkey (09:51.665) Really? Kevin K (09:57.564) And then maybe the real estate deal fell apart or something like that. But there was, yeah, that was a big push at some point. Yeah. Yeah. Frank Starkey (10:03.633) or the Depression hit. Interesting. Now, I wasn't aware of that. I didn't know that he had bought and had plans to develop here. That's interesting. The other, St. Petersburg's, well, the Florida Land Bus was in 1926. So Florida real estate speculation really ended then, and then it didn't pick up again until after World War II. So that might have been the death of it. Kevin K (10:13.084) Yeah. Yeah. Kevin K (10:27.164) Yeah. Yeah. So you find yourself growing up on a ranch then, pretty much in Florida. What takes you to architecture? What takes you to architecture and then to Texas to go to architecture school? Frank Starkey (10:35.505) I'd have been becoming an architect. Frank Starkey (10:42.289) For whatever combination of reasons, one evening when I was in about fourth grade, I, dad recollected this years later. I asked dad at the dinner table, what do you call a person, what do you call a person who designs buildings? Not as a riddle, just, and he said, it's called an architect. And I said, well, that's what I want to be when I grow up. And I never had the sense to question that decision again. So. Kevin K (11:00.54) Yeah. Kevin K (11:09.276) That's how it sounds vaguely familiar. Frank Starkey (11:11.853) you So, you know, whether it was Legos and Lincoln Logs and the Brady Bunch. And when I was a kid, we had a cabin in North Carolina that dad had the shell built by this guy who had a lumber mill up there and he would build a shell for you for $5 ,000 or something. He built that out of green poplar wood. The whole thing was immediately warped and racked and sagged and did everything that. green wood will do, and we immediately put it in a building. But dad spent all of our vacation times up there finishing out the interior of that. So I was just around that construction. And dad was also being a counter rancher, and he knew welding. And he was always tinkering. And in addition to fixing things, he was also inventing implements to use on the ranch and things like that. So he just had a hand building. ethic that, you know, he just kind of had. So whatever made me decide I wanted to design buildings, as I grew up from that point on, I just was all about it. And so by the time I got to high school, I couldn't wait to get into working for an architect. And I was an intern for an architect in Newport, Ritchie, when I was in high school. And then I went to Rice University in Houston to go to architecture school. So after I, and I did my internship here, which is part of the program at Rice for the professional degree. I did that in New York City for Pay Cop, Read and Partners. And another ironic thing was I learned, I had a really great classical architecture history professor in college at Rice who in his summers led, he and his partner who was a art history professor also, a fine arts. Frank Starkey (13:10.289) They led an archaeological excavation outside Rome of a villa from the dated that basically dated a time period of about 600 years straddling the time of Christ. And I've spent the summer after my freshman year on that dig. So I had a had a really strong exposure to classical architecture and urbanism throughout my school. And when I worked for PAY, I worked on James Freed's projects. At that time, we were working on what became the Ronald Reagan building in Washington, D .C. It's the last big building in the federal triangle. And so it's a neoclassical exterior with a very modern interior. It's kind of like a spaceship wrapped inside a federal building. And the other project I worked on a little bit that year was the San Francisco Main Library, which is in the Civic Center right down in the Civic Center of Francisco with the City Hall and the old library. The new library is a mirror of it that's a neoclassical facade on, well, two wings of a neoclassical facade that face the Civic Center side. And then on the backside, which faces Market Street, there's a much more modern interpretation of that commercial core district facing along Market Street. So I worked on these buildings with Sirius that took, you know, this was at the end of the Pomo era of the 80s when everybody was making fun of classical architecture in, the architects were having fun with it or making fun of it, however you look at it. And Fried was taking it more seriously. It was still a updated take on neoclassical architecture. in some of the details, but it was really a fascinating exposure to the actual practice of designing classical buildings, working for one of the most famously modernist firms in the world. So. Kevin K (15:21.628) Yeah, no doubt. No doubt. Yeah. That's pretty wild. Was rice, I mean, we're about the same age, was rice kind of like most architecture schools, generally speaking, in their emphasis on looking at modernist design as the holy grail that you must pursue? Frank Starkey (15:28.433) Mm -hmm. Frank Starkey (15:38.769) Yeah, interestingly, like my childhood and the cultural mix that I described earlier, Rice was sort of in this period at that time where it was between deans. There was a series of, it's too long a story to explain here, but the previous dean who had been there for 15 years or something, O. Jack Mitchell, announced his retirement the day I started classes. And... So he was a lame duck. And then it was, you know, we basically went through a series of searches, deans, dean passed away, interim dean search, a new dean, and then he resigned. So the whole time I was in college, we really didn't have a dean. And the faculty that Mitchell had built was very, I'd say ecumenical. They kind of, we had some diehard theoretical postmodernists and we had. At the other end of the spectrum, we had a guy who did a lot of real estate development who was super practical and we always made fun of him for caring about mundane things like budgets. And I know he was, I made him a laughing stock, which I wish I'd taken more of his classes. But anyway, and then a really good core faculty who had a real sense of, and real care about urban design and. Kevin K (16:46.428) Well, yeah, exactly. Frank Starkey (17:04.401) My sophomore class field trip was to Paris and we did studies of, you know, in groups, each of us studied at Urban Plus. So I really had a strong urban design and contextual sensibility through my architecture class, all my architecture classes. In the background, there was this whole drum beat of postmodernist, post structuralism and deconstructivism. that was going on. I never caught into that. It always just seemed like anything that requires that much intellectual gymnastics is probably just kind of b******t. And it also, I was involved with campus ministries and fellowship of Christian athletes and church. And so I had a sense of mission and doing good in the world. And it also just, it just didn't work with that either. So I didn't really go in for that stuff, but the urban design stuff really did stick with me. And then the classical architecture and Vignoli, which I mentioned to you the other day, that really did kind of stick to me as a methodology. Kevin K (18:29.436) Man, I went for it hook line and sinker, man. It was, yeah. Yeah. I mean, I thought deconstructivism was like the coolest thing at that time period. And I bought the whole program for some period of time. And frankly, until I ran across some of Andreas's writings and then started learning about seaside. And that's really what kind of broke it open for me that I started to. Frank Starkey (18:32.433) Really? Frank Starkey (18:40.465) -huh. Frank Starkey (18:52.273) Mm -hmm. Kevin K (18:58.556) see things a little bit differently and all, but I, yeah, I was, I was in deconstructivism was funny because you could just kind of do anything and you know, you could call anything a building basically. Yeah. Frank Starkey (19:07.537) Yeah. Yeah, yeah, the author is dead long live the text was the, and so you could just, yeah. And to me, it was just pulling, it was just pulling stuff out of your butt and I just. Kevin K (19:22.636) totally. Yeah. Yeah. It was all b******t, but it was, I guess, fun for a 19 or 20 year old for a little while. So, all right. So fast forward then, did you come back to Florida then pretty much right after school or? Yeah. Frank Starkey (19:25.809) Yeah. Yeah. Yeah. Frank Starkey (19:38.929) Yeah, I did a gap year after college and then ended up in Austin for another year and then came back to work with my brother. So by that time, we had seen, because of where the ranch is situated, it's sort of in the crosshairs of growth patterns coming from Tampa to the south and Clearwater to the southwest. and Newport -Ritchie from the west. So it was, the growth was coming from, at us from two directions. Granddad and you know, this 16 ,000 acres that's 20 miles from downtown Tampa, as you can imagine in the 20th century is going up in value pretty dramatically from 1937 to 19, you know, to the late century. And in the early seventies, he started selling and donating land to the state for preservation. Kevin K (20:24.22) Mm -hmm. Frank Starkey (20:36.177) and so we had, you know, again, that whole park ethic, and the, so we were selling, kind of selling the Northern parts that were away from the development pattern, off. And it was partly for the state tax planning purposes and also just, but primarily to put the land into conservation. So there would be something left of native Florida for people to see in future generations. That was his. His goal. My brother had my brother six years older than me and had gone to University of Florida and gotten a finance degree. And he came back after college, which was when I was like my senior year in high school and started working for the granddad was still alive and he was working for the estate, helping with that planning. And granddad passed away while I was in college and we had the estate tax to deal with. And we ended up selling some more land to the state for conservation. And he also started learning the development. process. We knew that as much land as we could sell to the state as possible, we were not going to be able to sell at all and we were going to have to develop. Somebody was going to develop land on the ranch. And our family wanted to see that it was done in a way that was, you know, that we would be proud of that, that put together our, you know, our family goals for civic engagement, environmental preservation, and, you know, and also. It was the whole family's sole asset. So it's everybody's retirement fund and principally our parents and our cousins. So we have cousins who are half generation older than us. So we were accepting that development was inevitable and wanted to be more in control of it. So Trae had been talking to me for a while about coming back and working with him on the development stuff in the ranch. So that's what I decided to do in 1995. And the decision point for me, Kevin K (22:09.468) Yeah. Frank Starkey (22:34.449) was, you know, I had set up my career trajectory to become a consulting architect and design buildings for other people. And I realized that I had this opportunity to, you know, have a bigger imprint on developing a neighborhood that could perhaps set a pattern. By that time, I had become knowledgeable about new urbanism and what was going on at Seaside. And And at that point, I think some of the other projects were starting to come out of the ground. So this was 1995. So I was like, well, I, you know, I've got too much opportunity here. And, and with what, what I know and what I have to bring to the table, it just seems like the thing I'd need to do. So I came back and we started working on development on the southwestern corner of the ranch, which was sort of the direction that was the frontline for development. So in 1997, we held our charrette for what became Longleaf, which is a 568 acre traditional neighborhood development that we broke ground on in 1999. Our first residents moved in in 2000. And that was the first TND in Pasco County. And in my opinion, it was the last TND in Pasco County. Because the county loved it so much that they... Kevin K (24:00.38) You Frank Starkey (24:04.721) passed the TND standards ordinance, which it would never comply with and that no other developers ever wanted to do. And so nobody really has. They've kind of just, it's been compromised with, right? That's a whole other story. Kevin K (24:20.14) Yeah. Well, that sounds, I mean, we may need to get into that at some point, but, so you started this in 2000 and really in earnest 2001 or so. And obviously there was a little, little bump in the economy right then, but I guess kind of more of a bump compared to what came later. So talk about like those first, maybe that first decade then, like what all did you build and how much of this were you actively involved in the design of? Frank Starkey (24:24.529) Okay. Frank Starkey (24:39.377) Yeah. Frank Starkey (24:49.425) It's fascinating looking back on it how compressed that time frame was because we sold we we developed the first of four neighborhoods In the first neighborhood we did in As I said 99 2000 and then we built the second neighborhood in 2002 2003 we sold the third and fourth neighborhoods in 2004 which You know, six years later, we look like geniuses. If we would have been, if we'd been real geniuses, we would have waited until 2006 to sell them. But we got out before the crash, obviously. So we did well there. We were, I was, you know, Trey and I, because we had a view of building a career in real estate development, we thought we should do everything. We should touch every aspect of the process ourselves at least once. So we knew how everything worked. But then we never scaled up our operation big enough to hire people to fill in those specialties for us. So we really both kind of ended up doing a whole lot of the work ourselves. So our master, our designer was Jeffrey Farrell, who did the the overall plan for Longleaf. And he wrote the design code, but we collaborated on all that very closely, because I knew enough about what urbanism was and architecture. And so I administered that design code with our builders. He detailed out the first neighborhood. He and I detailed out the second neighborhood. collaboratively or sort of a 50 -50. And you know what I mean by detailed out, just, you know, you take a schematic plan and then you have to put it into CAD and get it, get to real dimensions and deal with wetland lines and drainage and all that stuff. You get, s**t gets real about, you know, curbs and things like that. So that kind of, those details. And the third neighborhood I detailed out, but we sold it, but the developer who bought it built it out according to what I had done. So I was... Frank Starkey (27:15.281) very involved with the planning side of it. And of course I had been involved with the entitlements and then I administered the design code with all of our builders. So I was dealing with there and we had, we didn't have sophisticated builders. We didn't have custom, we weren't a custom home builder project. We were small local production builders. So these were builders who built 300 houses a year. We weren't dealing with. David weekly, you know, a national home builder who was doing nice stuff. Nor were we dealing with the 12, you know, you know, a year custom builders. So we didn't have much sophistication on the design side coming from our builders. So I did a lot of hand holding on the design of that. I always tell if you're a architect who's going to be your. Kevin K (27:46.716) Mm -hmm. Frank Starkey (28:13.169) is going to develop a T and D. I will tell you under no circumstances do what I did. Always hire somebody else to be the bad guy because as the developer you just can't look the home builder in the eye and say let this customer go. And so even though they're asking you to do something you shouldn't. So you need somebody who can be your heavy for that and it's not going to be you as the developer. But anyway, so I did that and And then I designed some of the common buildings and then had them. I wasn't licensed yet. And so I had those CDs done by somebody with a stamp. So I always said that I, you know, between the larger planning of the ranch and the strategy there, and I also got involved in community, you know, regional and county wide planning efforts and committees and things like that and planning council. So I kind of worked at the scale from the region to the doorknob. Which, you know, is fabulous as an architect because I've found all of those levels, I still do, I find all of those levels of design and planning fascinating. Kevin K (29:17.084) hehe Kevin K (29:30.78) So let's talk about the mechanics of being a land developer for a minute and how you did it. So you obviously own the land, and then you came up with the master plan. So then how many steps did you take? You took on the burden of entitling probably the whole project in phase by phase. And then were you also financing and building infrastructure as well, and then basically selling off finished land? Frank Starkey (29:36.433) Mm -hmm. Kevin K (29:59.26) finished parcels or finished lots to other developers or builders. Frank Starkey (30:04.177) Yeah, what we, so dad on the land free and clear, he contracted the land to us under a purchase and sale agreement whereby we would pay a release price when we sold a lot. So, you know, it's favorable inside family deal. We paid him a fair price, but it was a very favorable structure that allowed it, and he subordinated it to. to lending for, we had to borrow, we don't have cash as a family, we didn't, none of us have cashflow from, you know, we don't have some other operating company that spits off cashflow. So we had asset value, but no cashflow. So we had to borrow money to pay for infrastructure, I mean, for planning and entitlement costs and engineering. And so that was our first loan. And then we had, We set up a community development district, which is a special purpose taxing district that a lot of states have different versions of them in Florida. It's called a CDD. It's basically like a quasi -municipality that a developer can establish with permission from the county and state government to establish a district, which is then able to sell tax -free government -style bonds to finance infrastructure. So it's an expensive entity to create and then to maintain. But if you're financing a big enough chunk, which in those days was like $10 million, it became efficient to have the care and feeding of the district in order to get the cheaper money. So you could get cheaper bond money for financing infrastructure. You could not finance marketing or... specific lot specific things you could for example, you could finance drainage, but you couldn't finance still so some of the Terminology was a little bit You kind of had to do some creative workarounds, but basically our so but we it also meant you had to still have a source of capital for those things that the district would not finance so we had an outside Frank Starkey (32:28.497) Loan structure in addition to the CDD financing and that was how we financed the construction of the development and then sold the lots to individual home builders We had three builders under contract in our first phase and each of them was committed to a certain number of lots and they had enough capital access on their own to finance their the construction of their houses a lot of them would use their buyers financing and use do construction permanent loans to finance the vertical construction of the houses. But the builders had the ability to take down the lots. So that was the deal. I don't know if that structure is still done very much or if there were many builders in that scale that still do that in Florida or in this area. It seems like most of those builders got just crushed. in a great recession and never came back. I'm not really aware of any builders that are in that scale, in that size range anymore. I mean, if there are, there's maybe a dozen where there used to be 100. Kevin K (33:40.86) Yeah, so they either got smaller or a lot bigger basically. Frank Starkey (33:45.681) No, they mostly just flat got killed and just went out of business. And they may have resurrected themselves. Yeah, they may have resurrected a smaller or gone to work for somebody else or retired because a lot of them were older. Of the builders that we had, yeah, I think they probably did get smaller in fairness, but they were gone. And we were out of, as I said earlier, we were long out of long leaps. And the... Kevin K (33:47.836) Yeah. Frank Starkey (34:13.969) Crosland was the developer that bought the third and fourth neighborhoods and they didn't they brought in all new builders. So they brought in David weekly and inland, which was a larger regional builder. And then Morrison, I think one of the other large, larger builders who did rear loaded T and D project product. Kevin K (34:38.108) So how much heartburn was that for you and your family to go from this position where you're like asset rich but cash poor to and then all of a sudden you're taking on pretty large debt to do this development piece? I mean, what was that like? Frank Starkey (34:54.801) Well, you know, you just you don't know what you don't know when you're young and ambitious. So it was it was there. I did. There were some real Rolade's cheering moments. I think, as I recall, the most stressful times for us were before we started construction. And it was it was frankly, it was harder on Trey because he was he was starting a family at that time. So he had. He had literally more mouths to feed than I did. I was still single and so, and I didn't have the stresses on me that he did. And once we got under development, we weren't so much, you know, the stress level shifted to different, you know, kind of a different complexion. And, you know, fortunately when the recession hit, We were done with long, we didn't have, you know, we weren't sitting with longleaf hanging on us. So that was good. but we were in the midst of entitlements for the Starkey Ranch project, which was the remainder of the land that the family still had that had not been sold to the state. And we were taking that, there was about 2 ,500 acres. We were taking that through entitlements starting in 90, in 2005. And I would say that we got our, our entitlements. not our zoning, but we got our entitlements package approved, in essence, the day before the recession hit. So, so we had borrowed again, borrowed a lot of money to relatively a lot more money to pay for that. And that also involved the whole family, because that was the rest of the ranch that that the part that long leaf is on dad had owned individually, free and clear. The remainder of it. had been in granddad's estate and that went down to children and grandchildren. And so there were seven different owners of that. And we had spent some time in the early 2000s putting that together into a partnership, into one joint venture where everybody owned a pro rata share of the whole, but we had other shareholders to answer to. And so that was a whole other level of stress. Frank Starkey (37:16.913) due to the recession because our bank went, you know, did what all banks do and they called the loan even though we hadn't gone, we hadn't defaulted. We would have defaulted if they'd waited six months, but they blanked first and they sued us and we spanked them in essence, but we, at the end of the day, but it was two years of grinding through a lawsuit that was hideous and that was really the most unpleasant. Kevin K (37:29.82) Hahaha! Frank Starkey (37:46.257) level of stress, not because we were going to lose our houses, but because we were, it was just was acrimonious and not what we wanted to be doing. Plus you had the background of the whole world having ground to a halt. So fighting that out through the dark days of the recession was, that was pretty lousy way to spend a couple of years. Kevin K (38:12.284) Yeah, so then how did you all come out of that situation then? Frank Starkey (38:17.009) We ended in a settlement. The settlement, the worst part of the settlement to me was that we had to, long story, but some of the, we had retained ownership of downtown Longleaf with the commercial core, mixed use core of Longleaf. And that wasn't completed development yet. And because we had that collateralized on another loan with the same bank, we ended up having to cut that off as part of the settlement. So. we, you know, we had to, we amputated a finger, not a hand, but still it was, it was, you know, it was our pointer finger. So that was, that was hard, but, but we lived to fight another day, which again, you know, fortunately it's better to be lucky than good, right? We were, that makes us look like, you know, we did pretty well coming out of the recession. So after the recession and after getting that settled out, and there was a couple of other small pieces of land that we had, Kevin K (38:52.124) hehe Frank Starkey (39:15.121) collateralized to the bank that we handed over, but basically got them to walk away from pursuing us further. We got that worked out and then we had to then figure out how to sell the land. Our joint venture partner, which was to have been Crosland on developing the ranch, they had gone to pieces during the recession, so they weren't there anymore. And the only buyers at those coming out of that were big hedge funds and equity funds. And they were only, their only buyers were national home builders and the national home builders, even the ones like Pulte who had tiptoed into traditional neighborhood development product before the recession. They were like, nope, nope, nope, backing up, never doing that again. They're. Kevin K (40:10.46) Yeah. Yeah. Frank Starkey (40:12.593) So everything that we had about TND and our entitlements, they're like, get that s**t out of there. TND is a four letter word. We will not do that. So we kind of de -entitled a lot of our entitlements and cut it back to just a rudimentary neighborhood structure and interconnected streets and some mix of uses and negotiated to sell it to one of these hedge funds or investment funds. who developed it with a merchant developer and sold it to national home builders. And they pretty quickly undid what was left of our neighborhood structure and developed it in a pretty conventional fashion. They did a really nice job on it and it soldered a premium to everything around it. They did a really great job with their common area landscaping, but they gutted the town center. They didn't even do a good strip center in lieu of it. They just did a freestanding public and a bunch of out parcel pieces. They squandered any opportunity to create a real there out of the commercial areas. They did beautiful parks and trails and amenities centers, but they just didn't get doing a commercial town center. Kevin K (41:36.444) What years was that when they developed that piece? Frank Starkey (41:40.337) We sold it to them in 2012 and I guess they started construction in 13 or so and it was really selling out through 2020. They still got some commercial that they're building on. I don't know if they've got any residential that they're still, I mean, it's kind of, its peak was in the 17, 18, 19 range and it was one of the top projects in the country and certainly in the Bay Area. and got a lot of awards. And yeah, so I don't, I can't complain too much about it because it sounds like sour grapes, but basically they didn't, I always just tell people I'll take neither blame nor credit for what they did because it's just not at all what we, there's very little of it that is what we laid out. So because that, so we, having sold that in 2012, that left me and Trey to go do what we wanted to do. All of the, you know, the rest of the family for that matter. And, Trey was ready to hang it up on development for a while. So he kept a piece out of the blue out of the ranch and settlements and started the blueberry farm. And I went and decided to do in town, small scale development. Ultimately ended up in Newport, Ritchie back in my own hometown. And then and that's that's what I've been doing since basically since 2015. Kevin K (43:06.844) Yeah. So I'm curious about a couple of things. So with the completion of the sale of all that and the development of both Longleaf and Starkey Ranch, I guess I'm curious how your family felt about the results of all those. Were people happy, not happy with the results? Was there... I'm just kind of curious about that dynamic because it's an interesting thing with a family property. And then... I guess secondly, with you being somebody who carried more a certain set of ideals for development, what did you take away from that whole process, especially with Starkey Ranch and anything, any useful lessons for the future for others relative to an experience like that? Frank Starkey (43:38.321) Mm -hmm. Frank Starkey (43:56.209) Couple of thoughts. As far as the whole family goes, we were, well, our cousins don't live here and they were less engaged in it intellectually and just personally. The four of us kids had grown up here and this was our backyard. They had grown up in St. Pete and one of them lived in North Georgia. And so it was, they just weren't as... emotionally invested in it. Not to say they didn't care, but it just didn't, it wasn't their backyard that had been developed. And you know, and we all are proud that three quarters of the ranch of the 16 ,000 acres, over 13, almost 13 ,000 of it is in conservation land that will always be the way it was when we were kids. Except there are no fences, which is very disorienting, but anyway. It's still, you know, that's the way granddad saw it when he was young and it will always be that way. So that's, we're all excited about that. And we pay attention to that more than we do to what happened on development. I think even long leave the, what, you know, the, the people in the surrounding area think we're sellouts and, people who have lived here. for five years or 10 years or 15 years are still just shocked and dismayed by the rapid pace of development. Well, it was a rapid pace of development, but we've been seeing it coming for 130 years now as a family. And I mean, it's why we put land into conservation going back to the early 70s when granddad started selling that. What people can see is the part along State Road 54, which is the visible stuff. which 10 years ago was a lot of pastors with long views and pleasant looking cattle who were money losing proposition as a agricultural business. But people don't see that. They just thought, it's a pretty pasture land. And how can you turn that into houses? It's so, you greedy b******s. So yeah, we get a lot of flak still to this day. I mean, and I've got a. Kevin K (46:12.092) Yeah. Frank Starkey (46:17.425) Trey's wife is a county commissioner and she gets all kinds of grief for being corrupt because people see our names on everything and they're like, well, they must be corrupt. No, you've never met any less corrupt people. And so there's kind of public blowback to it. I've said what I've said, what I just told you about how the development of the ranch did not comport with what we envisioned for it. And I don't, I don't shy away from saying that. I don't go around banging a drum about it. cause what's, what's the point of that? And a lot of people might think I just sound like sour grapes, but it, you know, it's, we, I think we all had our ugly cry about the ranch at some point. I mean, I remember when we were, we, the first closings of the ranch were in 2012 and it was a phased state down, but you know, they, they take a chunk at a time. So we stayed in our office, which was the house that we had grown up in at the ranch headquarters, right where the cattle pens and the horse barn, the truck barn and the shop and all of the ranch operations were. And the day that, eventually we had to move everything out and all that, almost all of that got torn, all of it got torn down. I remember having, I went out and stood by a tree and cried my face off for a while. Kevin K (47:46.044) Yeah. Frank Starkey (47:46.673) You know, it still chokes me up to think about it. And we all did that. I mean, but it wasn't an overnight thing to us. Whereas if you lived in a subdivision in the area that, by the way, had been a cattle ranch 20 years ago, you didn't, you know, you're not building, you're not living in a land that was settled by the other colonists. It seemed shockingly fast, just like overnight. my God, all of a sudden they're, they're. They're scraping the dirt the grass off of that and you know three weeks later. There's houses going up It's just shocking and and really disorienting we'd said we had seen it coming literally our whole lives We always knew that was going to be the case. So it was there was going to be something there our Feelings about the what what what it was compared to what we would like it to have been or another You know, that's what we have to wrestle with but the fact that it's developed We always saw that coming and people don't really understand that until because you just, you know, because it just it's perceived so differently. If you just drive by and see it developed one day when it wasn't, then if you grow up with an aerial photograph on the wall of dad's office and you know, we just know that that's not always going to be that way. Kevin K (49:05.82) Yeah. Yeah. Well, let's talk for a minute about what you're doing now then with the stuff in Newport Ritchie and the smaller scale infill stuff. What was like the first one, after shifting gears and doing that, what was like the first project you took on on your own? Frank Starkey (49:25.561) Much more much more fun topic. Thank you for shifting gears. I should have let you do that sooner Kevin K (49:30.204) Yeah. Frank Starkey (49:33.617) The, so Newport Richey is a pre -war town that was laid out in 1911 by Wayne Stiles, who I'm starting to learn more about was a pretty cool town, kind of B -list town planner who worked with people like John Nolan and the Olmsted brothers and was contemporary to them. Got a very competent little city plan for a small town and it has building stock in the downtown. the main street and Grand Boulevard downtown that dates to the 1920s and to the 1950s and 60s, kind of about half and half. And so it always had these good urban bones, some decent building stock, nothing great. It was never a wealthy town, so it doesn't have big grand Victorian houses down at Boulevard or anything, but it's got some good characteristics. But it had economically just cratered, just for years and really decades of disinvestment. moving out to the suburbs. It wasn't white flight in the traditional sense, but it was economically, it was the same just reallocation of wealth from the historic city into the suburbs and leaving the city behind. So in 2015, there was a, so downtown Newport, which he has a little lake, a about a five acre really lovely little. city park, a riverfront, and the central business district is right next to it. And then there's a pink Mediterranean revival hotel building from 1926 in that park. It kind of ties it all together. It's all the same ingredients that downtown St. Petersburg has, just in miniature and in bad shape. And St. Petersburg, believe it or not, which is now the best city in Florida, was really down in heels for most of my childhood. The Vanoi Hotel, which is their big pink hotel, was a hulking, you know, it looked like something out of Detroit when I was a kid, broken out windows and chain link fence around it and weeds and looked like a haunted hotel. So the Hacienda was kind of in that shape almost. And Downtown was doing, was, you know, just kind of sitting there with some honky tonk bars and a lot of, you know, just kind of moribund. Frank Starkey (51:54.705) commercial space. The city had bought out the First Baptist Church, which overlooked that lake right downtown when the church decamped out to the suburbs like all the other capitals in town. Even God's capital moved out to the suburbs. And the city bought it and tore down the church buildings and put a for sale sign on it, put it out for RFP a couple times, got crickets in response. Because no self -respecting developer would look at downtown New Port Richey as a place to develop. And I looked at it and as Robert Davis and Andres 20 will point out, we developers and architects and urbanists, we live in the future. You know, our brains are in what can be, not what is here now. And you've heard Andres say that the present is a distortion field. So I wasn't bothered by the fact that the neighborhoods around it weren't the greatest neighborhoods. They weren't terrible. Kevin K (52:39.8) Yeah. Yeah. Frank Starkey (52:48.177) And I looked at it and said, well, this is a pretty good gas piece of property. You got through overlooking this nice lake. There's a park. There's a downtown right there. We can work with this. So I asked the city to put it out for an RFQ, which they did. And Eric Brown, your buddy and mine, and one of your former guests on the podcast recently, was the architect for the buildings. And Mike Watkins, whom you also know, was the planner. I had them come in and do a Charette to develop a design for an apartment project on that former church property. And we negotiated a deal with the city to buy that property and we were off and running. So that was the first project. Just announcing that and showing, you know, as people were, some people were rightly skeptical that it would just end up being another low income housing thing because. This is Newport Richey. It's an economic shithole. Why would anybody put anything nice here? And surely, surely, even if you think it's going to be luxury, or if you're just saying it, it's obviously just going to, there's no way it can end up being anything but low income housing. And, but a lot of other people were excited to see that somebody was putting some investment in town. And it just kind of started to change people's thinking. Then we took on a commercial building downtown that when I was a kid had been a, IGA grocery store where we did our grocery shopping and it had, fallen into, you know, another moribund state as an antique mall that just needed to be fixed up and, and refreshing them live and up or something new. So we bought that and, did a severe gut job on it. divided it up into five tenant spaces, brought in a natural grocery store that was in town, but in a much terrible location. And a new microbrewery, the first microbrewery in town, and a taco place, and a kayak paddleboard outfitter, and a CrossFit gym. Kind of a dream lineup of revitalizing. Yeah. The kayak place didn't last very long. Kevin K (55:04.636) It's like the perfect mix. Frank Starkey (55:11.665) They were pretty much pretty ahead of the market and also just work. It wasn't their core business. They just didn't really know how to do it right. And then the taco place ended up getting replaced. The CrossFit gym outgrew the box and went to a much bigger location. And then we replaced them with an axe throwing business, which is killing it. So no joke, no pun intended. And then the microbrewery is still there. natural food store is still there. And then in the paddle boarding space, we now have a makers, a craft market that is multiple vendors that are, you know, like cottage industry makers selling under one roof. And we have a new bar and hamburger place and the former chocolate place. And they're also doing really well. And so between those two projects, it really, and then, you know, it's other, businesses started opening, new businesses opened downtown that just kind of had a new approach. They weren't honky tonks, they weren't just kind of appealing to a kind of a has -been demographic. And I just started changing the attitude. And the most remarkable occurrence was at one point, and this was around 2018, I just noticed that the online chatter in the general discussion among locals about Newport Richey kind of flipped from overwhelmingly negative people just running down the town, just saying this place is terrible. You know, get out while you can. There's nothing but crack heads and, and prostitutes and you know, it's just terrible. And to, Hey, this place is pretty cool. It's getting better. There's, it's got a lot of potential. And the naysayers started getting shattered down by the people who were more optimistic and positive about the town. And it just kind of hit that Malcolm Gladwell tipping point pretty quickly. And the attitude of the town and the self -image of people in town just has been significantly different ever since then. And then that's, of course, paid dividends and more investment coming to downtown. Now you can't find a place to rent for retail downtown. Frank Starkey (57:38.641) We actually have the problem now that there's too much food and beverage and the market isn't growing enough because we've got to bring in customers from outside of the immediate area because it's just not densely populated enough town yet. But that's so that's kind of where things started in New Port Richey. Kevin K (57:56.604) That's really, that's a great story. It's kind of, it's so indicative of also like what Marty Anderson has talked about. Let's sort of like finding your farm and a place that you care about and working there and making it better. And that's really cool. When it came to all this, were you self -financing? Were you working with investors? How was that process? Frank Starkey (58:13.169) Yeah. Frank Starkey (58:22.321) On the central, which is our apartment and on the 5800 main, which is the project that had been the IGA store, I have a financial partner on that. Who's another local who had made done well for himself in banking and lived away and moved back and was wanting to invest, but also to do some invest locally in a way that helps, you know, give something back to his own town. And that was my attitude as well. So our, our. Capital has been him and me on those two projects. And then I've got two other buildings that, one other building that I have a co -owner on and then another building I own solely by myself. So I've got a total of four projects. And all of the projects that I have are within one, two, three blocks, four blocks of each other. I was, you know, you mentioned the farm. I was very intentional about farm. I said, okay, my farm is New Port Richey. My farm yard is downtown and my barn is our office, which was right in the middle of all that. And the so that's, you know, and then now Mike and I live three blocks from all of that stuff. So we have we our new townhouse is three blocks east of downtown. Since 2018, we lived in a house that was four blocks south of downtown. So all of it was walkable. And even when downtown had just a couple of restaurants that were mostly just diners, one place that was pretty decent for lunch and salads and things, and a couple of pretty mediocre to crappy bars. I have a lot of friends here now and my office is here. And I immediately realized this is the most luxurious lifestyle I have had since college because the ability to walk everywhere and just live your life on foot is luxurious. It's just delightful. And my best friend now lives well in our old house, lives a block away. And we got to be friends living in town here and living a block from each other. And we would just ride bikes. And there was a whole other crew of Kevin K (01:00:24.284) You Frank Starkey (01:00:49.041) the people we'd ride bikes up the river in the evenings and maybe stop for a beer or maybe not and just enjoy the town. He really showed me just kind of, I smacked myself in the forehead one day when he talked about how nice it is to ride up the river during the sunset. I was like, wow, you mean you can just enjoy living in these walkable places? Because I'd always spent so much time trying to build them that I didn't spend much time just... f*****g enjoyment. Kevin K (01:01:19.676) I know, I know. It's a crazy thing. It's like it shouldn't be like a rarity or anything like that. We wish it was available to everybody, but it's wild. That was the thing about living in Savannah and that was like the hard part about leaving Savannah was, I think for a lot of us who have our ideals about walkability and everything, you kind of go back and forth about, do I want to spend my time? Frank Starkey (01:01:30.257) Yeah. Frank Starkey (01:01:37.489) Yeah, I bet. Kevin K (01:01:48.38) you know, working real hard and trying to create this as much as, as I can and, and live in a certain place where I, I guess have the economic opportunity to do that. Or do you also maybe just say, yeah, at a certain point, screw it. I just want to live somewhere where I can be, you know, do the things that I talk about all the time. So. Frank Starkey (01:02:06.513) Yeah, exactly. And it is hard to live in a place that's already kicking butt and do the things to make a place kick butt. So. Kevin K (01:02:20.124) Yeah, and in so many of these places, the places that we admire, and if you didn't get in early, you can't afford it at a certain point anymore anyway. So it's kind of a crazy deal. So as an architect, then would the infill projects, I mean, I know you worked with Eric and Mike and some others, but do you do any sketching or work on any of these sort of, is it a collaborative deal or do you at this point just be like, well, Frank Starkey (01:02:28.369) Right. Kevin K (01:02:46.268) I'm going to be a good client and be kind of hands off and just help direct my architects. Frank Starkey (01:02:50.865) I try to, I'm trying very hard to just be a good client and direct my architects. I'll let you ask Eric on whether I'm a good client or not, but that's probably been the project where I have been the most, I've left the most to the architects to on the design side. On the, the one of the commercial building that I owned by myself was a, building that didn't have any windows, two stories right on one of our main streets on a corner. So two full facades with essentially no windows. And it needed new windows storefront and upstairs. So it basically just needed a whole facade because there was just a big windowless bunker. But it had existing structural columns or structural considerations for where I could put windows. And it ended up being a interesting, challenging facade composition project. Anyway, I designed that building. And also it was a double high space where the second floor was just a mezzanine. And we closed in the second floor to make it into a mixed use building. So that because it had always been a nightclub or restaurant and it was too big as being a story and a half to for that, for this market to support because the upstairs are just kind of. You know, just sucked. So I was like, this needs to just be a regular size restaurant on the ground floor and then offices above. So I did the architecture on that, including the build out for the restaurant. I had some help on that on the layout, but I did the design, interior design stuff on that. I wish I had, I love the facade design process. And that was a really fun project. And the result was, you know, it's, it's unusual because of the constraints that it had. So, but it's, I think it's a fun, it's a good result. but if I were doing more projects, I mean, I really feel like I don't do architecture every day. So I'm not, yeah, certainly I'm not going to do construction drawings because I don't have that, capability just cause I don't, I mean, I have the technical ability to do it. Frank Starkey (01:05:15.249) and I am now licensed, I could sign and seal it, but I don't want to. And I haven't signed and sealed anything yet. So my goal is to be more of a client than I am an architect. Kevin K (01:05:27.868) So in all this stuff and going back to even your initial work with Longleaf and others, you've obviously tried to create well -designed places and beautiful places. I know you said you had some thoughts kind of based on one of the other podcasts I had where we were going back and forth and talking about beauty in buildings and the value of that versus sort of utilitarian values as well. How have you tried to balance all that and really create? beauty and do you find it at conflict with also making real estate work? Frank Starkey (01:06:04.753) I don't find beauty in conflict with making real estate work at all. I think it's critical. I don't think that things have to be built expensively in order to be beautiful. And my comment to you in my email was about y 'all had had a discussion on this, your podcast before last. about and you had said you can't legislate beauty no code in the no amount of code in the world is going to result in beauty and I've always thought about that because I agree with you that codes by their nature don't result in beauty that that human love results in beauty I mean that's you know because that's a it's a it's a spiritual outcome not a I mean, it's an outcome of the spirit. I don't mean that metaphysical terms, just, but it's something that comes from a level of care that's not, that doesn't happen from just conformance. Kevin K (01:07:10.94) Yeah, it's a value you bring to a project basically. It's something you really care to do. Yeah. Frank Starkey (01:07:16.529) Yes, that said, the American Vignoli and other handbooks that were used by builders, not by architects, but by people who were just building buildings and designing them, designing and building buildings by hand in the 1800s and early 1900s. resulted in scads of what we consider beautiful buildings with a capital B because it codified, maybe not in a sense of regulation, but in a sense of aspiration and guidance. It codified a way to arrive at competence with beautiful principles underlying it. And I wonder, it's... It's a hypothesis. I've not proved it or even set out to prove it. But if you could require that people follow the American Vignole as an example, or something else like that, where the principles of proportion are codified and they're followable, then I think you probably would still have to have some coaching. But I think you would get a whole lot closer than you can in the, because it's more like a playbook than it is a rule book for producing a competent design. Competent in the classical sense. Kevin K (01:08:54.556) Yeah. Yeah. Kevin K (01:09:02.236) Yeah, I think that's fair. It's more like coaching people about people who care. If you want to do good things, here are simple rules and patterns to follow that are not going to get you the Parthenon necessarily, but they're going to get you certainly at a minimum like a B building, like a B or a B minus building if you follow these rules. And if you do them really well and execute the details well, you could end up with an A plus building. Yeah. Frank Starkey (01:09:34.641) Yeah. Yeah, and it's something that McKim, Mead, and White can follow that and come up with something spectacular. But the same underlying principles are in every garden variety inline building on a street. Because individual urban buildings and places that we love are individually not spectacular. It's the accumulation of be buildings that are singing in the same key that makes a good chorus. Not everything can be a soloist anyway. Kevin K (01:10:11.996) And certainly, a lot of the people who produced the buildings in that era that you described, late 19th, early 20th century, I mean, there were a whole lot of just illiterate immigrants to the United States, ones who were building all that. And they didn't need 200 pages of construction drawings to follow it, but they did have patterns and illustrations and guides that they could follow. Frank Starkey (01:10:25.041) Yeah. Kevin K (01:10:42.46) and just some kind of basic standards. Yeah. Frank Starkey (01:10:43.217) And also a general cultural agreement on what looks good and what doesn't. And that's what I think you can't recreate from start, I mean, from scratch, because it's got to, that culture builds up and accumulates over decades and generations of practice. Kevin K (01:11:09.148) No doubt. Have you seen with the buildings that you have done in Newport, Richey, has there been other people who've looked at what you've done and tried to essentially say, kind of continue to raise the bar with good looking buildings? Frank Starkey (01:11:24.209) Unfortunately, I can't say that has happened yet. There hasn't been that much new construction in New Port Richey. And I don't, I can't think of any off the top of my head that have been done since we built the central, for example, which is really the only new ground up build. There's another apartment project and apartments and mixed use downtown, but it was designed in 2006 and then it was stalled and it finished about the same time we did, but it has nothing. you know, didn't follow others at all. We did have a lot of people. And this is something I would recommend, which I did accidentally. I didn't put really good drawings of the buildings into the public before they were built. I made a real now here's a blunder. There's a my blunder was I allowed the elevations of the buildings. to be the first thing that got into the public view because they were required as part of the permitting process. And an elevation drawing of a building is the architectural equivalent of a mugshot. It's representative and it's accurate, but it's accurate, but it's not representative. So it doesn't show you what a person looks like. It shows you just facts about their face. And so it shows you facts about a building, but not what it's gonna look like. So people saw the elevations. of what Eric could design, which were intentionally very simple rectangular boxes with regular, very competent, beautiful classical facades, but they looked really flat, they looked really boxy, and they looked terrible. They couldn't be at elevation, there's no depth on it. So people were like, holy s**t, of course he's building, I mean, they look like barracks. And so people lost their minds. I'm like, wait, wait, wait, wait, wait. So we quickly put together some 3D renderings. based on a quick sketchup model, we illustrated the hell out of them with landscaping and showed what a view down the street would look like. And it was a much better view. And that's really how you perceive the buildings. And so people were like, OK, well, if it looks like that, I guess I won't oppose it so much. But they were still rightfully skeptical. And so I s

Message Date: February 25th, 2024 Location: Sandy Campus Glory To Glory “Lincoln Logs, Jenga & The House That Never Falls ” Pastor Jason Parrish

Hey there fellow Gundam fanatics and Play Comics aficionados! Get ready to power up your mechs and dive into the wild world of Gundam Battle Assault 2, the classic PS1 game that has us all itching for some intense mecha showdowns. And who better to join us on this epic journey than our returning guest, the one and only Billy, who's graced us with his presence on previous episodes like X-Men Mutant Academy, Ghost in the Shell, Turok 2, and Batman and Robin? But let's be real, folks. This time around, it's all about giant robots duking it out in epic battles that would make even the most hardened Gundam fan swoon. And with Billy's expert insights and witty banter, we're sure to have a blast exploring every nook and cranny of this classic game. So strap in, get ready to activate your beam sabers, and let's dive into the world of Gundam Battle Assault 2! Learn such things as: Did cartoons ever not get made as commercials for toys? Is it better to have balanced rosters or source material realistic ones? Wait, games other than Street Fighter get to make innovations? And so much more! You can find Billy nowhere online because he's a hermit who hides out in those secret places of the internet that only we know about. If you want to be a guest on the show please check out the Be a A Guest on the Show page and let me know what you're interested in. If you want to help support the show check out the Play Comics Patreon page or head over to the Support page if you want to go another route. You can also check out the Play Comics Merch Store. Play Comics is part of the Gonna Geek Network, which is a wonderful collection of geeky podcasts. Be sure to check out the other shows on Gonna Geek if you need more of a nerd fix. You can find Play Comics @playcomics.bsky.social on Bluesky, @playcomicscast on Twitter and in the Play Comics Podcast Fan Group on Facebook. A big thanks to Japan on Film and Screen Snark for the promos today. Intro/Outro Music by Best Day, who doesn't see the difference between these mechs and the ones he built with Lincoln Logs.Read transcript

Scott Burton and Brandon Baney highlight Wood River's championship in boys soccer.  They also preview all of the first round playoff matchups in football.Follow our Magic Valley Prepcast team on Twitter: @idahosports, @brandon_baneyLike our Facebook pageFor more Idaho high school sports coverage, visit www.idahosports.comSubscribe to our YouTube channel

A third tale of aging playthings may not entice the common-folk among us, but the savviest always knew that Toy Story 3 was certain to tug at our heartstrings in just the right way. The Pixar Pals are playing with some familiar friends and lots'o new acquaintances in this second sequel for Woody, Buzz, and the rest of the gang as they prepare to say “so long, partner” as Andy heads into adulthood and they step into a new sandbox - Lincoln Logs and all. The post PP11 – Toy Story 3 (2010) appeared first on PodCavern.

Nostalgic Toys of the 80s & 90s : 2023 Barbie Movie : ep13#podcast #nostalgia #movies #barbie #toys #gijoe #mylittleponyWelcome to our channel! Join us as we take a nostalgic trip down memory lane, exploring the iconic toys of the 80s and 90s in "Toyland Treasures: Unveiling the Magic of Childhood Playtime!" From action-packed G.I. Joe figures to the timeless elegance of Barbie, the colorful world of My Little Pony, the creativity of Lincoln Logs, and the limitless possibilities of Legos, we celebrate the beloved toys that shaped our childhoods. We also have an exciting update for you - mark your calendars for July 21st, 2023, as we eagerly anticipate the release of the new Barbie movie, which promises to bring our favorite doll to life in a whole new way. Get ready for engaging discussions, fond memories, and a deep appreciation for the imaginative playtime that these toys provided. So, grab a seat and join us on this joyous journey through the toy aisles of the past and the exciting future that awaits with the upcoming Barbie movie. Don't forget to like, subscribe, and share your own treasured toy memories in the comments below. Let's celebrate the magic of childhood playtime together!Become a supporter of this podcast: https://www.spreaker.com/podcast/random-rewind--5864735/support.

What fun, free activities can you do this Summer in Montreal? Community Reporter, Mathieu Rochette tells us more! {01:21} On our Woodworking segment with Jeff Thompson, he explains to us what Routers, bits, and Lincoln Logs are. {12:52} On this month's Book Club, we review Letters Across the Sea by Genevieve Graham, with recommender of the novel, Kamini Rodhan. {26:48}

Parenting can be an emotional roller coaster and can exhaust one. One can even be brokenhearted over raising children.

Tyler started at Candelaria Design in 2016, his first job in Arizona, after Googling some firms and submitting his resume. He moved out to AZ from upstate NY when he was 24, sight unseen, per his Aunt & Uncle's recommendation who lived out here. No architecture degree, just a drive to learn and work hard, and he's certainly proved successful at both! From a young age Tyler loved Legos and Lincoln Logs, then in high school he went to a trade school in the afternoons where he got into architecture. He went to architecture school for two years, then got a job for a structural engineer in NY, then moved to AZ shortly after.We talk about some of Tyler's first projects and current projects, how there's always more to learn everyday in this field, both technically and aesthetically, and how he's grown as a leader. We also dive into his life experiences, his hobbies beyond architecture and how driven he is to expand his potential, physically and mentally, try new things and give back to the community. Tyler is truly inspirational and we are so lucky to have him on our team! For more on Tyler & our other podcast episodes, visit our website's Podcast Page: candelariadesign.com/inspiring-living-podcast 

In this Dev Life edition of the Angular Plus Show, Brooke and guest host Jordan Powell talk with Senior Developer Stephen Cooper from AG Grid all about blogging as a software engineer. Stephen shares why he decided to get into blogging, his process for writing, & how blogging has helped him both personally and professionally in unexpected ways. We also talk about how writing takes many forms and how even reluctant writers can find their voice and a format that works for them (super hint - it may not require much writing at all!). Pull out your Lincoln Logs & marble run sets and listen in - there's something here for everyone! This is… The Dev Life!LINKS:https://twitter.com/SCooperDevhttps://dev.to/scooperdevhttps://www.ag-grid.com/CONNECT WITH US:Stephen Cooper - @SCooperDevBrooke Avery - @jediBraveryJordan Powell - @JordanPowell88

Chris Cocks is the CEO of Hasbro, a company that just turned 100 this year. Hasbro is a huge company, making everything from Transformers to Lincoln Logs to My Little Pony and Monopoly. It also makes Magic: The Gathering and Dungeons & Dragons, which are massive and growing businesses. Chris was the head of that division, called Wizards of the Coast, before he became the CEO of Hasbro overall last year. Since then, he's started the process of restructuring the company, which is pure Decoder bait.  He's also dealt with some crises: He's fended off an activist investor that wanted him to spin Wizards of the Coast out into a new company. The Magic community was upset that too many card sets were being released, including rare collector cards that could suddenly be bought by anybody who had enough money. Then, an attempt to change the open gaming license for Dungeons & Dragons led to a fan backlash, and Hasbro walked the entire plan back. We talked about these challenges, how he handled them, and what it means for toys and games to have such passionate fandoms. It really changes how Hasbro operates. He's also selling off part of eOne, the company's TV and film production company — we get into why and how he decided to do that. Chris is a lifelong gamer — you'll hear him talk about that history several times. And he's also keenly aware that toys and games have become an adults' market as much as a kids' one, and that changes the company's business strategy. This is really a remarkable conversation: toys are a big, complex business. Links: Chris Cocks Is Hasbro's Gamer in Chief Chris Cocks Statement at Hasbro Investor Day Hasbro strongly refutes claims it is ‘destroying' Magic: The Gathering Dungeons & Dragons finally addresses its new Open Gaming License Hasbro CEO on D&D fiasco: ‘We misfired' on the OGL but have ‘since course corrected' Magic: The Gathering Becomes a Billion-Dollar Brand for Toymaker Hasbro Hasbro Puts Newly Acquired TV Brand Entertainment One (eOne) Back Up For Sale Transcript: Credits: Decoder is a production of The Verge, and part of the Vox Media Podcast Network. Today's episode was produced by Creighton DeSimone and Hadley Robinson and it was edited by Amanda Rose Smith. The Decoder music is by Breakmaster Cylinder. Our Editorial Director is Brooke Minters. And our Executive Producer is Eleanor Donovan. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Tune in as Michael Jamin talks with his good friend, actor Rick Negron who plays King George in Hamilton. Discover what he has to say about being the first Latino King George, doing his first show in his home country of Puerto Rico alongside Lin-Manuel Miranda who was acting as Hamilton, and his overall Hamilton touring and acting career experience.Show NotesInstagram: https://www.instagram.com/rick_negron/?hl=enIMDB: https://www.imdb.com/name/nm0624508/?ref_=nmmi_mi_nmIBDB: https://www.ibdb.com/broadway-cast-staff/rick-negron-107348The Spokesman-Review: https://www.spokesman.com/stories/2022/apr/28/youll-be-back-in-playing-king-george-iii-in-hamilt/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutomated Transcript:Rick Negron (00:00:00):That's still the case nowadays for a lot of young dancers and, and musical theater types. They go to New York and they take dance classes and they take voice lessons, and they take acting classes, and they get that picture and resume ready, and they go to open calls. And if you're talented and you're lucky sometimes you, you get an equity show, a, a union show from an open call. It's tough. And you have to, you have to hit that pavement. And sometimes, you know, getting to know, being in the right place at the right time. I, I, I was mentioning to you before that I, I booked this H B O commercial and I met more a dancer on that show who said, Hey, you'd be right for the show. And one of the guys is leaving the show and they're having auditions at the theater, and you should go. And that's how I got my first Broadway show.Michael Jamin (00:00:50):You're listening to Screenwriters. Need to hear this with Michael Jamin.Michael Jamin (00:00:58):Hey everyone, it's Michael Jamin. Welcome to Screenwriters. Need to hear this. If you are an aspiring theatrical actor, I got a present for you and we're gonna unwrap him right now. And his name is Rick Negron. And he's been my buddy for many years. He's at my wedding. We go back, Rick. Now Rick is most famous for probably, he's done a ton of stuff though, but he's probably most famous for playing the role of king George in the touring company of Hamilton, which he's been doing for four years. But he's done a ton of Broadway stuff. We're gonna talk about him. He's also done voices. I didn't know this, but he was also he does vo he did some voices in Red Dead Redemption as well as grand Theft Auto, which I wanna know all about that as well. But mostly I wanna talk about his incredible theatrical acting career. Rick, thank you so much. Thank you so much for . ForRick Negron (00:01:47):What? Michael Jamin? I'm in the room. I'm, I'm in the room where it happens, man.Michael Jamin (00:01:52):, this is the room. This, what people don't realize is that I recorded some of this and I bone, I didn't, I didn't record, so, yeah. And this is, this is part two of our interview. I had a record over cuz I wasn't recording. StuffRick Negron (00:02:03):Happens. And you know what, Michael, you, you and I can talk till the cows come home. This is not a problem.Michael Jamin (00:02:09):This Rick's great guy, and he's gonna tell us all about. I, I, I had, so there's so much I wanted to get outta you, but first of all, what I, we were talking about is, you've been doing Hamilton, you've been King George and Hamilton, the first Latino King George, I might say, which is a big deal. And so yeah, you've been touring the country from city to city, and I kind of really wanted to talk to you about like, what is your, what is your day like when you go up on stage, you know, what are you doing before, what you're doing all before that, before you got on stage, because it's a, you've been done. How many performances have you said you're done? This,Rick Negron (00:02:44):I'm over 900 easily. I'm close to like nine 50. I, I, I don't count 'em, but every time the, the company management has like, oh, this is our 900th performance, I just kind of go, well, I've only missed maybe about between vacations and days that I've been sick. Maybe I've missed 30 at the most over a four year period. , that's, I've, I've done a lot of performancesMichael Jamin (00:03:11):And, and we were talking about this and your character, like I, I've, I hate to make you repeat it, but how do you get, like, how do you get psyched up before each show when you do that many shows? How are you, what's your process before you, you run on stage?Rick Negron (00:03:27):Well, this, this character is a real gift in the sense that it's beautifully written. Mm-Hmm. , it's just three songs. honestly, Uhhuh . I'm on stage for a little over 10 minutes, but it's so well written that if I just hook into the words of, of the songs, I got 'em. Uhhuh you. I, I, I can, I can hook my myself into that myself, into that character very easily, just with the words. But the other gift is that I have time to get ready. So when every, when the show, when we are at places and the show starts, that's when I get my wig on. Mm-Hmm. I still have 15 minutes to do some vocal warmups and get dressed. And are youMichael Jamin (00:04:12):To being like tea with lemon? What are you sit, what are you doing that day?Rick Negron (00:04:16):Nah, nah. I, I mean, I'm not a huge tea guy unless, unless I'm having some vocal distress. And then I do like a nice warm tea with honey and lemon if I'm, if, if my voice is a little wonky or my throat's a little sore. But the main thing for me for vocal capacity is sleep. If I get less than seven hours, my voice suffers. If I eat a lot of cheese and dairy, that's gonna be a lot of gunk on the vocal courts.Michael Jamin (00:04:45):But if you're nervous the nightRick Negron (00:04:46):BeforeMichael Jamin (00:04:47):Hmm. But if you're nervous, if you have, if you get stage nerves and you can't sleep the night before , right? I mean, no. Are you, are you beyond that?Rick Negron (00:04:55):Yeah, I'm beyond that. I mean, I've been in the business long enough that, that I, I get nervous. Uhhuh and God knows, I was nervous the first time I did the show in front of an audience in Puerto Rico of all places. Right. That's where we opened, right. With Lynn Manuel Miranda back in the role of Hamilton after being a away from it for a few years. That was a dream job because I'm from Puerto Rico and I literally went back homeMichael Jamin (00:05:23):To a heroRick Negron (00:05:23):Welcome star and one of the biggest shows on Broadway with Lynn Manuel Miranda and me playing the king. Yeah. I was born like four blocks away from the theater that we were at. It was just crazy sauce. So yes, I was incredibly nervous opening night. And there was my wife, my sister-in-law, in the audience you know, yes. Really nervous. But did I lose sleep the night before? No. I slept like a baby. No, really? My nerves don't really hit me until I start putting on that costumeMichael Jamin (00:05:51):. Really? Yeah. I see. I would imagine to me, I mean, I know it's a big deal to be star of a movie, but to me this to me seems like a bigger deal. What you, what you're doing in terms of, it seems like a you are lead in this giant freaking play that, I mean, one of the biggest plays, you know, of our, of our time on. Seriously. Yeah. Yeah. And you are these, you play this character who the minute he walks on stage, the place goes nuts cuz you hit a home run and then you walk out, you're the home run guy. Exactly. Bye. Hello. No. ExpectRick Negron (00:06:21):Bye. And by the way, no expectation. I'd literally walk on stage and the place goes bananas. And I haven't saidMichael Jamin (00:06:26):A word. Right. They love you before. You haven't even said anything. I mean, what a huge, I don't know. I just think this is like, I don't know, if I were an aspiring actors, that would be the part. I don't see how you, I don't know how, where you go from here, Rick Rick Negron (00:06:41):. It's all downhillMichael Jamin (00:06:43):.Rick Negron (00:06:45):No, I guess listen, it, the beauty of it is also that I've had this really long career mm-hmm. and, you know, I started out as a chorus boy on Broadway and then worked myself into understudy and then did some roles. And then finally at, at a ripe old age. I've gotten this great job and I've really, I'm at the point in my life where I'm really enjoying it. Yeah. I'm enjoying the process. I'm enjoying the traveling cuz I, I, I've toured some, but I haven't toured a lot. And this tour has been to some really great cities all on the west coast up and down the west coast. Yeah, the mountain west. In the winter I got some snowboarding in, in Salt Lake City, Denver. I,Michael Jamin (00:07:33):Where are you supposed to do that with you if you break your leg?Rick Negron (00:07:36):Yeah, I'm not supposed to do that. Can we delete that from the podcast? ? We can take that out. . It's in the past. I don't care. Okay. I, I stayed on the bunny slopes. I Right. I really took it easy. But then we spent summer in Canada, which was amazing. I was up in Calgary in the summer and went up to band for the first time in my life. And my wife, Leslie, who you know well, came up to visit and we stayed on Emerald Lake and I just spent two months in Hawaii. So this tour has just been amazing. Well, it started out in Puerto Rico, as I said, right. For a month with Manuel Miranda. And then we went to San Francisco and sat for a, a year in San Francisco. So I got to live in San Francisco Right. For a year and experienced that incredible city until the pandemic. And then we shut down for a year and four months before we started up again.Michael Jamin (00:08:27):And then, and then So how did you start? We, how did you start? Like, you know, take me back. I know you, I know you were, take me back to when you were a child. Did you, I mean, this is, did you dream of being a Broadway star like this? Like, what happened? Who, who dreams of that? Like who, how, I mean, you all dream of that, but who achieves it, I guess?Rick Negron (00:08:46):Well, a lot of people do. A lot of people do. And, and, and not everybody has the path that I had, but some of us get bitten by the bug early on. And I got bitten by the bug when I was 10. Right. And my mom was the drama teacher at school. And I guess I blame her for everything. But this mustMichael Jamin (00:09:06):Be the be like, you must be the, the crowning achievement in her, in her in her life.Rick Negron (00:09:12):Yeah. She's, but I did, she's pretty proud. And I have ano another sister who also went in into theater and and so the whole family kind of w it was the family thing we all sang. Right. we all did mu mu musicals in the local community theater and children's theater. So it was a family thing for us growing up. But I'm the one that sort of got bitten hard. And then I got involved, like at 14 mm-hmm. a choreographer. I was doing a, a mu a children's theater show, said, Hey, you've got some talent as a dancer. Come take, I'll give you a scholarship at my little dance school. And so after school at 14, I would go take ballet, jazz, tap and acrobatics after school with Susan Cable, who luckily was a great dance teacher. She had been a, a chorus person on Broadway.(00:10:05):Wow. And, and, and that's what, how I started in my dance career. And then it kind of took off. And by the time I got to college I thought I was gonna be a, a concert dancer. I was in college, I was sort of groomed to, to, to possibly go into the Paul Taylor Dance company. And I actually was not on scholarship. I was a intern with a Paul Taylor dance company for a while until I realized I'm making no money. I'm working super hard and I've always wanted to be on Broadway. That was my realMichael Jamin (00:10:42):Dream. So those people don't interchange those concert dancers. Don't, they don't.Rick Negron (00:10:46):Some do it. Usually the concert dancers, if they can sing.Michael Jamin (00:10:52):Right.Rick Negron (00:10:54):Will, will sort of move into the musical theater world and sometimes move back into the concert dance world. One of the great concert dancers of all time who I met when he was super young, Desmond Richardson mm-hmm. he was a lead dancer with the Alban AI company for many, many, many years. I mean a God in the dance world. And now he owns his own owns, he runs his own dance company, complexions. And he's a great choreographer. And he was in the bad video with me back in the day with Michael Jackson. Right.Michael Jamin (00:11:30):So Rick was in the, I should say for the, I don't wanna gloss over this. Rick. Rick was in the a dance for, in the Michael Jackson's bad video directed by Martin Scorsese. Yeah. Was Quincy Jones produced?Rick Negron (00:11:41):Yeah, 1985. I was, I was a chorus dancer at the time. I was in I was doing my second Broadway show. The mystery of Evan, Dr. My dance captain was Rob Marshall. went on to direct Chicago, the movie and many other movies since then. And, and while I was doing the show, there was this audition for the bad video and yeah, it was, it was really surreal. I took vacation from, from the Broadway show to do the video and, and, and got to meet Michael who was really sort of like, it was two people in that body. I mean, he was super shy and, and sort of very reserved, but the minute the cameras went on it, he was, he became somebody else. Right. And he was a perfectionist. 25 takes sometimes e every setup. And Scorsese was famous for just burning through film. Easy 20 Takes the video was supposed to shoot for two weeks, and I think it went for four. And this is a music video. It was the first SAG music video at the time, by the way.Michael Jamin (00:12:44):Really?Rick Negron (00:12:45):Anyway, Desmond Richardson was a young dancer at the time. There were a lot of young New York dancers in, in that show. And he famously went into the Avid Ailey company, but then he also worked on Fosse the Musical. And he also worked on Chicago. The, the movie with me. I, I got to work on Chicago, the movie cuz I had this great relationship with Rob Marshall and, and I was invited to audition. I didn't get, the dancers don't usually just get the job. You still have to come in and audition. Right. But even though, you know, the people involved it just is the way it is. And, and there was, and, and Desmond and, and I, we bump into each other all the time and we have so many memories. You know, going back 20, what is that, 85? 1985 was the bad video.(00:13:35):And I, I still bump into 'em. I I've been into 'em at the opening of the new USC school a few years ago. The School of Dance there at usc, the Kaufman School of Dance, I think it's called. But anyway yeah, people go in in from the dance world into musical theater and they go back and forth. Not a lot. Actually. We have one member of our, our of our of our Hamilton company, Andrew who was a modern dancer in the dance world and then moved into musical theater. And,Michael Jamin (00:14:04):But you were telling me how, and this is kind of important cause people are gonna be like, well, how do I break in? And you were, I mean, what, as you were explaining, it's like, it's basically you had this, you were just, you were in the circle, you were just there, and then things le one thing leads to enough simply because you put yourself there. Right. So how did you, what was your first break? How did you get that? I mean,Rick Negron (00:14:24):Every, everybody, everybody has a, a different story about first breaks. And when I was starting out, it was really different. Things have changed, you know, in all these years. Now, if you go to the right school, you can get into the right you know casting director workshop. And they see, oh, really? You, and, and maybe you get an agent out of that workshop and, and you know, it's, it, when I started out it, that wasn't the case when I started out. You go to New York, you start taking dance class at all the big dance studios where all the other Broadway dancers are taking dance class mm-hmm. . And then you pick up Backstage. Mm-Hmm. newspaper, and you go to the open equity calls for every show. I remember my first open equity call was for cats, the national tour, right after Cats had opened on Broadway.(00:15:14):And I, I had four callbacks. I got really close to booking cats, but I didn't. And and I just kept going to open calls. And that's still the case nowadays for a lot of young dancers and, and musical theater types. They go to New York and they take dance classes and they take voice lessons and they take acting classes and they get that picture and resume ready and they go to open calls. And if you're talented and you're lucky sometimes you, you get an equity show, a a union show from an open call. It's tough. And you have to, you have to hit that pavement. And sometimes, you know, getting to know, being in the right place at the right time. I, I, I was mentioning to you before that I, I booked this H B O commercial and I met one, a dancer on that show who said, Hey, you'd be right for the show. And one of the guys is leaving the show and they're having auditions at the theater and you should go. And that's how I got my first Broadway show by somebody suggesting that I go audition and I showed up at the theater and auditioned. And that night I got the job. And that's how I got my first Broadway show. The moreMichael Jamin (00:16:24):People, you know, the more you work, the more you hear andRick Negron (00:16:27):The more you Exactly. Yeah. You're in the mix. You have to in be in the mix and you have to network. And nowadays that involves, as you know social media and getting, getting followers and, and and, and putting out videos of yourself, singing and putting out videos of yourself, dancing and putting out videos of yourself, acting. I mean there's all that stuff that's going on now that wasn't going on when I started. But is, is is the new reality of how do you get into the business really. Okay. And, and when young, when young people ask me how, you know, how do I get started? And I say, well, in your hometown, get involved. Do the, do the school musicals, but get involved with the community theater. In any way you can. If, if you want to be an actor, but you know, there isn't a role for you do the work on the sets.(00:17:19):I worked on sets in community theater. Mm-Hmm. , I helped my mom. She, she was makeup artist too. And so I helped with makeup and I, I did lights. I, you know, I did all kinds of stuff just to be in the room. Right. Just to see other people work, to, to network, to meet people. And and I'm glad I did because I kind of know my way around all the different elements of theater. You know, I know what Alico is. I know, you know what all the different microphones are that they use in theater. And I, I always, I always befriend the crew. I think , as an actor, we can tend to be insular andMichael Jamin (00:17:57):Oh reallyRick Negron (00:17:58):Hang out with just the actors. I hang out with the crew. The crew knows what's up. Uhhuh , the crew knows where the good, the good bars are in town. They, you know, the crew is, and, and they're the ones that watch your back. When you're on the road.Michael Jamin (00:18:13):Now you were explaining to me the, and I didn't know the difference between, cuz you as the king, king, king George, you have two understudies, but there's also swing actors. Explain to me how that all works.Rick Negron (00:18:24):So in the show, you usually, you have the ensemble, which is what we used to call the chorus. Yeah. And then you have the leads. And in the ensemble you usually have two male swings and two female swings. So those individuals are not in the show nightly, but they literally understudy all the f the, the females understudy, all the females and the males understudy. All the males. And that's usually a case. They have two male and two female. In Hamilton, we have four female swings and four male swings. I think I'm right. Three or four. We have a lot. And that's because Hamilton is such a, a beast of a show. It's so hard. Physically. People get injured, people get tired.Michael Jamin (00:19:06):It's like being a professional athlete. It's no different.Rick Negron (00:19:08):Yeah. Yeah. And you're doing it eight times a week. And after a year it's repetitive motion for a lot of dancers. Oh. So I always tell those dancers, don't just do the show. Go, go and do yoga. Go do a dance class cuz you have to work your muscles a different way. Otherwise you're gonna get repetitive motion injuries. Wow. You know, like the same person that that screws on the, you know, back in the day when they screwed down the, the toothpaste cap every day that those muscles every day, all day long are gonna get messed up.Michael Jamin (00:19:37):But do they have like a trainer or doctor on set at all times?Rick Negron (00:19:40):We have a personal train PT, physical therapist right on tour with us. Most heavy dance shows will have that on tour. Because they need, they need the upkeep. The dancers, especially in this show work so hard. They, they need somebody to help them recover from injury. And, and just keep their bodies tuned up.Michael Jamin (00:20:04):And so let's say you get, you're in Hamilton, let's say you're, you're a swing or whatever, but, and then you're on tour, they what, give you a per diem? Or do they put you up in housing? How, like what is the, what is that really like to be?Rick Negron (00:20:15):So let me I'm, I'm gonna finish the whole understudy thing because Oh yeah. You have the swings and then you have the understudies, which are people in the chorus who understudy the leads. But then you also have standbys. And the standbys aren't in the show. Right. But they're backstage and they understudy anywhere between 2, 3, 4, 4 different characters. And so at the drop of the hat, they can say, Hey, you're on tonight for Burr, or you're on tonight for Hamilton. It, it can happen five minutes before the show. You can know way in advance cuz you know that character's going on vacation and stage management has told you, oh, you're gonna do the first five of, of, of the, of the vacation or the first four and somebody else is gonna do the other four. So you may know ahead of time and you can ask or tell your friends and family to come see you do that role. Right. Cause you know, ahead of time. But many times you, you find out last minute that somebody is sick or, or doesn't fe or hurt their knee or whatever. Or even in the middle of the show, sometimes somebody will twist an ankle and boom, we have a new bur in act two. It, it's, it's happened not a lot, but it's happened often enough that the understudies come in, warmed up and ready to go.Michael Jamin (00:21:26):But you explained to me even before every performance, even though you've done the same freaking songs for 900 times, you still mentally prepare yourself. You go through, you rehearse each, each song that you go through. So you walk yourself through it. But I can't even imagine if, like, if you, how do you prepare yourself for four different roles possibly. You know, like how do you do that? It's like you, it'sRick Negron (00:21:49):Crazy. Yeah. They, they, I know some of them will go over like difficult passages in the show because there's, there's moments in the show, like for Lafayette he's got in guns and ships. He's got some, some rap that are so fast. Yeah. That I, I know the understudies will go over those, what, what we called the, the, the moments when you can trip up. You go over those moments before you go on, but the rest of you can't go through the entire show. Right. Just pick and choose those moments where you can like go backstage and just go over your words and make sure they're, they're, you know, under your belt. I go over my words because I sing the same tune three times, but with different lyrics. Right. And the, and the trap is to sing the wrong lyric in the wrong song, which I had done. And it's, there's nothing more embarrassing and gut wrenching than to sing the wrong lyric in the wrong song. And you just have to find your way back. And it, they call it walking into the white room. And because literally what does that will happen and your mind will, your mind will explode, your armpits will explode with sweat. Your eyeballs will get this big, your throat will dry. It is flight or flight or flight moment.Michael Jamin (00:23:07):Yeah. AndRick Negron (00:23:08):It's so hard to, to like try to grasp the right lyric. And, and you're in, you're literally in a white room. Yeah. And you're going, oh shit. How, how do I get back?Michael Jamin (00:23:20):Right.Rick Negron (00:23:21):And for me it's a little easier cuz my song is nice and slow, but can you imagine being Hamilton and you're rapping a mile a minute and you go into the white roomMichael Jamin (00:23:29):And do you guys talk about that? OhRick Negron (00:23:32):Yeah. Yeah. Famously on Broadway, there, there, there was a something called Burst Corner. Uhhuh which was, I, I forget who started it, but I think , they, they told 'em not to do it anymore. It was something where they post on Instagram or Facebook. Oh. so-and-so, you know, said this instead of what they should have said, you know, basically coming out and, and owning your faux PAs during a live show. Right. I remember when I did Manda La Mancha with Robert Gole on tour. He used to make up lyrics sometimes. And we, and one of the guys in the show started jotting them down. And at the end of the tour, they basically roasted him at a, at the closing night party with all the lyrics that he made up throughout, throughout the entire thing. And he was not amused.Michael Jamin (00:24:20):He was not amused. I was gonna say, IRick Negron (00:24:23):Was not amused with that one. Okay. But my favorite faux pod of his was we were in Nashville and he started singing Impossible Dream. And he's sang to dream the Impossible Dream to fight the unat of a fo to carry Moonbeams home in a jar.Michael Jamin (00:24:41):And there was like, what?Rick Negron (00:24:44):That's a big Crosby song. Oh, funny. Carry Moon Beams Home in a Jar. It's an old Bing Cosby song. And he just pulled that lyric outta nowhere and inserted it into the impossible dream. And everybody backstage just went,Michael Jamin (00:24:59):What do he say? Oh my God. That's hilarious.Rick Negron (00:25:03):But you know, I I'm, I'm, I might be roasting Robert Gole at the moment, but everybody's had those moments. Yeah. Especially in Hamilton, it happens cuz the, the words are coming fast and furious and boy, if you miss that train or you screw up, oh, it's hard to get back on.Michael Jamin (00:25:18):And I imagine ifRick Negron (00:25:20):You do, everybody does. Everybody, if youMichael Jamin (00:25:21):Do it one too many times, are you looking at unemployment?Rick Negron (00:25:24):Mm-Hmm. ? No. Really? No. Yeah. I mean, nobody does it one too many times. Uhhuh, . I mean, some understudies have more bumps in the road than others. Uhhuh. . But you, you, you know, we give them a lot of grace because being an understudy is really hard. Yeah. And so when somebody's honest and understudy you, everybody has their, their, their side view mm-hmm. just because they, they might be in the wrong spot in a certain moment or cross a little differently than the usual guy. So you just have to have some grace. Don't get upset if they're in the wrong spot. You know, just maybe nudge them a little bit or pull them or, or, or just watch out for them and don't bump into them because, you know, somebody is on. I, because I've understudied so many in so many shows, I have a lot of empathy for, for understudies and swings and, but I, I, I don't, in my experience, and I've been in a ton of shows, I haven't been around somebody who's messed up so much that they've got gotten fired. Usually when somebody's not up for the task creatives know during rehearsals that they're not cutting it. Uhhuh . And then so somebody will get, will get let go. Right. the only other time I, I remember somebody lost their voice and, and took time off and came back and lost their voice again. And it was just a situation where they couldn't do the job. Their voice just, wow. Their voice just couldn't ha hack it. And so, you know, those are tough and difficult moments. They don't happen often, but it happens.Michael Jamin (00:27:09):Wow. Yeah. And now you were also telling me, which I thought was fascinating, is that your character, because he's the king, you were talking, you know, how, how your character has evolved, you playing the same exact part has evolved over, over all these years of you playing it.Rick Negron (00:27:24):Yeah. It's, it's been a gift. I'm, I'm, you know, I've realized early on that theater really is my thing. Even though I did some TV and film when I moved to la I, I didn't, I didn't really love the work. Right. It sort of felt a little bit empty just in the sense that, you know, you sit in a trailer for hours and hours and then you get a couple of rehearsals and you shoot and you're done. And that's it. You know, and it's on, it's out there for posterity and you walk away from the, from the gig going, oh, I could have done this, I could have done that. But in theater, you get to redeem yourself every night. You know, if you screwed up the night before, you, you make it better the next night. And I love that about theater.(00:28:07):And and so for, for me I just get better over time and people say, oh, but don't you get tired eight times a week a year. I don't. I I like to, I like to tell people that it's, it's almost like being a potter. You have the same, you know, square block of clay and you're making that same pot. But every time you're doing something a little bit different and you're learning from the, the, the, yesterday when you made that pot, today you're making the same pot, but you learn something new, you discovered something new, making this pot, it's still the same pot, but you're, you may be doing a little filigree or a little curve here, or a little something different. So every night you get to shape this pot a little bit differently. And that's, for me, that's the, the beauty of it.(00:28:59):That's the challenge. I remember early on with, with this, with this character, I was in rehearsals and the the associate director Patrick Vassell said, you know, Rick, this is interesting. Most guys come in with a really large, over the top take on the king. Mm-Hmm. , you're coming in with a very spare low-key take on it. I mean, we're gonna build you up, which is usually not the case with this character. And build, build him up. Not make him bigger, but just give him more depth. Okay. And that was the rehearsal process for me. And then when I started working with Thomas Kale the, the director of Hamilton right before we opened in Puerto Rico, he said, the trick to this guy is to make him, make him as simple and as small as possible because the king can, with one finger kill a whole community. Right. Know, he just has to say, those people are gone and they're gone. So he doesn't have to do much. He has all this power. So that, that was like the best bit of information for me. And so the challenge is over time is to do less.Michael Jamin (00:30:14):Right. AndRick Negron (00:30:14):Still with all the homework that you've done and the character work that you've done, but do less. And I, and I was telling you this before, that you walk out on stage Yeah. And the audience goes crazy. And, you know, there's all this expectation and sometimes you get suckered in by this adoring audience to do more. Right. But you have to fight that feeling and do less. And that's,Michael Jamin (00:30:38):It sounds like though you got conflicting notes though. No. They directed the eight. Well,Rick Negron (00:30:43):I think because in rehearsal I was still sort of finding my way with him. Uhhuh . And instead of making this broad fabish character, which is how somebody who starts with King George and thinks, oh, I'm just gonna do this and make him big and fabish. Right. that's sort of a two-dimensional view of, of the king. And I came in with a lot of research about the guy and thinking, I, I, I don't wanna make him this two-dimensional caricature. Right. I really wanna make him a, a guy who is number one dangerousMichael Jamin (00:31:21):Uhhuh ,Rick Negron (00:31:21):Who has a lot of power and who, who is feeling jilted, but won't allow you, you can't break up with me. Right. I'm breaking up with you. You know, that kind, that kind of dynamic in this, in the first song specifically. And so I came in with that and he said, that's great. Now we're gonna just work and put more layers on him, but not necessarily make him bigger, but just give him more layers.Michael Jamin (00:31:52):Let me ask you the, because when you're in, when you say, you know, you're the analogy of making a pot, are you going into the performance thinking, I wanna try this today? Or are you so into character you forget and, and somehow it it organically arises?Rick Negron (00:32:10):I try to stay in, in the more organic realm.Michael Jamin (00:32:13):Uhhuh, ,Rick Negron (00:32:14):Because I think that's where the really good stuff is. The stuff that just pops out of you.Michael Jamin (00:32:20):But you can't make that happen. That's the problem. Yeah.Rick Negron (00:32:23):If, if, if I plan somethingMichael Jamin (00:32:26):Mm-Hmm.Rick Negron (00:32:26):, I, I feel like it, it feels fabricated a little bit. Right. And so I, I try not to, but sometimes I'll get a note from, we have a resident director that travels with us, and also sometimes the director or the associate director will show up to whatever city we're in and will watch the show and give us notes and say, you know, in this moment, maybe try this or try that. And so I really pay attention to those notes and I try to implement them, but I try not to I try not to quote unquote fabricate them or, or, or think too much on it. I try to, maybe, maybe the best thing that I can say is I'll tr I'll try on my own four or five different ways to achieve that note. Mm-Hmm. . Okay. I can, I can, I can make it more dangerous in this section if I lean into this word or if I, you know, take a pause or whatever it is. I'll come up with four or five different ways to get the note across and then let whatever which one pops out pops out when it, when I do the performance. So I give myself some choices. So I don't, so I don't get, I don't pigeonhole myself into a specific choice, which then feels fabricated and fake.Michael Jamin (00:33:51):Right. But do you ever get into the part and then n notice, oh, I, I just slipped out of it. I, I'm, I'm, I'm observing myself now. I'm not in the partRick Negron (00:34:00):Happens all the time.Michael Jamin (00:34:02):And what do you do? How do you get back inRick Negron (00:34:04):The words the text will save you for every writer out there. Thank you. Because the text will save you. You have to get back into, into what it is you're saying. When, whenMichael Jamin (00:34:16):You, but the words are in your head that you don't, you're not reading something, they're in your head.Rick Negron (00:34:19):You're in your head, but in your head. I've been doing this so long that I can be in the middle of my performance and going, Hmm. That wasn't good. Right. Like, I'll be criticizing myself while I'm doing it,Michael Jamin (00:34:31):But that's not good. Now you're out of character.Rick Negron (00:34:33):Now I'm out of character. Now I'm in my head. Right. And the first thing that I'll do is I'll, I'll bite something. I'll bite a word or I'll, I'll make a gesture. Or basically I'll snapped my myself out of that.Michael Jamin (00:34:47):Do it.Rick Negron (00:34:48):I guess. I didn't silence my phone.Michael Jamin (00:34:51):That's okay. So,Rick Negron (00:34:52):Interesting enough. That's, that's the resident director of Hamilton just texted me.Michael Jamin (00:34:57):. He can wait. It's not important.Rick Negron (00:34:59):No. She, she, luckily this is she. Yes. Better. Sherry Barber. Amazing director.Michael Jamin (00:35:05):So we that's my next question though. I wanna talk about that. But, so, all right. So you snap so you, you, you get back into it with a physical, something physical, a gesture or something.Rick Negron (00:35:14):Physical or, or, or, or vocal. Yeah. Or some different intention. Yeah. Just mix it up. Right. Mix it up. Yeah. Do something different that, that's gonna get you outta your head.Michael Jamin (00:35:27):Right. I mean, I mean, I would think that we, that way my fear is going up, going up, forgetting, oh, what, what's my line? Line? Oh,Rick Negron (00:35:34):It is, that's every actor's fear. And, and, and if anything keeps me nervous, it's that, it's the fear of, of messing up. But the, and people say, oh, how do you get over being nervous? And I always say, you, how, how do you get to Carnegie Hall? Yeah. Practice, practice, practice. Confidence comes from being, I can sing that song with another song, playing over a loud speaker. That's how well I know that song.Michael Jamin (00:36:04):Really. With another song playing. There'sRick Negron (00:36:05):Another song playing over the loud speaker. And I can sing my song while that song is playing. That's how much in the bones in my cell that song is. See, I just have to, I, I rehearse, rehearse, rehearse, rehearse, rehearse.Michael Jamin (00:36:18):Do you think it's possible to over rehearse?Rick Negron (00:36:21):Yeah.Michael Jamin (00:36:22):Uhhuh. . Yeah.Rick Negron (00:36:24):But I mean, for me, you know, every actor's different. For me, my comfort, what gives me my comfort zone is, and, and gives me confidence, is feeling like I, I know this inside out, left, right. I, I know ev Yeah, I know this. I got this Uhhuh . That's how I getMichael Jamin (00:36:46):There. But, but you don't feel that way in opening night cuz you haven't done it 900Rick Negron (00:36:49):Times. No, no, no. You haven't done it 900 times. So you just, you you, I go back to my yoga and I, I I do some deep breathing mm-hmm. and I try to focus on the intentions of the character. What is he trying to do?Michael Jamin (00:37:05):Do you, do you sometimes kick yourself? Like, do you feel like, oh, I wasn't in the Tonight Show. I was, I tried. I wasn't in it. I wasn't in it. OhRick Negron (00:37:14):Yeah. I walked out, I walk off stage sometimes and go, Ooh, that was terrible. Or whatev, you know, I'm, I'm my worst critic. Right. And sometimes I walk away and go, oh, that was good.Michael Jamin (00:37:26):Right. Because you're justRick Negron (00:37:27):Lost. I don't pat myself on the back as often as I should. Uhhuh , I'm usually more critical of myself. And, you know, and now I try, I try to not beat myself up as much as I used to. I try to be a little kinder to myself, but yeah, I totally walk away sometimes going, oh, that was, that was not your best.Michael Jamin (00:37:46): . And, and so these, these directors, like, what do they, what's their job? Because they didn't direct the show. The show has been choreographed. It's been directed. Now they're just jo they're just there every night to make sure it doesn't go off the rails.Rick Negron (00:37:59):Yeah. PrettyMichael Jamin (00:38:00):Much tune things.Rick Negron (00:38:01):Yeah. And the really good ones, like, like sh like our our resident director Sherry they're there to keep it fresh. And so she's constantly feeding you ideas. Hey, what, what if we do this? What if we do that? How about, how about, you know, and, and that's, she, she's great at bringing new ideas to something that we've been doing for four years,Michael Jamin (00:38:27):But I'm not sure how much I would wanna hear that if I were you. Like, you know what I'm saying? Like, oh, I love it. This is what I You love that.Rick Negron (00:38:34):I love it. I love trying new stuff. I love messing about with that pot that I'm creating. Oh, what about, why, why don't you do a lip on, on, on the top? Oh, yeah, yeah. Do it. We'll curl out the lip on the top. I've never done that before. Right. Why don't we do that? You know, I did something a few months ago at the end of the song, the song I famously go, famously I should say the, the king famous famously says, and no, don't change the subject. And he points at somebody in the audience and he gets, he, it's a rare moment where he gets upset. Uhhuh . And that's, and, and if you've seen the Disney Plus, Jonathan Gruff famously just spits all over the place. It just is, it's, it's an explosion of saliva. And it's, it's a brilliant moment. I think. I think his take on the king is, is wonderful and he sings it so well. And and I usually point, they want you to usually point in sort of the same area of the, you can point anywhere, but they, they usually take point over here. And I always point over there, and one night, man, this is maybe about four or five months ago, one night at the end of the song, I went, I went,Michael Jamin (00:39:45):I'm watching youRick Negron (00:39:46):Uhhuh . Like, I pointed to my eyes and I pointed to that person who I had pointed to earlier in the song. And no, don't change the subject as if that's my one nemesis in the room. And I'm just saying, I'm watching you . And it got such a reaction, right. That I kept it, it's been my new little bit until I, until I decide I don't want to, or until, you know, the associate director walks in and goes, you know what? I don't like that thing that you do at the end, cut it. And I'm like, okay, it's gone. Right. Well, think of something else. You know, unless there, there's always, there's always something right. That I can think of. And that's, that's the fun part that I can always improve it, I can always make it better. I can always have fun with it.Michael Jamin (00:40:29):Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You could unsubscribe whenever you want. I'm not gonna spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.Michael Jamin (00:40:53):I'm surprised you, I mean, I, I would wa I'm curious like, but you allowing yourself to watch, you know, Jonathan Grots version as opposed, you know, is that, are you, do you, you know, what's that like, you know, cause character yoursRick Negron (00:41:08):Now. Yeah. I saw him do it originally on Broadway when I saw the show in previews. And then of course I saw him do the Disney Plus version. And then when we were in rehearsals in 2018 for our company, we were the third national tour to go out when we were in rehearsals, they said, oh, you you know, you can go stand back in the, at the back of the house at the Richard Rogers and watch the Broadway company. And at that point, the king was Ian I'm forgetting Ian's last name, but he's, I think he's still the king right now. He's been there for a long time. He's brilliant. Uhhuh as the king. And I watched him play the King while I'm in rehearsals for the King. Right. And for me, I wish I could see all the kings really? Because really they all do something different. And, and you, and, and the stuff that's really good. You wanna steal it, man. You wanna, but can you, I mean, love that,Michael Jamin (00:42:00):But can youRick Negron (00:42:00):Take it from the best baby steal from theMichael Jamin (00:42:02):Best stuff from the best.Rick Negron (00:42:04):Interesting. Yes. I mean, you gotta make it your own. You can't do the exact same thing. Right. But, but it, for me, it feeds me as an actor. I'm like, oh, what a cool idea. I should, I can do a version of that or Right. Or so. Oh, that makes me think of something else. You know, I, I I, yeah. I I love it. DoMichael Jamin (00:42:20):You get together and talk with the other kings at all? Yeah.Rick Negron (00:42:23):I've met the king that's on on Zoom, actually. I haven't met him in person, but the guy Peter Matthews who, who does the Angelica tour and he's been doing it for a while. Most of the Kings. It's a, it's a nice gig. So yeah, you stick around right. As long as you, you know, want to, or as long as they'll have you. Right. And Hamilton's been really great about, you know, letting us stay. But Peter Peter's really a funny guy and I haven't gotten to see his king because obviously I'm doing it at another part of the country while he's doing it. But I would love to see him play the King. Really. yeah. And Rory O'Malley, who played it here in la, he did the first national, he I think Tony Winter for book of Mormon. Fantastic guy. I met him in San Francisco when he came to see our company. I'd love to see his cane cuz he's a great singer and, you know, everybody's got their, their their take on him. And I, I find it fascinating to see what somebody does with, with this character.Michael Jamin (00:43:25):Right. Cuz there's so much, there's so much. Yeah. That's so much how much constantly reinvented fun,Rick Negron (00:43:29):Fun role and,Michael Jamin (00:43:30):But by still, but you still gotta remain true to what the words are and what the intention of the words. But it still can be interpreted while still being true to thoseRick Negron (00:43:38):Words. Which, which is the beauty of, of, of, of Hamilton and, and I give a lot of credit to the creative team, is that yes, you have to sing the words and sing the melody, but you get a lot of creative license to, to make it your own Uhhuh . And so if you see our company of Hamilton and then you see the Broadway company of Hamilton, it's almost like two different shows. Right. It's the same show. But because you have different actors in those roles, it's pretty remarkable the difference in the companies.Michael Jamin (00:44:10):And tell me a little bit more about some of the other Broadway and traveling, because you've had such a resume, man, such a resume.Rick Negron (00:44:17):. Well, you know, I, I started back in the eighties as a, as a Chorus Boy and, and doing some really cool shows. Man La Mancha, the Goodbye Girl, theMichael Jamin (00:44:27):GoodbyeRick Negron (00:44:27):Girl leader of the Pack. I, I did, I did In The Heights on Broadway Right. For a couple of years. That's when I, I actually did a workshop of In the Heights in 2005 with Li Manuel Miranda and the whole gang, and I got to meet them back then. So they've been good loyal friends since then. Yeah. And, and have kept me employed for many years. I hand, you know, hats off to them . Oh, I do have hair by the way, but it was kinda messy. So I put on my, my hat. YouMichael Jamin (00:44:58):Could have worn your wig, your powdered wigRick Negron (00:45:01):. Oh yeah. IMichael Jamin (00:45:02):Used to wear, Hey, I'm always in characterRick Negron (00:45:04):. Yeah, A actually I have I'm, I have a few weeks off right now, which is why I'm home in la Right. Because we just did Hawaii and, and the show had to pack up and, and be put on the ship to come back to the us So they shipped, the show changed and that's how we, how it got to Puerto Rico too, which is why it makes it kind of difficult to send those shows to the, the Islandss because they have to ship it.Michael Jamin (00:45:29):But even still, how long does it take to set up for them to build, you know, build the set?Rick Negron (00:45:36):Well the shipping of it took a, takes about two weeks.Michael Jamin (00:45:40):All right. But once you're,Rick Negron (00:45:41):But then once it all gets there, our crew can, can put the set up in day and a half.Michael Jamin (00:45:47):Wow. Okay.Rick Negron (00:45:48):It's, it's like, it's all been carefully crafted. It's like Lincoln Logs, everything fits together, butMichael Jamin (00:45:54):Stages are different sizes. That's what I don't understand.Rick Negron (00:45:57):Well, they ahead of time, the, the production management and, and, and, and company management, they sit together and they go, okay, these are the cities that we're doing, which is the smallest theater we're in Uhhuh , that, those are our dimensions. We can't, we can't get bigger than that.Michael Jamin (00:46:15):But you can put a smaller on a bigger, on a stage, you can put a small,Rick Negron (00:46:19):Yeah, yeah. And the show, I mean, the show was made for the Richard Rogers, which is a pretty small theater. I mean, it's an old 1920s Broadway theater, Uhhuh , that seats about 1300. So it's pretty small. And the stage backstage is kind of small too. So most of the theaters that we do on, that we go to on the road are much bigger than the Richer Rogers. Okay. So they just, you know, they just do black baffling on the sides and just make it more of a letter box. And it works. It works. As long as we're not in a place that's smaller than our set. And some shows have what they call a jump set, which means that while we're in one city, we have a, a second set that goes to the next city and gets built. And so that we close in, in Boise on a Sunday and we open in Salt Lake City on a, on a Tuesday, you know, but let's say one day.Michael Jamin (00:47:13):But let's say that you're doing a dance number and the stage is this big and your's, the dancer, you know. Okay. Six pace steps to get my next mark on a bigger stage. It's, isn't it more steps or No,Rick Negron (00:47:23):No, no, because you're, you're, regardless of the size of the stage you are set. It remains the same.Michael Jamin (00:47:30):Okay. So no one will go out of that.Rick Negron (00:47:32):Yeah, no. Yeah. We'll, we'll we'll never stretch it. Right. The set itself never gets stretched. If anything, the, the theater will come in with, with black you know what the, what they call the legs, those are, you know, a break a leg comes fromMichael Jamin (00:47:48):No,Rick Negron (00:47:48):Literally they, you know, break a leg is good luck. But it literally means the legs are those black drapes that come down in the front and also in each wing.Michael Jamin (00:47:59):Okay. SoRick Negron (00:47:59):When you, when you, when you go on stage, sometimes you have to move that drapery to get on stage or to, if you're gonna go in front of the, the, the in front of the curtain, you, you, you move it with your arm, you break the leg.Michael Jamin (00:48:15):So you're not, so you're not literally break. Okay. So you're,Rick Negron (00:48:18):You're not literally breaking the leg, you're not breaking anything. Parting, parting the drapery to go on stage.Michael Jamin (00:48:23):Oh. So this is very interesting. This is gonna be, yeah.Rick Negron (00:48:25):Yeah. It's a little theater trivia for Yeah. The, the folks out there.Michael Jamin (00:48:30):Fascinating. Now. Okay, so on a regular day, you go to a town, your new, your your new city or whatever, and they give you a per diem to Yeah. Goodbye lunch and get out apartmentRick Negron (00:48:42):Diem. The union sets a weekly per diem. And that is for you to spend as you wish. Uhhuh, . And then also company management way ahead of time will say we have three or four different hotels that we've negotiated a special deal for and choose which one you want to stay in. And these are the prices and these are the amenities and people choose from that list of hotels. But a lot of people nowadays are doing Airbnb, especially on a tour where you sit in a city for four weeks, five weeks, six weeks. The shortest stays we've ever had have been two weeks. But we've, we've done six weeks. And so a lot of people do Airbnbs cuz you have a kitchen and you have a washer dryer and more, you know. But isMichael Jamin (00:49:26):It, is staying in a hotel more fun? Is that dorm living, is that more fun for the cast?Rick Negron (00:49:31):Some, no, I don't think it's more fun for them. Some stay in the hotel cuz it'll be right next to the theater. And that's convenient. Yeah. Especially if we are in Denver and it's seven degrees outside. Being, you know, li living right near the theater is really cool when it's, when the weather's bad. But most people, a lot of people nowadays, they're getting Airbnbs and they're rooming together. So three or four people can get a really cool house.Michael Jamin (00:49:57):But I'm picturing Rick Negron (00:50:00):And, and they save money because they're rooming together. Right. So, you know, the rent, their ability to pay rent, I mean now they can use their per diem to live on, not just for their place to stay. They canMichael Jamin (00:50:12):Have you shared, have you shared apartments or No. Does the king, does the king have his own place now?Rick Negron (00:50:16):, I'm too old to have roommates. You're tooMichael Jamin (00:50:18):That crap.Rick Negron (00:50:18):I had roommates in my twenties and thirties. I'm done. But the only roommate I have is my wife. And CauseMichael Jamin (00:50:24):You're right.Rick Negron (00:50:24):But she's not really my roommate. SoMichael Jamin (00:50:26):My like, my naive opinion of what it must be like is like in high school when you're in the play it's like, you know, or even at a high school, you know, community, you are like, Hey, it's the, we're all the, it's the group, we're the gang, we're doing everything together. But once you become a pro, that's not the way it is. Huh? It's not likeRick Negron (00:50:45):It is at first it is, it's the honeymoon phaseMichael Jamin (00:50:49):Real. Okay. Where you're like hanging out togetherRick Negron (00:50:51):Where we all just meet and Oh, I know that person. We did a show together a long time ago. And so we become a little bit of a clique and then the, the cliques start happening early on. But we're one big happy family. Right. And we have opening night parties and you know, and all that occurs early on. But then the clicks really start creating Right. You know, the, the peop certain people start to hang out together. We had the, an our, our company's called an Peggy cuz each separate tour has a different name. There's the Angelica tour, the Philip Tour. These are characters in the show. Right. And Peggy is the third Skylar sister. So we became the third company. So we are called the An Peggy tour and we're, and there's a group of us we're called the, an Peggy Alpine Club. And literally, literally a bunch of us who like to hike and, and do outdoorsy stuff. We went snowboarding and skiing a lot in the winter. We, a lot of us got scuba cert certified for our Hawaii stay. Wow. And we've done incredible hikes all over the place. So that's our little clique. But also, you know, people that have, are married and right on tour together or have ki there's a few people that have kids on tour. They get together a lot.Michael Jamin (00:52:07):So and they bring their fam, they bring their kids on onto tour with them.Rick Negron (00:52:10):Yes. There's some people that do that. Yes. But some, some, someMichael Jamin (00:52:16):Like little kids are like high school age. Like you can't be like a high school-aged kid.Rick Negron (00:52:20):No. Most, most of 'em have young kids. You gotta understand. I, I'm working with a bunch of 20 and 30 year olds. Right. And I'm the oldest guy by far in, in, in, in, in the, in the company.Michael Jamin (00:52:30):What's that like being the oldest guy in the company?Rick Negron (00:52:33):Oh, I love it. Love. I used to be the youngest guy then I was, you know, in the same age as everybody. I love it because I as a king too. I, I have plenty of time to sort of mentor everybody. Yeah. And so I've become a little bit of, I, I'm the cheerleader. I check in on everyone and say, how you doing? I'm, I used to be a ma massage, massage therapist. So a anytime peop people are having issues. I, I'm close friends with our, our physical therapist that tours with us. So we work on people sometimes together in tandem.Michael Jamin (00:53:03):What is it they're worried? What is it they want mentoring at the, the career strategy? Like what, youRick Negron (00:53:08):Know, that this career strategy, sometimes it's just dealing with personalities in theater sometimes there's some, some headbutting. Um-Huh. sometimes people are just having problems with a, a particular, an understudies having a problem with a new character that they're understudying or, you know, there's issues on stage with somebody who doesn't quite know where they're supposed to stand at a certain point. Right. And all that is internal stuff that should be worked out with the dance captains and the stage management and, and the resident director. But you know, unfortunately, actors, you know, we have huge egos and, and they're also very fragile egos. And so there's a, a, a bit of nuance involved and people get their, their panties in a twist. And I'm, I'm usually the guy that comes around and, and talks people off the ledge sometimes. AndMichael Jamin (00:54:02):I would imagine we be very hard even, especially for the new guy or the new woman coming in, youRick Negron (00:54:06):Know? Yeah. And I, I I, I, I tend to be the welcome wagon too. Right. You're the new ones. Come on, I'm the king. You know, I'll show you the ropes.Michael Jamin (00:54:13):Wow.Rick Negron (00:54:14):So, so that's, I, I like taking that mantle, not just because I'm the king, but also because I'm sort of the senior member of the Right. And I've been around the block and people have asked me, you know, I'm sick and tired of show business. I want to do something else. And I'm like, you know, that's, I hear that I've, I've had that conversation many, many times in my career.Michael Jamin (00:54:34):Interesting. So why, yeah. I would think, see, right, you've made the touring company of Hamilton, it's pretty much the peak, you know, like, you know, forRick Negron (00:54:41):A lot of 'em want to do Broadway. So they're, you know, they're still focused on doing that Broadway show. And some of them have done Broadway, have done the tour, and, you know, they wanna settle down and meet somebody and have a Right.Michael Jamin (00:54:53):So they want to, is that, is that what the problem is? They, you know, they're done with the business. What, what's the problem?Rick Negron (00:55:00):Well, I mean, you know, you, we've got the new kids who are just starting out who wanna know about, you know, how do I get my, my foot in Broadway? You know, and there's those kids, and then they're the ones that have been around for a while who wanna maybe transition out of, out of the business and, and want some there was one girl who was interested in massage therapy. Oh, wow. And I said, you wanna become ao? Okay. Well, this is what you need to do. And matter of fact the union has something called what is it called? Career Transition for Dancers, which is a, a, a program where you can get grants to do some further education. So if you wanna learn how to be a massage coach, wow. Get a grant through the union. And, you know, I know some of this stuff so I can impart some of that knowledge. And for the young kids who, you know, I wanna get on Broadway, I'm like, okay, well, to get on Broadway, you have to be in New York. And while you're on tour, you know, can't do that. It's hard to get into that audition for that Broadway show. ButMichael Jamin (00:55:57):Are you still in those circles? I mean, it seems like you, I don't know. It seems like you must know. I don't know. You're, I, I guess I'm completely wrong. If you were you know, a dancer on the touring company, Hamilton seems like it wouldn't be that hard to, to find out about an audition on Broadway. And certainly wouldn't be that hard to get a job, because you're obviously really good.Rick Negron (00:56:18):Yeah. and we've had a few people leave our tour to go do a Broadway, Broadway show. I mean, actually, we just lost like two or three people to, one Girl is doing Bad Cinderella. She left our show to Do Bad Cinderella, which is a new Broadway show, a new Andrew League Webber show. Mm-Hmm. . Another guy just left our show to do the, the Candor Nbb, New York, New York that's opening on Broadway soon. So that does happen luckily with the advent of auditioning remotely via video that's helped things out a lot nowadays, so that if you're in Portland on tour, you can send in an audition via video for something back in New York.Michael Jamin (00:57:02):Even dancing. You can, like, you pull the camera back and you do some dance steps. I mean,Rick Negron (00:57:06):Is that what you do? Yeah. Or sing a song or, or, or, or read a scene. Okay. depending on what's needed. And sometimes you, you are able to take a personal day and fly back to New York and audition for something. Right? Yeah. Michael Jamin (00:57:23):Cause I would think, and I, I don't know. Obviously, I don't know it, I would think that if you're in Ham, the touring company of Hamilton, you're practically on Broadway and it's like, it's almost the same circles, except this is where the job is, you know?Rick Negron (00:57:34):True. But if you've been on tour for a year, you'd like to settle down and stop living out of a suitcase. I It'sMichael Jamin (00:57:39):Hard to be on the road.Rick Negron (00:57:40):Yeah. Or you've been doing Hamilton for a while and you just wanna do something different. Yeah. There's those, those kids, you know, they're hungry, they wanna do different stuff. Yeah. They don't wanna be on tour on Hamilton for four years like I have, but I've done a lot of stuff andMichael Jamin (00:57:53):Yeah. What, let's talk about what other, what, yeah, let's talk about some other, we, we, I think we got off track of your other Broadway shows and, and Off Broadway and not touring shows, rather.Rick Negron (00:58:01):Well, you know, I started, I started out young in the biz at 10 cuz my mom was a drama teacher. And then I sort of worked my way through community theater and children's theater and all that. And, and then I was a concert dancer in college and studied for who? Well, I, in college I studied modern dance in, in ballet. But when I got outta college, I, I was an

Show: Murder MapsEpisode: Finding Dr. CrippenYear: 1910In 1910, ladies were still not allowed to vote but I'm sure if they could vote, they would all vote Dr. H. Crippen "The Biggest Douche." Dr. Crippen was an American in London.  When Cora, his musical wife, disappears after a long night playing Whist, the media pounces on the story.  Dr. Crippen and his missing wife become a notorious  true crime tale for the ages.  Support the showCheck out our website: https://www.buzzsprout.com/837988 Linktree: https://linktr.ee/itsalwaysthehusbandpodcast Like our Facebook page and join our group!! Instagram: @itsalwaysthehusbandpodcast Twitter: @alwaysthehubs Etsy Shop: https://www.etsy.com/shop/ItsAlwaysTheHusband?ref=simple-shop-header-name&listing_id=776055218 Theme song by Jamie "I'm Gonna Kill You, Bitch" Nelson

On today's 2 Pros and a Cup of Joe, Jonas Knox, Brady Quinn and LaVar Arrington are pumped up after hearing Kirby Smart's profanity-laced pregame speech that went viral after Georgia's beatdown of TCU in the National Championship. A debate over Lincoln Logs and Legos. The Bears are in a tricky position with Justin Fields and the 1st overall pick. Plus, the end pf the Carlos Correa saga, John Calipari rumors and much more!See omnystudio.com/listener for privacy information.

On today's Best of 2 Pros and a Cup of Joe, Jonas Knox, Brady Quinn and LaVar Arrington are pumped up after hearing Kirby Smart's profanity-laced pregame speech that went viral after Georgia's beatdown of TCU in the National Championship. A debate over Lincoln Logs and Legos. The Bears are in a tricky position with Justin Fields and the 1st overall pick. And the Old P, Petros Papadakis talks about the rainy day at SoFi Stadium for the National Championship and his new bearded dragon. Plus, more troubles withSee omnystudio.com/listener for privacy information.

Anna Davlantes, WGN Radio's investigative correspondent, joins Bob Sirott to share what happened this week in Chicago history. Stories include the birth of the pinball machine, the invention of Lincoln Logs, the first location of Poppin Fresh Pies, and more.

The festive season is just around the corner and you know what that means, it's gifting season. Everything about December screams warmth, love and joy. And what's better than the joy of gifting little kids? Do you want to give little kids toys that are not only fun but also educational? Well, it is possible to mix fun and learning together with the types of toys mentioned below. Let's look at some kid's toys that are not only fun but also have an educational aspect: 1. Building blocks: Any toys that inspire your youngster to construct and create! It is best used without a prescription to let your child's creativity flow, though it can come with instructions to help direct your child's imagination. Who doesn't adore a box of building toys like Legos, Lincoln Logs, bricks, or other? Children can spend hours creating cities, vehicles, monsters, tall structures, and anything else that comes to mind. In a way, that's the whole goal, right? 2. Dolls, action figures: A child is learning how to communicate with others when she brings a stuffed animal around with her wherever she goes and talks to it and plays with it. She treats her barbie dolls the same way. Her favourite stories are "heard" by the dolls, figurines, and puppets, who also assist her in telling new ones. Children use their imaginations, practise communication skills, and improve their storytelling abilities as they play with toys featuring their favourite characters. 3. Sensory toys: The area of the brain that detects and responds to sensory stimuli is stimulated by sensory toys. Toys for the visual sense flash, light up, show patterns, and alter the colour. Vestibular toys, like swings or the usage of a skateboard, lift a youngster off the ground or a chair and into the air. With sounds like bells, whistles, chimes, a metronome, or music, auditory toys arouse hearing. Which items in your playbox are sensory-stimulating? 4. Musical toys: How dull would life be if there was no music? Using musical toys and games, you may teach your children to sing, dance, interact with others, and appreciate music. Although we adults may find them annoying, noisy toys are a great method to stimulate your child's senses and improve their communication, social, and listening abilities. They are also a lot of fun for young children. Read more: https://funwithgameforyou.blogspot.com/2022/12/buy-these-toys-online-this-festive.html

It all gets off to a slow start, but your hosts find their groove. Spices can really sneak up on you.Mark brings Real Life Adventures. After a quick editor's note, your hosts compare fire-building tactics. Do any of you remember Bionicles?Grant brings Heart of the City. He's a simple man with a simple question about work cuisine.Send feedback to comicalstart@gmail.com.

This Episode has EVERYTHING!It's got:Sassy Beginnings!Loud Explosive Farts and Liquid Hot Magma!No Rings of Fire!Maude Flanders' Unflavoured Sitz Baths!Bea Arthur!Dave isn't Anti-Woke btw! He's Just an Asshole!Give People a Proper Raise!Death Taxes!Illegal Strikes!Drug Dealing Politicians!Solidarity Strikes!France Gets Angry!Agriculture Tonight with Dave and Paul!Record Profit Price Gouging!Beaver!AI Is Destroying Humanity!Please Don't Fuck up the Midterms, America!Piss Off, Elon Musk!Morale Fuckery!Fantastically Fun Fridays!Lots of Porn Questions Tonight!Food and Porn!Dave's 1-900 Experience!Sexy Recordings!How Can it Tell it's Dog Poo?!Paul Loves Diagonal Cut Sandwiches!Four Score and Seven Inches Ago!Lincoln Logs!Sexually Frustrated Ice Crunches!Gross Airplanes!Idiots from the 70s!Paul IS the Drama!Bottom Jokes!Hello, Vienna! Engage with us!Episode Links (In Order):Ronnie Vino - It's Friday Night!The Ford Family's History with Drug Dealing!"Dogma" Boardroom Scene!Centralia, PA - America's Burning Ghost Town!Use of N-Word up More Than 500% on Twitter Post-Musk!Stephen King Reacts to Twitter Verification Fee!"Avenue Q" - The Internet is for Porn!MUSIC CREDIT!Opening Music Graciously Supplied By: https://audionautix.com/ Visit Our Patreon! Email Us Here: Disturbinglypragmatic@gmail.comWhere To Find Us!: Disturbingly Pragmatic Link Tree!

In this episode we cover a few strategies to help our kids feel the truth of their greatness.As a species, we are naturally self-deprecating.  We beat ourselves up.  Over the biggest and even the smallest things.This is true of our children as well, and especially for our teens.  That means that they are struggling with their sense of identity and worth.  And rather than having them seeking validation from peers, we want to make sure they are connected to us and to God so that they truly understand who they are, that they have great purpose, and that they are needed!  And of course, that we do in fact love them as well.This is where joy lives!Become a Parenting Hero:Go to  https://revolutionaryfamilies.comEnter your name and email addressGain access to The #1 Parenting Secret Connect with us!FB @ Revolutionary FamiliesIG @ RevolutionaryFamiliesTikTok @ RevolutionaryFamilies

Growing NS Builders with Content and QualityNick Schiffer started NS Builders in 2014, but his story begins much earlier. Even as a kid, he loved working with his hands—tinkering with a bike, building a mini-empire with Lincoln Logs, figuring out how to put things back together after ripping them apart. At age 11, Nick was already working in his Dad's fencing business. Attending a vocational school marked a turning point—two classes, in particular, would profoundly impact Nick's career path. Cabinet making and house carpentry shop fueled his passion for all things construction, and from then on, Nick knew exactly what he wanted to do with his life—build houses. Really amazing houses. After graduating from Fitchburg State University with a bachelor's degree in Construction Technology/Management, it was time to leave the family business (not an easy decision). Accepting a job in Boston for a big company, Nick soon worked his way up to assistant project manager, completely immersing himself in the various aspects of construction management. Nick wasn't letting go of his dream—to own his own business—and he worked at night on his own side projects, gaining experience through trial and error, discovering how to juggle multiple jobs effectively, and the financial side of running the show. He held himself and his work to the highest level and refused to settle for less. This week on EntreArchitect Podcast, Growing NS Builders with Content and Quality with Nick Shiffer. Connect with Nick online at https://www.nsbuilders.com/ (NS Builders) and https://www.nickschiffer.com/my-story (Nick Shiffer), and find him on https://bit.ly/nsbuildersyoutube (YouTube), https://www.instagram.com/nsbuilders/ (Instagram), and https://www.linkedin.com/in/nickschiffer/ (LinkedIn). Referenced in this Episodehttps://www.eventcreate.com/e/contractorcoalitionsummit (Contractor Coalition Summit) Please visit Our Platform Sponsorshttp://arcat.com/podcast (Detailed) is an original podcast by ARCAT that features architects, engineers, builders, and manufacturers who share their insight and expertise as they highlight some of the most complex, interesting, and oddest building conditions that they have encountered… and the ingenuity it took to solve them. Listen now at http://arcat.com/podcast (ARCAT.com/podcast). http://entrearchitect.com/Freshbooks (Freshbooks) is the all-in-one bookkeeping software that can save your small architecture firm both time and money by simplifying the hard parts of running your own business. Try Freshbooks for 30 days for FREE at http://entrearchitect.com/Freshbooks (EntreArchitect.com/Freshbooks). Visit our Platform Sponsors today and thank them for supporting YOU… The EntreArchitect Community of small firm architects. Graphisoft + EntreArchitect https://graphisoft.com/us/entrearchitect/ (Archicad BIM) software enables design, collaboration, visualization, and project delivery, no matter the project size or complexity. With flexible licensing options and a dedicated support team to guide us along the way, Archicad is an ideal choice for firms and projects of any size. Visit our dedicated landing page at https://graphisoft.com/us/entrearchitect/ (EntreArchitect + Graphisoft) for an exclusive special offer waiting for our community of architects.

On this day in 1920, John Lloyd Wright received the patent for his “Cabin Construction'' toy, otherwise known as Lincoln Logs.See omnystudio.com/listener for privacy information.

A BIGGER BOAT: LINCOLN *SPIELBERG FINALE*For the last two years co-host Jack has insisted that LINCOLN is the worst movie ever made and Spielberg is the worst director of all time. What began as a joke, "let's do a Spielberg season just so we can make Jack watch Lincoln again, hur hur," slowly became the impetus for our strangest season yet. Here we are, the finale, where Jack watches Lincoln again, with a ton of Spielberg as pre-gaming the last three months. Thomas read the Doris Kearns Goodwin book TEAM OF RIVALS, which is the loose inspiration for Tony, Pulitzer, and Emmy-winning legend Tony Kushner's screenplay, which Ken read (none of those awards were for Lincoln). We came into this hardcore prepared, y'all. Will Jack reassess or is it still the worst movie ever made? How successful were Spielberg and Kushner in adapting Kearns' award-winning book? Will Jack think differently about Spielberg as a director after having had to watch his legitimate classics alongside his Always' and Hooks? What are Jack's final ranking of the Spielbergs he watched this season? Will Spielberg gift Jack a 1989 Mazda Miata for having made it to the finish line? So many questions. Just listen and find out, okay? It's all here. THEME SONG: WEIRD A.I.LINCOLN: 7:24JACK'S EPIC SPIELBERG COUNTDOWN: 1:19:33Email: thegoodthepodandtheugly@gmail.comFacebook: https://m.facebook.com/TGTPTUInstagram: https://instagram.com/thegoodthepodandtheugly?igshid=um92md09kjg0Twitter: https://twitter.com/thegoodthepoda1YouTube: https://www.youtube.com/channel/UC6mI2plrgJu-TB95bbJCW-gBuzzsprout: https://thegoodthepodandtheugly.buzzsprout.com/Letterboxd (follow us!):Ken: Ken KoralJack: jackk1096

•  I was in 342, the local plumbers and pipe fitters union, and it wasn't challenging enough. Plumbing was cool, was good money, it was consistent work and things like that. But I work with my hands and I like to, I'm an artist and creator, a natural creator, and so being able to go out in the field as a welder and build the infrastructures. And while you're welding, it's a literal art form, the weaving, the beading, the banging, the hammering and putting together, and building and constructing... It's an art and I loved it. I remember it reminded me of playing with the Lincoln Logs when I was little. My grandfather had got me the Lincoln Logs and I just... I would spend hours on that thing, and it just reminded me of that in fulfillment, after seeing the buildings constructed and things like that. (02:22)•  You know what is something about a woman, we can do, you we're super heroes. We can do any fricking thing we put our mind to.  There is no way anyone could tell me that, they're like, Yeah, I just can't, I just don't have a talent, you do, you do... You have to find it within you and believe in yourself. Seriously? And so from there, I end up passing the test, I had to... They let you in my class? I put it on the table, the CW, I inspected it and it was wrap... He bent it. No cracks, no nothing. I tested, I certified on my very freaking first day, and from there I was  in a panic because I'm like, Oh shoot, I really got to do this, and I started in the backyard just running bubble beans, just figuring out how to do it.   (05:36)•  So I got dispatched from the union to go to Chevron refinery, and I worked in the well Bay, and there's where I got a chance to be amongst a lot of the OG's, old-timers that have been welding for a long time and traveling the world welding, all very versatile. And I just kind of cuddled myself under their wings, every time they were doing something, I watched, I worked, worked, worked all the time. I was always on the table doing something, my downtime, I was practicing my tag, I was practicing my flex Corp and anything and everything I could get my hands on to do, and to practice, to better benefit myself in the craft I did, for sure.  (09:16)•  So I travel the country as a minister, and I do go on individual mission trips and things like that. So I was very keen on leadership skills and things like that, so when I get on the job... It worked really well because I'm able to say, Hey, you know, put that boss figure upfront, I don't have to build myself, I just be me and... You have a lot more respect, people are listening to you. I'm able to be in the office for 1-on-1 with the head notches, and things like that, and really expand my scope in the trade. I felt like working independently was really beneficial for me, working as a female welder in the trades, it was a lot more freedom, and it was a lot more fun too. Had people who are a lot more well-rounded? You know the union. I love the union, don't get me wrong, I always recommend people, young ladies to this day. Go Union so that you get to work. But it molded me and it gave me the tough skin that I needed in the union. (16:18)•  I'll be working on shoes, or boots are coming up, that's in the plan, everything that we need to be equipped out in the field. We're starting with more welding, then we're going to... I am, I always say we're, but it's just me... Sounds professional. right? And we're going to be developing clothing for women who are in the painting field, carpenters, something constructed for them, something that is mechanically fit, makes sense for the job that they're doing. Because different jobs... You're moving in different ways, you need different little hooks and fingers and stuff like that, but then at the same time with this first line with the pants and things like that, I really... I got to keep a fashionable touch. Like for example, we have this full stretch bottom, because when you were wearing the boots, say If you're going to walk over some some rebar or decking or something. You know, your pants can become a safety hazard when they're open, flared, opened boot, tripping... Oh my God, but I've seen many people fall flat on their face.  (31:15) ABOUT LASHANNA INGRAHAM:Lashanna is a multi-certified master welder and iron worker. Lashanna entered into the trades in 2008, After completing apprentice training program Cypress Mandela, plumbing and pipe fitting weren't enough for Lashanna so she switched over to structural steel welding, equipped with the certifications and training that she needed to break chains and boundaries throughout her experience as a woman in the field, Tackling big projects like Chevron refinery and working with the WWII ships on Maryland was adventurous.Lashanna has taken part in restoring and building various historical buildings throughout her local city of Sacramento all the way to the Bay Area, she has built Sacramento's golden one center, Marriott hotels, luxury apartments, hospitals, high-rises even a BART station just to name a few.She is an incredible leader who is not afraid to take risks and pursue her dreams. Lashanna has traveled back-and-forth from the United States to Ethiopia sharing her knowledge about building and trades work.She has also donated materials and equipment to local schools and welding shops in the county.Lashanna is married with a 5 year old son. Raised by her grandparents in Dunnigan, CA, growing up on a farm was the best thing that could have ever happened to her it was where she learned first class work ethic from her world war two veteran grandfather.Nowadays when Lashanna isn't hanging iron she advocates for women in the trades and shares her experience as a woman in this male-dominated field. Standing as a conduit to women all around the world who has a desire for more Lashanna is the CEO of “Ingraham”, a brand whose mission is to provide comfort fit work wear for women who work in the trades. Lashanna is looking to break the chains to stereotypical bondage by using her story and voice to encourage Women that this is her world too. Lashanna Ingraham has been featured in several blogs, including The Fabricators Magazine, you can also find her on her YouTube channel and social media Instagram page. CONNECT WITH LASHANNA:• Website: https://leyudesigns.com• YouTube: https://www.youtube.com/watch?v=9NxvX0OG3QY• Instagram: https://www.instagram.com/thefashionwelderWAYS TO CONNECT WITH STEFANIE…• Website: https://shebuildshomes.com• Facebook: https://www.facebook.com/shebuildsbetter• Instagram: https://www.instagram.com/shebuilds.homes• YouTube:  https://www.youtube.com/shebuildsshow 

In the late 1700s, a young man named Friedrich Froebel was on track to become an architect when a friend convinced him to pursue a path toward education instead. And in changing course, Froebel arguably ended up having more influence on the world of architecture and design than any single architect -- all because Friedrich Froebel created kindergarten.Frank Lloyd Wright's son, John, was an architect, but his most famous creation wasn't a building. It was a toy set that kids have been playing with for over 100 years. Inheriting Froebel's Gifts

When she was young, Arden would go to work with her father who was a Steeplejack (a craftsperson who scales buildings, chimneys, and church steeples to carry out repairs or maintenance), played with Lincoln Logs, and went to school to be an Engineer. After working as a Structural Engineer in Portland, Maine for four years, she and her husband (also an Engineer) realized they could have a better financial situation if they bought multi-unit housing.  They worked with a very helpful real estate agent, and learned as much as she could. She bought her first investment property in Portland when she was 22, in 2018. They continued investing and use a spreadsheet that they customized to meet their needs. Arden quickly got hooked by the real estate industry. She then went to school and obtained her real estate salesperson's license. When Covid hit, Arden realized she wasn't going to be an Engineer for her entire career. While it was an awesome job with a great company, and she could bring her dog Benny to work with her, working from home during Covid helped her realize the company wasn't the right fit for her, since it stripped away all the fantastic things about the job. But then friends and family then started reaching out for help with real estate, which she really enjoyed. Arden doubled the size of her real estate portfolio within 6 months of working full-time and produced the highest GCI of all solo agents at her brokerage for March of 2022, exactly 12 months after she left her Engineering position. In just four years she now owns and operates 25 units in Southern Maine with a total value of over $3 Million dollars and her net worth just surpassed $1M last month. She loves her job and the people she works with. She is passionate about the power of real estate. Contact Arden by email at soldwitharden@kw.com. Visit Arden's real estate website, Headlight Homes, or her KW website to learn more about her real estate career. Stop by her Facebook page or her Instagram page to see what's new with her real estate and investments. Follow David at @daviddmorse on Instagram and Joe at @joe.quattrucci. Join David & Joe at Keller Williams Arizona Realty, where productive agents redefine their business. Reach out by DM, email at davidmorse@kw.com or directly at 480-767-3000.

We have made it! We finished the book and all the loose ends are tied up and Moiraine explains everything! Well not quite, but we do get a great set up for book 2, The Great Hunt. Is Rand super happy now that he can channel? What's hiding at the bottom of the Eye? Where will our beloved characters head to next after relaxing at Air BnB Fal Dara? Here's what we know for sure: The Dark One's prison is exactly like a Lincoln Logs fortress, Aes Sedai are all about dorm room vibes, and our boy Ingtar is definitely not a vibes guy. As we conclude the first step in our Wheel of Time journey we want to thank all who have listened and interacted with us, the Coplins are not done yet! Next week we recap the book, and then onto Wheel of Time show review and soon look out for some brand new cover art! We are so excited so stick around and join us for The Great Coplin Hunt. For the art mentioned in this episode, head to our Twitter @coplintalk and e-mail us your thoughts at coplintalk@gmail.com Music by Gabibeats and cover art by HiraMustafa1822, both on Fiverr!

Kimberly Grigg is joined by Edith-Anne Duncan, a designer who describes her work as “sophisticated-casual” and who celebrates the dual importance of elevating the function of a room and indulging in color. Kimberly and Edith-Anne share a lot of common ground when it comes to color and pattern, and in this episode they dive into how to make these elements work together. Edith-Anne Duncan explains how she comes from a line of family with an eye for design and though she is formally educated in it, she also sees in herself the self-taught approach and agrees with Kimberly that an eye can “be trained”. Together they explore some of Edith-Anne's key tips for how to work color through a house, and break down how to pair texture with accents from rugs or art. Edith-Anne shares names of some of the great masters of design that inspire her. One of the thoughtful things said by Edith-Anne and echoed by Kimberly is that living beautifully is important and vital. Edith-Anne says it informs enjoyment of every moment of living in your home. She and Kimberly describe living beautifully as a kind of self love and self care that we deserve in our lives. It is an insightful conversation full of elegant advice that is sure to inspire your own design journey. About Edith-Anne Duncan: Creating a sophisticated but casual approach to today's lifestyles is the focus of Edith-Anne Duncan's interiors and what she does best. Meticulous attention to detail is the trademark that elevates her creations to a higher level. The expertise and talent that Edith-Anne draws upon comes from a multi-layered approach to each project. Education, experience and life have created a strong design palette and portfolio, utilizing history, travel, fashion, art, color and technology to incorporate each client's wishes. With clients from Maryland to Florida, Edith-Anne ensures that each project reflects the unique space needs, personality, and lifestyle of the individual client. Resources discussed in this episode: Edith-Anne Duncan Edith-Anne Duncan on Instagram Schumacher Brunschwig & Fils Thibaut Billy Baldwin Mark Hampton Dorothy Draper Aerin Lauder Mark Sikes --  Contact Me: Email me at kimberly@kimberlygriggdesigns.com Visit my website: www.kimberlygriggdesigns.com Follow me on Facebook, Instagram, Pinterest Check out my Youtube channel You can find the show on Apple Podcasts, Stitcher and Spotify. Transcription   Kimberly Grigg  00:00 Every now and again, you meet this person whose design aesthetic and design philosophy just rocks your world. And that's what happened during this interview with my new design friend, Edith-Anne Duncan. Welcome to Decorate Like a Design Boss, a podcast for design lovers who want to create beautiful spaces in their very own homes. My name is Kimberly Grigg, and I'm a professional interior designer who teaches design lovers like yourselves how to decorate. And when I say decorate, I mean decorate like a design boss. If you're ready to create a space that your family loves, and your neighbors can't stop raving about, well, buckle up, honey, because it's time to design. Alright. Well, hello, my new friend, Edith-Anne Duncan. Welcome.   Edith-Anne Duncan  01:00 Hi, Kimberly.   Kimberly Grigg  01:01 So I've got to kind of set this up, I want to tell you how I actually first discovered you and I want our listeners to hear this because it was kind of important. So when I scroll Instagram and any social media, I'm often looking for different things, I suppose. Of course I'm looking for a beautiful photo or a beautiful reel, or whatever. But when I first discovered you, you were showing something on your feed about your design studio and how you had all of your fabrics organized and I was enchanted because as a fellow designer, I know how hard it is to keep up with all those things. And you DM'd me back right away and we began kind of this little thing. And I started really noticing your work and someone, you don't know this part, but someone came to me that works for me a little bit later and said, Hey, have you Have you followed Edith-Anne Duncan on Instagram? And I said, Actually, I do recently. And they said, Well, she uses color a lot like you do. I think you would love her stuff. And I said, You're right, I do. So there began my love affair with you and your work. And I just wanted my listener to experience you and know about you. Because I really do have an admiration for what you do. And I guess I'll just pop off with the first question. And it will be something like this, Edith-Anne, like, you're a very decorated and celebrated yourself as a designer. And to me, you're known for certain things, but I really do want to hear from you. How would you describe your work?   Edith-Anne Duncan  02:55 I would say that I'm sophisticated-casual. Function, and then color. So I'm a lot about the function of the space and not just the form and aesthetics. So I go through a very in depth interview process of how the home or space is used, and the lifestyle of the client, and then really hone in on that and their lifestyle. And then I go from there. But I would say sophisticated-casual with traditional elements and lots of color.   Kimberly Grigg  03:23 Yes. And you know, something that I also notice, and just because I work in color in a very similar way, and even a similar approach for me function is everything. And I don't know that in the very beginning of my career function was important. But now it's question number one. What is this room for? How will it be used even if it's multifunctional, like how is this used? But I know where people often get in trouble and I've gotten in trouble myself, is a lot of color can sometimes end up feeling flighty and a little too whimsical and a little too colorful. So how do you keep that from happening?   Edith-Anne Duncan  04:10 So what I like to do is literally stick to only three colors. So let's say in the entry or foyer I start with blue and green and then the accent is that green. So in the next room, then I would use the accent color as the green. So what is the accent in one room then translates to primary in the next room. And then also, say if you want to stick to just blues or just greens, then I stay typically on the same paint fan deck and I'm up and down that fan deck if someone is a little too apprehensive about using more than, you know, two or three colors. So just my primary and secondary and/or accent, that's how I moved from space to space. So you're not in one room that's blue and white and the next room is pink and green and then the next one is purple and yellow, those don't flow together. So again, I like the transition from one space to the next into the next.   Kimberly Grigg  05:07 So are we twins?   Edith-Anne Duncan  05:09 I think we are, yeah. And I love your recent project, too, that you had of the his and her home office. And using a space, because that's another thing whenever I'm interviewed by clients, lots of the rooms they don't even use. So I say what do you need? What are you lacking? And it's amazing how when you dedicate those things to different rooms of the home, they use it and they enjoy it so much more than just being in the foyer and seeing a pretty room and don't even enjoy it.   Kimberly Grigg  05:36 Yes, and it lives. Like it has become my pet peeve, these unused rooms, especially the dining room, oh my god, a once a year use of a room is ridiculous. And I've even tried lately, and I I'm sure you have as well, I've tried to make the kitchen breakfast nook a little more unusable so that people will use their dining room or convert it completely and get rid of the dining room, do something else, figure out a way to approach the space, so yes, for sure. So Edith-Anne are you formally trained, self taught? Tell me a little bit about your background.   Edith-Anne Duncan  06:22 Okay, so I actually think it's a mix of both. So my grandparents, both of my grandmothers and my father both had a flair for this to begin with. I think it's something you're born with as far as aesthetics, what you grew up around, the scale of things, and then I was formally trained undergraduate at High Point University. I have actually three majors, it's business administration, interior design, and home furnishings marketing, because of course, it's the furniture capital of the world. Then from there, I received my Masters in interior design from Virginia Tech. So... but again, I think a lot of people, you don't need the education part. I used to be very, a big stickler about it, because I worked so hard at it? Now I've kind of gotten a little bit more lax on that, because I think it's, you're also born with it. That's a lot of it. So the education part just fine-tuned it even more.   Kimberly Grigg  07:14 Yeah. And I, I wonder how you feel about - someone told me when I was very young that you could train your eye. And I thought that was a very curious thing to say. And I thought at that time, I mean I was in my probably early teens, I drew floor plans as a kid like I didn't draw things, I drew floor plans.   Edith-Anne Duncan  07:37 Me too.   Kimberly Grigg  07:38 And I couldn't draw things necessarily, but I could really draw geometrics. And so I thought that maybe I wasn't creative, or I wasn't talented, or that I couldn't be an interior designer, because I couldn't draw or at that time, I think I even wanted to be a fashion designer. And as it turned out that person who said that to me, I really should give a big hug to because I did train my eye, I honed, and I try to tell people that listen to this show, and people that are trying to do their own thing, that, you know, you can develop a practice. I'm not saying that you can anoint yourself, I'm saying you have to work at it. Do you feel like, you know, you could develop an ability?   Edith-Anne Duncan  08:22 Yes, I do. I do. And it's funny, as a child I would always play with doll houses and Lincoln Logs. And that's where I got my ability to literally walk into an empty space and envision what that will look like in the end, specially because I worked with three dimensional objects to do that. And then I took drafting in high school, I adored that. My mom thought I took the class because there was gonna be a cute guy in the class and that wasn't why I was in drafting. And then I really wanted to be an architect, honestly, but my science and math was not the best. So that's when I went in the interior design realm. But again, it's something that you acquire and learn. And then the the training is just the the fine-tuning of it.   Kimberly Grigg  09:05 And you get better and better. Like, you know, when I look back at my work, gosh, 20 years ago, I'm like, sometimes I want to cringe. And at the same time, sometimes I look at work 20 years ago, and I can see the foundation, I can see how everything eventually developed and what I was drawn to and those kinds of things. I'm sure you felt the same way. So when you hire, do you hire only trained designers that work with you? Or do you train them in your way?   Edith-Anne Duncan  09:38 No. So I train them my way. And I also, I've already seen their skill set and what they're talented at to begin with. They're in the door, then I know that it's going to work out as far as that goes. But no, they do not have to have formal training in my opinion. Again, I've gotten a little bit more lax on that. And the big thing is, to me, is I've relinquish some control.   Kimberly Grigg  09:59 I'd like to know how you did that?   Edith-Anne Duncan  10:01 Yeah.   Kimberly Grigg  10:04 I think that that is something that every designer struggles with a bit. Like, we are control freaks, because we - and most of us are perfectionists. And most of us have that gene that we have to keep in check lest it destroys our life, it certainly doesn't destroy our work, it helps with our work in a lot of ways, but it will take your life and turn it upside down many times, and it is a hard thing to control. So what else about design, in general, do you find challenging?   Edith-Anne Duncan  10:39 I would say too, as far as working with two, you know, two parties in a household where one person wants one taste, and one wants another. Man, I always... another thing, too, is be very upfront with both people involved, you know that I'm working with them as a couple, because sometimes one of the spouses is surprised. So I'm always very, that's one thing as far as the dynamics and the approach of how we go into the project, with a couple. Otherwise, any problems? If it's not a good mix, aesthetically, then I just kind of... we part ways in the beginning, if I know it's not going to work. So again, the whole interview process, but otherwise, probably, I can't recall any.   Kimberly Grigg  11:22 So how long have you done this? Have you been doing this long, long, long? Or short short short?   Edith-Anne Duncan  11:28 25 years?   Kimberly Grigg  11:29 Okay. So again, we're kind of in similar boats. And, you know, I think that you get better about... I know I did, I got way better in the last five years, even of making sure that it was a good fit. And I don't know about you. But I say and I, you know, I say this to my listener, because if you are ever going to hire a designer, these are some ways, I feel, that you can be a good client, but you can get the most out of your designer. If you are a good fit, and if you're not, realize it from the beginning and don't be offended. And at the same time, I say to clients, look, design is a complicated process. It's just like brain surgery in a way. And, but here's the deal, something could go wrong. In fact, it probably will go wrong. So I'm telling you today, I want you to write it in your folder, that something will probably go wrong. Now, I've never met a situation in design that I couldn't fix in some way. And we're going to find the best possible solution. And we're gonna take care of you, just know that. You don't have to hit me, you don't have to yell, you don't have to scream, you don't have to, like, none of that. You just simply know that I am going to do everything within my power to put a smile on your face at the end of the day. But will every 100,000 things that go into this be 100% perfect? It won't. And I think that's, I think that's challenging. But you know, on the flip side of that, where does the joy come from for you?   Edith-Anne Duncan  13:15 I think if you trust me, and let me do my process, that's where my joy comes because I always do my best work if you just trust me, and I know that your budget and those limitations, and just trust me and let me do my work. That's, and I would say going back to your question you just had, I think that's my biggest thing. Now I know if you're going to be a good fit. And if you are, you have - just keyword - you've got to trust me. So when you are working with a designer, it has to be a good mix, and you have to trust them. Because if you don't you're going to question them. And then, you know, it's for instance, it would stifle me, and it just, if you eliminate one or two things, it's very important. You don't think it is but it is, and that leads to other elements in the room. So you have to trust your designer.   Kimberly Grigg  14:03 So true. And I have situations all the time as you do, where you constantly have to re-remind the client that you really do have this under control, and it's gonna be fine. And I think that's part of it. But at the same time, you know, a lot of my listeners are, you know, they don't necessarily want to hire a designer, they want to do this themselves. They want knowledge, they want information, they want the best possible outcome that they can produce. And I champion that because I think you can hone this craft. I think you can get a lot of what you want and need with the worldwide web that we have now. I think you have to have practice and I don't think it ever hurts to have a consult with a professional who works in this business every day. So I do also think there are things that I do in a home that someone could duplicate. Like, what kinds of tips do you give to that person who is trying to go on their own? Because I know you offer a console service that is not your full blown design package. And so what kinds of things do you offer to this gal who loves design, she's an enthusiast, she's scrolling Pinterest and Instagram all the time for what will work in her home? What are some easier things that a person like that can do and pull off that gives them some results?   Edith-Anne Duncan  15:43 I would say scale is very important when you look at those images. So always pay attention to the scale of those items, the intensity of colors, but the scale. And also pay attention to, when you look at a room, there aren't too many legs in the room, you know they're leggy table with the leggy chair. So pay attention to the contrast of what's skirted and what's leggy, contrast in the room: lighting, that's the jewelry of the room, in my opinion. So pay attention to the lighting and then the scale of the piece. But it's, again, I think that's where it's it's worth an investment to really speak to a designer, and at least hire them for a little bit of information to get you going. Because you're going to make costly mistakes if you don't really pay attention, in my opinion.   Kimberly Grigg  16:32 Sure. And I don't think it ever hurts. I know sometimes when I'm doing my own work, like things for myself, it's easy for me to get tripped up because the world is my oyster and I'm exposed every day and I can have anything I want. And it's sometimes very hard to narrow that experience.   Edith-Anne Duncan  16:51 It's very difficult.   Kimberly Grigg  16:52 And I'll say to one of the designers on my team, hey, wait, listen, can you can you help me out for a second? Because I really, like I need to bounce this off of you. I think sometimes that my listener is still a little afraid to reach out to that designer. Maybe they think it's too costly. Maybe they think they lose control? Not sure. Probably a combination, probably both from time to time. But I do think that you're right, the value of that, even as a sounding board. I mean, you wouldn't go into surgery without consulting a doctor and you know, and this is a profession. It's not just something that we do, it is a profession.   Edith-Anne Duncan  17:33 Yes. Yes, for sure.   Kimberly Grigg  17:37 All that goes into it. So I know that you're known for color, and your sophisticated color and your sophisticated palettes. Do you ever get the request to do, since all white is trending, do you get that request? And do you take it?   Edith-Anne Duncan  17:54 No, I have not. And would I take it? Probably not.   Kimberly Grigg  17:58 Right.   Edith-Anne Duncan  18:00 That's not a good fit for me. That's not a good fit. And I would not be fair to them either. No, I would say no.   Kimberly Grigg  18:07 Sure. And when you approach all of this beautiful color with a client that is maybe more of a neutral palette, and you do feel like though they sought you out because they want that color, there is bound to be some pushback, because they are not accustomed to it. So what do you, what do you say? How do you reassure them.   Edith-Anne Duncan  18:28 So again they have to trust me. For instance, I'm doing a lake project now and they're not as colorful as me, but they love the textures and the large scale of millwork, more architectural. So the way I'm approaching this, for instance, the kitchen: it's very textured, there's a limewash oak in there, but then I have a really dark forest green with it. So that green is my color. And the plumbing fixtures and lighting is the jewelry of the room. And then there's a couple pieces of artwork, so that's going to be my punch. But again, they know that I appreciate the aesthetics of it, the scale, and the form and the function, and they just trust me. So that when, that actual, that projects can be a little bit more down then my just loud color.   Kimberly Grigg  19:16 Yeah, that's cool. And I do love, and I've talked a lot to my listeners and followers, etc, a lot about this limited palette thing. And I I love that I've said up to five colors, but for me four and five is almost just a punch. It's not an accent, an accent's an accent, and a punch might be the smallest pillow or it might even be a floral, and you know it's not or it's a little something in a painting. But people I think gravitate to neutrals because they don't, they're not able...   Edith-Anne Duncan  19:56 Scared.   Kimberly Grigg  19:57 They're terrified.   Edith-Anne Duncan  19:58 They're not confident. Yes.   Kimberly Grigg  19:59 Correct. And then the other part of this, for me, about your work in particular, and probably mine as well, and another area I find that people are afraid of, is pattern. Like you got it going on with your color, no doubt, but you equally have it going on with your pattern. So speak to us a little bit about how you incorporate pattern without being, it doesn't feel busy, it feels lovely.   Edith-Anne Duncan  20:31 So for instance, say in the studio that I'm in right now, I started with a large floral, and then I have an accent of green, a lampshade and a tablecloth. And then I have the contrast of a geometric linear grid pattern of triliage on my wall. So I like the contrast of a large scale, something that's linear or geometric, and then a small print and just keep to those three pieces. I also like to mix the textures of something that's very scratchy with something that's very soft and something very shiny. Because if you walk into a room and it would feel flat if everything's just all cotton, for instance. So you need a scratchy sized little rug, or scratchy piece of furniture, or maybe it's a crazy mirror that has textured shells or something. Not everything so flat.   Kimberly Grigg  21:23 I love that, what a great formula. Really and truly.   Edith-Anne Duncan  21:27 It's almost like what you wear too, if you think about that. You know, if you say this dress that I have on, it's orange and red and white floral. So the contrast with it, I have velvet slippers that are the darker maroon color and then I have a shiny glossy pearl earrings on. So think of it the way you would approach an outfit to a room, if that makes sense. And that's one thing you and I both are very confident also in what we wear. And what we feel comfortable in, because you go out there just like I do as far as prints and color. And that speaks to what we do. So when I interview a client, I say okay, I want you to show me your three favorite outfits that you just feel fantastic in. And the moment when they show me those outfits that tells me instantly what their house should be.   Kimberly Grigg  22:14 So true. So true. So observant of that, like, I think you and I also have an aesthetic of I want this house to be you. There's no there's no way that I can't impose some of my influence on you because that would just be impossible. And you did come to me, but I want this house to scream you. Chances are after, we're done, we'll be friends, but I probably won't be over at your house every day. And so I want the people that walk in your house not to say Kimberly Grigg was here and she designed it, I want people to say oh my gosh, your house is you, it screams you. And to your point, I agree. Like how you dress, what things you do select, how you really do live, not how I live, is all such the foundation, of what goes into someone's dwellings, into their own aesthetic. It's everything. I have noticed that you use a lot of Schumacher in your work, Schumacher fabrics, wallpapers, that kind of thing. Just again, not all of our listeners know what Schumacher is, but it is a brand of wallpapers and fabrics and trims and it's lovely. And so I know you use that. What other go-to items do you use in your designs?   Edith-Anne Duncan  23:42 I also love to use Brunschwig & Fils because that's colorful, and the scale of it, and the longevity, the quality of it. And then I also love statement wallpapers. A better price point for a project that we need to watch our budget a little bit would be Thibaut. They have great new, they're very forward as far as their aesthetics and their design. So I do like using them and they have a great collection of everything mixing together. So for those that like to do it themselves, Thibaut is a great resource for that because they've really put a nice collection together as far as that goes. So I like Thibaut, Schumacher, Brunschwig & Fils, and then I also like to have, the way I started room is either by rugs, artwork, or a statement fabric. So I have a jumping off point as far as that goes too.   Kimberly Grigg  24:31 Same. Same! I find even for the novice designer that is trying to go it on their own, I agree with you about Thibaut wholeheartedly and I often have to hit a price point. It's something I can rely on. Plus, it makes the day easy and still aesthetically gorgeous. I use also a lot of Schumacher, Brunschwig, I love those brands as well. But I I do find that Thibaut does a lot of making it all go together. And it's just, to your point, start with a piece of art or a piece of fabric. A print from one of those companies can be everything you need right there in that print. And you can really, I mean, you might not know what Edith-Anne and I know about the shiny, the textural, the, you know, those little things do take a lot of practice. But you can create a color palette, you can get creative feeling that you want for a space from a fabric, from a rug, from a piece of art, those kinds of things are not a joke, they are really fundamental in your, once you've established your function in your next step. So I say, and I recently said this in a video, like, I know a lot of projects, and I this is where a lot of people get really scared when they're doing their own stuff, goes through this ugly duckling phase, like this phase where you're like, even you, even confidently after 25 years, you're wondering hmm, is this...? Does it happen to you?   Edith-Anne Duncan  26:17 It does, it does. So even now, and I think the hardest, the most difficult client is yourself. You do know all the options. For instance, I'm doing my daughter's room, she's off to college. And it's in that ugly duckling stage. And I know all the options of what's out there so it's very hard for me to hone it down. So I bounced that off one of my designers here, Holly, okay, Holly, what's your opinion on this, because I've looked at it so much and I know all the options so that it makes it more difficult. So it is hard for us too. I mean, it's not easy.   Kimberly Grigg  26:49 Certainly. And I say to the listener, this is when it is a good time to get back up from a design consultation, to know that you're going in the right direction, or to have fresh eyes take a look at it. And, again, you and I are privy to being surrounded with other design professionals. And we can reach out and say, Hey, Karen, well, how do you feel about this? What do you think, like, white is not a color I do well, but Karen does white very well. And so, you know, we bounce off of each other and when I am charged with an all white setting, which I'm in Myrtle Beach, so I get challenged with this a good bit. You know, I look to Karen for the one perfect out of 155 shades of white, with confidence, because that's not my palette necessarily. So I say to the listener reach out when you get to this space, because it happens even to the professionals and it's not comfortable. It really isn't comfortable. And there are times I doubt myself and I, but that is when my best work and my best ideas come to fruition because this is when you're problem solving with the best solution in mind. Like where is this really going to end up and just like a painting it's not always where you started.   Edith-Anne Duncan  28:12 Right. Right.    Kimberly Grigg  28:14 I believe you're an artist as well, aren't you?   Edith-Anne Duncan  28:17 Agreed. I do.   Kimberly Grigg  28:20 And you know with being an artist, I mean, I know for me being an artist is, I will often start something and can end up in the most beautiful place, but certainly not where I anticipated. But as an artist, you and I both, I think, have looked at the masters and we've studied the masters and there's so much to glean from their work even though sometimes you can look at something that a master did and you think, gosh, that's so simple. But if you think back to they didn't have the resources and materials that we had you have to put that in perspective.   Edith-Anne Duncan  29:02 Yes. Just like Billy Baldwin.   Kimberly Grigg  29:04 Yes.   Edith-Anne Duncan  29:05 Dorothy Draper.   Kimberly Grigg  29:06 Yes. And that is my question. Like if we look at the masters in art, like who are the masters for you in design that you've studied, admired, mimicked, like speak to me a little bit about that.   Edith-Anne Duncan  29:20 Okay, so I love Billy Baldwin. And then I adore Mark Hampton, of course his daughter now is practicing. But I adored him, he was classic, he was not shy in color whatsoever. And then I also love Dorothy Draper. Of course, she's done for the Greenbrier. Carleton Varney now does that. So those are my go tos. And then nowadays I also admire Aerin Lauder. She's the whole lifestyle of how to approach a room. And Mark Sikes is so colorful, it's sophisticated-casual, so I adore his look. But old school I would say Billy Baldwin and Mark Hampton and Dorothy Draper.   Kimberly Grigg  29:58 So again I knew we were kindred spirits. My favorite most cherished book in my vast library of interior design books is an old Billy Baldwin. And it, you know, what a great... if I could say to anyone listening, if you really want to study someone, study Billy Baldwin, study Dorothy Draper. Like what pioneers and innovators and, of course, many of the others that you said, but those two in particular, like, have influenced, shaped, I see that it shaped your work as well. And it is just so interesting. And often in art, when I get stumped, and I do, I will turn to, I'll just like take a break and I'll pick up a Picasso book or I'll scroll Picasso paintings online, and suddenly that will spark or inspire an idea which totally changes the stumped feeling. And I can finish.   Edith-Anne Duncan  31:09 Another great reference for me too, for projects, is I often asked clients where their favorite places to vacation, you know, what was the best hotel that you just absolutely adore. And then I will take elements of what they loved about that hotel, and maybe put it into their primary bathroom.   Kimberly Grigg  31:25 Oh I love that. What a great idea.   Edith-Anne Duncan  31:27 So that's a great one too. And travel is a big influence for me as well.   Kimberly Grigg  31:30 Same, I agree. And I also say to, again, people that are trying to do this on their own, sometimes it's good to take a trip and just let things evolve, like don't go with the intention of I'm going to go look at this hotel, and then I'm going to mimic. But the thing is, let things move you, let things inspire you. Some people do it by a walk in nature. And, you know, sometimes that does get me out of my own head. But that, to me, is not nearly as inspiring as a hotel lobby.   Edith-Anne Duncan  32:05 Yes, agreed.   Kimberly Grigg  32:06 And sometimes when I travel, it drives my husband nuts but he does acquiesce, I love to just go to a city or a town or wherever we're going, and I want to visit every hotel lobby in that area. And it is super, super fun. And, like, I just like to hop in a taxi or some Uber or whatever, and just go from place to place. And I come back with like this whole refreshed inspiration in my head. And it frees me in some odd way that is very hard to articulate. But I think that's probably what travel does for you as well, it's just inspiration. It's instant inspiration. So, you know, it's not a necessity for us to live in a beautiful setting. I mean, we can survive, I suppose, without it. But I'm sure that you and I can't. So tell people why is it so important to live beautifully?   Edith-Anne Duncan  33:09 Because even if it's just a simple thing of having a linen napkin with your coffee in the morning, or if it's beautiful flatware when you have your lunch, just simple things make all the difference to me aesthetically when I enjoy every moment as I live in our home. Or when we entertain, you know, the things that you provide for them, the setting, that's just very important to me. But again, say you're fixing your cup of coffee in the morning, I like to use a nice spoon with a nice napkin and a fantastic cup. And then I change that seasonally. So everything that you touch in everyday moments should be beautiful. The containers that hold my vanity products in the bathroom, it's a sterling silver tray, and it holds all of, you know, the cotton swabs and the soap dispenser that I use - everything that you touch, literally, should be beautiful and it cannot be too fine. For instance, my husband uses a decanter and that's what I put his mouthwash in, everyday products that you touch should be beautiful. And use things that you wouldn't think to use every day, like a decanter, or a beautiful silver pitcher to put your utensils in, in the kitchen. Use beautiful items and don't just think of them as only doing one function. They can be multifunctional. Does that make sense?   Kimberly Grigg  34:28 Yes. And I think what you're saying is love yourself enough to do that. It's almost a form of self care.   Edith-Anne Duncan  34:36 It's just a different form. Yes.   Kimberly Grigg  34:39 That's beautiful, Edith-Anne, and I believe it wholeheartedly. And, you know, I preach it and, you know, I raised six kids in my house and it was chaotic, but it was important to me to live in beauty, and to teach my children to be surrounded by beauty and they never broke anything. And I have lots of things. But they seem to respect it, don't you think?   Edith-Anne Duncan  35:06 Yes. And that's the way that I was raised as well. Yes. And that's just to learn, it's just a process. Some people think you're strange when you're raising children in a house like that, but then it's okay. And they live with the beauty. And it's funny because Carleton Varney actually said this at a seminar that I went to a couple years ago at the Greenbrier, he goes, Okay, think about your childhood room. Envision that room right now. And he said, I bet right now you can tell exactly what that is and what that pattern is, and color. And that's what you feel most comfortable in. And that's how you design. You know what? He's right. I grew up in a bedroom that had trellis fabric, it was a chintz, it was white with yellow roses, and I had chinoiserie yellow furniture. And I had a rattan chair in the corner. Classic style, full of color. And you know what, that's how I live now. So what your children also grow up in, and their childhood rooms and their homes, that influences them so much more than you think. And it really hit home for me when he said that, because that's how I live now. So it's very important for them to see that you are, you know, enjoy that silver, sterling silver, or, you know, it's the whole lifestyle. It's very, very important. And it goes a lot deeper than you think.   Kimberly Grigg  36:13 Amen, that's so well put. Because I say to people who will say I want to use you, you know, when my kids are nine. Why are you teaching your children not to value beauty?   Edith-Anne Duncan  36:49 Agreed? Completely.   Kimberly Grigg  36:50 So important. And, you know, if you start them, they will learn and they're able to go to someone else's home and respect those things.   Edith-Anne Duncan  37:00 Correct.   Kimberly Grigg  37:01 We are so aligned. In our approach to design, our approach to color, so many things that we have in common, I wish you lived closer. But thank goodness we have our little social network going on because you are so lovely. And we are at that point where I want to, I want to pose the question that I like to ask, and I want to do it in a way, like just like the masters that you and I so appreciate, they've left a legacy. And I feel your work is so important, Edith-Anne, and so speak to me a little bit about what your legacy will be, and maybe even go here: years and years from now, when you have that hashtag on a tombstone, what would it say?   Edith-Anne Duncan  37:55 Elegant, approachable, kind. And I also want to, let's fast forward, it's kind of the lineage of one of my very first projects that I did, the family grew up there, and now the daughter wants to use me. So it's almost the transition of from one stage to the next. So I want that legacy of also being, you know, that they admire what I've done for them as a child and now they want to use me again in their own grown up home. So I would say just kindness and classic.   Kimberly Grigg  38:31 I love it. I love it. And I sincerely feel that from you. So what a joy for you to share this and what a joy for, I've just loved experiencing you, and all the fabulous things that you're doing. I appreciate you coming on. I can't say enough great things about how masterfully you mix, and I know that that too will be such an important part of your legacy. I think there is, you know, the one word I don't think we used about your work that I think is important to say, is there is a timelessness. And yet you are very current all at the same time. Right? Right, which is why someone's daughter would use and choose you because they don't feel like the work is way back when, even though it's timeless. They feel like it is now but it has a nod to classicism and historic value. So I champion you, I champion you, my hat's off to you. I clap, clap, clap. And again, thank you for being here. And I want to let everybody know how they can find you.   Edith-Anne Duncan  39:50 So I'm on Instagram at Edith-Anne Duncan, and then on Facebook as well. And then my website is EdithAnneDuncan.com. Yes, but you were very kind to have me, Kimberly, and I appreciate it greatly. Really do.   Kimberly Grigg  40:03 You are so welcome. And thank you and keep on keeping on, Edith-Anne, and I'll be following up with you.   Kimberly Grigg  40:13 Didn't you just love Edith-Anne Duncan? I think one of my favorite things that she said, was when she talked about why it's important to live beautifully. And I know that you couldn't see it, because I could see the screen and you are probably just listening. But I could see it all over her. When I said, living beautifully isn't a necessity. And you know what, she believes it is and I do as well. And when you listen back to this, I just think that the way she put why living beautifully is so important, is touching, because it really is, for her and for me, the biggest form of self love and self care. I loved it when she said even her husband's mouthwash went into a beautiful decanter. So I know you're going to want to check out Edith-Anne Duncan on all of her channels. You will admire her work as much as I do, I'm sure. So I'll see you next time. Don't forget to rate, review and subscribe. And what I have to say is don't wait. Today is a great day to decorate. Bye for now.   Kimberly Grigg  41:42 Thanks for listening to Decorate Like a Design Boss. If you want more info on how to decorate your space like a pro, visit KimberlyGriggDesigns.com. See you next week.

Episode 41 of The Good, The Dan, The Florida man! The guys sit down and talk about having ADHD! They also play with Lincoln Logs. ----Pod Team---- The Good: @Youth Pastor Ryan The Dan: @Daniel Spencer The Florida Man: @Ben Brainard ----Links---- Website: https://www.gdfmpodcast.com/ Patreon: https://www.patreon.com/GDFMpodcast Facebook: https://www.Facebook.com/gdfmpodcast Instagram: https://www.Instagram.com/gdfmpodcast Twitter: https://www.twitter.com/gdfmpodcast Tiktok: https://www.tiktok.com/@gdfmpodcast --- Support this podcast: https://anchor.fm/gdfmpodcast/support

Tim and Lisa talk with Eric Saul, Residential Architect and Owner of Saul Architects.Eric lives in Takoma Park, Maryland, in addition to his architecture firm, he's a RE investor, has lots of experience flipping houses, and knows all about house hacking and ADUs.This is a fantastic conversation that will help you sort out when you need an architect, structural engineer, contractor, or someone else to get your renovations completed professionally.  We also talk about ADUs and think it would be worth further exploring ADUs in a full episode.  Let us know if you are interested!More about Eric:Eric Saul founded Saul Architects in 2005 and created a top quality residential design firm with the highest respect for customer service.Ever since he could remember, Eric has been fascinated by buildings, architecture, and cities. What started with Lincoln Logs and Legos eventually became real buildings.Eric received his Bachelor of Architecture degree from the University of Notre Dame. Following graduation, he worked for several different architecture firms in California and Maryland where he developed his skills in multi and single-family residential projects, commercial buildings, and religious facilities.  Since founding Saul Architects in 2005, Eric has designed over $100 million in construction and over 500,000 square feet.With over 150 local projects completed to date, Saul Architects has quickly become one of the leading residential architecture firms in Takoma Park and Silver Spring, MD. Our firm has grown an extensive list of clients with projects popping up all over the area. Our clients continue to refer us while providing the highest reviews for quality, knowledge, professionalism and customer service. In addition to being experts in residential design, Saul Architects are also experts in obtaining Montgomery County historic area work permits, Accessory Dwelling Units (ADUs), and Takoma Park tree protection plans.Saul Architects is licensed to practice architecture in Maryland, Virginia, and the District of Columbia.  He resides in Takoma Park, Maryland with his wife, Diana, and his dog, The Dude. When he is not designing houses or sketches urban design ideas, you can find Eric playing or coaching baseball.Connect with Eric here. Connect with Tim and Lisa:Schedule a call with TimSchedule a call with LisaLearn more at thereiconcierge.com

Krissi and James talk Monopoly, the View Master, Lincoln Logs, Lego, Erector Sets, Tinker Toys, Frisbee, Roller Skates and more! We think we got everything now from that first group of inductees.

Olivia Hutchison is a project manager at Colliers International here in Atlanta. She knew at an early age that she wanted to do something in the design field from her time as a kid with a bunch of Lincoln Logs. She has had an interesting path from school to residential design,  commercial, Facilities, and now Project management. Her journey has allowed her to have some great knowledge that has served her well in her career. She has some great take aways that we hope you will enjoy as much as we did. Here is Olivia Hutchison's 2 cents.

The machine rumbles and sputters as the last bit of clean oil escapes through the hose into the deep fryer at the Catfish House. After placing the handle securely onto the filter machine, I roll it out of the way and walk toward the back door to look outside before checking the dining room. A bizarre warm breeze touches my face while pushing against the metal door. "It doesn't feel like January," I think to myself as I head toward the front of the house to send the remaining servers home for the evening. We all advise one another to stay safe as I lock up the doors and head home myself. If there is one thing you can depend on in Tennessee, it's that you can't depend on a weather forecast. Everyone is saying things could get sketchy tonight, but if I had a dime each time those rumors bounced around, well, I'd have a lot of dimes. We can have snow on the ground one day, and within twenty-four hours, it's sunny and eighty degrees. If the weatherman calls for snow, not one flake falls to the ground, but we get six inches if the forecast is clear. Go figure. I'm not nervous about the storms, and normally I sleep like a baby during a good rain, so bring it on. The rest will do me good before a busy Friday at the restaurant. The wind picks up as my head hits the pillow, and several flashes of light beam across the sky through my bedroom window before I plunge into a deep sleep. My last thoughts were that I'd seen this a hundred times, and there would be nothing to worry about tonight. Snug and cozy underneath my covers, I'm unaware of Mother Natures' plan for my small community. Her intentions will change the face of our downtown forever and steal over a hundred years of history while I dream. Eerie echos of sirens blared beneath the howling winds swirling down streets, around brick buildings, and through the ridges of Clarksville. Trees began to bend while cracking wood sounds encompassed hillsides leading to the river bottoms. Muddy water from the mighty Cumberland rises and falls as it crashes against its banks, leaving behind debris only to seize it once again to sacrifice to the current. Stoplights swing violently over Riverside's empty streets, signaling that more is in store for the early morning. Trash waltzes around barren parking lots up and down Madison Street shooting into the atmosphere before descending, never touching the earth. A hush interrupts the spectacle; bushes are static, and the river rests for only a wink while the whistling wind relaxes. He is here in the stillness. Serenity soon reveals the ghostly whisper of an approaching locomotive descending from space in all directions. The last train to Clarksville extends as wide as nine football fields and hastens toward its mark at two hundred miles per hour. The earlier performance was a delicate ballet compared to the approaching terror preordained to take hundreds of passengers on their final pilgrimage. Roofs soar into the sky as if an invisible angry giant had nothing better to do before sunrise. Brick buildings crumbled as easily as a temperamental five-year-old could knock over a pile of Lincoln Logs. Objects rip across the ground, piercing, mangling, and disintegrating dreams and achievements. The roar of the phantom engine vibrates darkness itself, leaving behind mounds of rubbish in place of gorgeous architecture. Loose rubble falls from broken church walls closing the curtain on the final act of havoc in the twilight. The spirit steam engine dissipates but not without proof of its descent onto five blocks. Like many others in our small city, I'd soon wake up to the news of chaos and devastation. I'd hear how an F-3 struck downtown, and the aftermath looked like photos straight out of World War Two bombings. "We were lucky that tornado hit at 4:15 in the morning," would be the popular notion. People would say, "Had that thing struck later in the day, hundreds could have died." That stillness before the annihilation was something more significant than Mother Nature. Not a single soul boarded the train on January 22nd, 1999, and it had nothing to do with chance. Miracles emerge from silence, and God does his best work before we even see the storm.

In part 1 of the Ed Kemper story, Kent and The Op discuss his early childhood, how games like MouseTrap and Lincoln Logs are critical to the formative years of any child, and much, much more.Ad-free episodes, hours of extra content each week, exclusive merch, and early access to all of the 11:59 Media podcasts. Start accessing hundreds of additional hours! Visit 11:59 PLUS.

Modular construction has the potential to change how we view commercial real estate development forever. Whether you're looking at pre-fab buildings that are assembled like Lincoln Logs onsite or shipping container homes that are fully manufactured within a facility, this type of construction is more efficiently built than traditional methods and can save a significant amount of time and money. Tyler and Andy dive into modular construction and how it could impact commercial real estate.podcast notes: tylercauble.com/podcast/episode012

Cheeks and Patrique take a stroll down memory lane, talking about cartoons, games and toys from childhood.

On today's episode, Co-host Johhny G. finds out he has a fan! Discussions of Spirit communications, Past lives and the connections souls have to each other. There's also great stories of Winning the Lottery, Johnny-One-Eye, The Girls from Norristown and Wildwood, New Jersey. Host: Jon Gerner   Co-host: John Geibler --- Send in a voice message: https://anchor.fm/spiritinthesky/message

Dr Stella Emmanuel , female doctor Sebi or is she legit. plus conspiracy talk --- Support this podcast: https://anchor.fm/the-thoughtful-narcissist-podcast/support

Started the break chatting about the good old days and the things we miss from our past.....penny candy, clackers, and Lincoln Logs.

On this week's podcast we talk about the death of single player games, and Lego Dimensions. After inventing a brand new “toys to life” franchise we also spend some time talking about South Park: The Fractured But Whole, and Doki Doki Literature Club.