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4 episodes with new york la
4 episodes with new york la
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2 episodes with new york la
4 episodes with new york la
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2 episodes with new york la
2 episodes with new york la
2 episodes with new york la
C'è chi, davanti a un infortunio si ferma. E c'è chi, come Sofia Montagna, sceglie di ripartire. Non subito, non sempre facilmente, ma con la voglia di trasformare una battuta d'arresto in un'occasione per ascoltarsi davvero.In questo episodio del PDPODCAST LIVE ripercorriamo insieme a lei alcune tappe significative del suo percorso: dagli stop forzati allo sport vissuto come risorsa, passando per la scelta, consapevole e coraggiosa, di raccontarsi sui social in modo autentico e d'ispirazione.Con Sofia abbiamo parlato di:- Come ha vissuto e affrontato i suoi infortuni, trasformandoli in momenti di svolta- Il rapporto con Instagram e cosa significa condividere contenuti che fanno venire voglia di muoversi senza ansie e pressioni- L'esperienza indimenticabile della Maratona di New York- La sua routine di allenamento e il legame con la Community socialE infine anche qualche consiglio per chi vuole iniziare a muoversi ma non sa da dove partire!Un episodio pieno di spunti, che ci ricorda quanto sia importante dare valore non solo ai traguardi, ma anche al percorso che facciamo per raggiungerli. E quanto i social, usati bene, possono essere uno spazio di motivazione, verità e connessione.Buon ascolto!--- SEGUI POSTURA DA PAURA INSTAGRAM - https://www.instagram.com/posturadapaura/ FACEBOOK - https://www.facebook.com/posturadapaura/ SEGUI SARA INSTAGRAM - https://www.instagram.com/sara.compagni/ PER INFO: Per avere informazione sui nostri programmi, attività, collaborazioni e altro: sara@posturadapaura.com PER B2B/WELARE: Scopri come introdurre programmi di prevenzione e benessere nel tuo piano di welfare aziendale: welfare@posturadapaura.com--- IMPORTANTE Il benessere fisico è una cosa seria! Le informazioni discusse in PDPodcast hanno esclusivamente scopo informativo e in nessun caso possono costituire la formulazione di una diagnosi o la prescrizione di un trattamento. Se sei alle prese con problematiche di salute che non avevi mai avuto, se i fastidi si intensificano o se noti cambiamenti al tuo stato di salute, non esitare a parlarne con un medico. Solo uno specialista può aiutarti a chiarire ogni dubbio e ritrovare il benessere.
Célébrez le 110e anniversaire de la naissance de Billie Holiday, l'une des plus grandes voix de l'histoire du jazz, avec cet épisode passionnant. Découvrez le parcours exceptionnel et tourmenté de cette artiste hors-norme, qui a marqué la musique du 20e siècle de son empreinte indélébile.Plongez dans l'histoire d'Eleanora Fagan, devenue Billie Holiday, cette enfant des rues de Baltimore qui a su s'imposer sur la scène jazz new-yorkaise des années 30. Malgré une vie marquée par la pauvreté, le racisme et la violence, Billie Holiday a su développer un style vocal unique, mêlant blues, improvisation et puissance émotionnelle.Suivez son ascension fulgurante, de ses débuts dans les clubs de Harlem à ses triomphes au légendaire Café Society de New York. Mais derrière la gloire se cache un destin tragique, rongé par l'alcool, la drogue et des relations amoureuses tumultueuses.
Du lundi au jeudi, de 16h35 à 17h, Amaury de Tonquédec reçoit dans BFM Bourse experts et acteurs du monde des cryptomonnaies pour tout savoir des actualités et des tendances de ce secteur.
Apprendre à investir en bourse ➡️ https://www.rachelfinance.com/weinvest/youtube (We Invest)
Depuis deux ans, les Etats-Unis ont vécu un nombre record d'arrivées de chinois qui demandent l'asile.Des hommes surtout, qui ont franchi océans et montagnes pour fuir la répression ou tout simplement une économie chinoise qui ralentit. Et comme d'autres migrants, ils passent par le Mexique. Plus de 38.000 Chinois ont rejoint clandestinement les Etats-Unis au cours de l'année fiscale 2024, qui s'achève en septembre, en passant par cette frontière selon l'institut migration policy. C'est presque 20 fois plus qu'il y a deux ans. Et parmi ces migrants, de nombreux demandeurs d'asile craignent désormais d'être renvoyés en Chine par l'administration Trump.Dès sa prise de fonctions, le président américain a pris une série de décrets qui selon l'organisation de défense des droits humains Human Rights Watch, ont réduit à néant le droit d'asile. Dans cet épisode préparé par Pierre Botte, Sur le Fil vous emmène dans le Queens, à New York, dans les pas des journalistes de l'AFP Cecilia Sanchez et Beiyi Seow. Elles y ont rencontré des demandeurs d'asile qui craignent que leur vie va être une nouvelle chamboulée. Réalisation : Michaëla Cancela-Kieffer Sur le Fil est le podcast quotidien de l'AFP. Vous avez des commentaires ? Ecrivez-nous à podcast@afp.com. Vous pouvez aussi nous envoyer une note vocale par Whatsapp au + 33 6 79 77 38 45. Si vous aimez, abonnez-vous, parlez de nous autour de vous et laissez-nous plein d'étoiles sur votre plateforme de podcasts préférée pour mieux faire connaître notre programme Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.
Une banane proclamée œuvre d'art vendue 6,2 millions de dollars à New York La rencontre Durocher-Dutrizac avec Sophie Durocher et Benoît Dutrizac. Pour de l'information concernant l'utilisation de vos données personnelles - https://omnystudio.com/policies/listener/fr
Arriva finalmente nelle sale “Wicked” diretto da Jon M. Chu, con Cynthia Erivo e Ariana Grande, tratto dall'omonimo grande successo di Broadway in cartellone dal 2003. Ne parliamo con il nostro Boris Sollazzo che ci racconta anche una pellicola di tutt'altro genere ma di grande importanza e valore "Leggere Lolita a Teheran" diretto da Eran Riklis, con Golshifteh Farahani.Esordio alla regia per lo scrittore e autore Paolo Cognetti con “Fiore mio”, documentario che è un atto d'amore per la montagna. Lo abbiamo incontrato e intervistato per parlare del film, dei luoghi e delle persone che condividono la sua stessa passione.Gabriele Salvatores dirige “Napoli New York”, con Pierfrancesco Favino e Dea Lanzaro, tratto da un soggetto scritto molti anni fa da Federico Fellini assieme a Tullio Pinelli. Per parlarne sentiamo il regista Gabriele Salvatores e Pierfrancesco Favino.“Le deluge” è un film diretto da Gianluca Jodice, con Mélanie Laurent e Guillaume Canet. Lo ha visto per noi Chiara Pizzimenti.In chiusura il nostro Speciale sulle giornate del Festival Europeo del Cinema di Lecce, durante le quali abbiamo incontrato e intervistato Brando De Sica e Luca Verdone.
On this week's episode, we begin by discussing the Mets winning the Wild Card Round in epic fashion, before recapping a Divisional round that saw the Mets and Yankees beat the Phillies and Royals in four-games, and the Dodgers and Guardians winning interdivisional matchups against the Padres and Tigers. From there, we preview the League Championship matchups between the Mets and Dodgers and Yankees and Guardians, and discuss Terry Francona returning to baseball with the Reds, the Twins potential sale and front-office shake up, Bud Black's extension, the latest in the Diamond Sports saga, and the life and career of Luis Tiant.
Ep 429: ¡Qué rápido pasa el tiempo! El ‘Nadie Sabe Nada' se despedía a principios de julio y hemos entrado en septiembre, por la puerta de atrás con nocturnidad y alevosía, sin darnos cuenta. No pasa nada, en 45 semanas volvemos a irnos de vacaciones.Y lo que ha ocurrido durante estos dos meses de vacaciones ha sido que Andreu Buenafuente ha estado en Perú y Berto Romero en Islandia y vienen cargados de vivécdotas que iremos oyendo a lo largo y ancho de 2024 y 2025, el ‘Nadie' ha debutado como anuncio luminoso en la todopoderosa Times Square de New York (La gran manzana) y se ha desvelado que muy pronto estaremos en el programa de televisión ‘Pasapalabra' para quitarle las ganas de presentar a Roberto Leal.
Ep 429: ¡Qué rápido pasa el tiempo! El ‘Nadie Sabe Nada' se despedía a principios de julio y hemos entrado en septiembre, por la puerta de atrás con nocturnidad y alevosía, sin darnos cuenta. No pasa nada, en 45 semanas volvemos a irnos de vacaciones.Y lo que ha ocurrido durante estos dos meses de vacaciones ha sido que Andreu Buenafuente ha estado en Perú y Berto Romero en Islandia y vienen cargados de vivécdotas que iremos oyendo a lo largo y ancho de 2024 y 2025, el ‘Nadie' ha debutado como anuncio luminoso en la todopoderosa Times Square de New York (La gran manzana) y se ha desvelado que muy pronto estaremos en el programa de televisión ‘Pasapalabra' para quitarle las ganas de presentar a Roberto Leal.
Una Pizza Napoletana, a New York si riconferma la migliore pizzeria degli Stati Uniti d'America. Questo il risultato secondo 50 Top Pizza annunciato ieri 25 giugno alle 18 - orario di New York - al West Edge, all'interno del Chelsea Market, durante una seguitissima cerimonia presentata da Scott Wiener e trasmessa in diretta sui canali social del network.Una riconferma importante per Una Pizza Napoletana di Anthony Mangieri, visibilmente emozionato durante la cerimonia, per la terza volta di fila migliore pizzeria negli USA. Al secondo posto Tony's Pizza Napoletana a San Francisco, di Tony Gemignani. Sul terzo gradino del podio Pizzeria Beddia a Philadelphia, di Joe Beddia.
Ovviamente chi ci è stato almeno una volta, quantomeno su una mappa, saprà bene che New York non ha la forma di una mela, né piccola, né grande. Ma allora perché si dice “La grande mela”? C’entra qualcosa la sua forma, magari risalente al periodo in cui fu fondata? C’è qualcosa che la lobby delle mele ci nasconde visto che è ormai il sesto mito che riguarda le mele? Scopriamolo.See omnystudio.com/listener for privacy information.
durée : 01:00:00 - Les Nuits de France Culture - par : Philippe Garbit - Carnets de voyage - New-York, stéréo couleurs, 1 : New-York, la première fois (1ère diffusion : 28/08/1995)
We're influenced by our environment. We take on the values, behaviors, actions and even fashion of the people around us! To demonstrate, let's share observations from our recent travels to London, Paris, New York, Los Angeles, Chicago, Wisconsin, & Miami. Rich Hebron website
Sur les dix dernières années, l'actionnariat de TotalEnergies a profondément changé, les actionnaires nord-américains sont passés de 30 % à 40 % du capital, quand l'actionnariat européen est passé de 51 % à 44 %.Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.
NEW YORK (STATI UNITI) (ITALPRESS) - Da Palermo a New York. L'italo-coreano Tony Park racconta all'Italpress la storia di Angelina Bakery, la sua catena di locali che si sta espandendo negli Stati Uniti. "Ho voluto portare negli States la colazione tradizionale italiana", spiega Park.eb/sat/gtr
NEW YORK (STATI UNITI) (ITALPRESS) - Da Palermo a New York. L'italo-coreano Tony Park racconta all'Italpress la storia di Angelina Bakery, la sua catena di locali che si sta espandendo negli Stati Uniti. "Ho voluto portare negli States la colazione tradizionale italiana", spiega Park.eb/sat/gtr
NEW YORK (STATI UNITI) (ITALPRESS) - Da Palermo a New York. L'italo-coreano Tony Park racconta all'Italpress la storia di Angelina Bakery, la sua catena di locali che si sta espandendo negli Stati Uniti. "Ho voluto portare negli States la colazione tradizionale italiana", spiega Park.eb/sat/gtr
C'est un récit de voyage à travers Manhattan et les quartiers de Brooklyn que nous propose Marc Terrisse dans New York, portrait d'une ville arabe. On part à la rencontre des descendants des Libanais et Syriens arrivés à la fin du 19ᵉ siècle, puis des Palestiniens, Égyptiens, Yéménites, Marocains venus s'installer dans la grande pomme au tournant des années 50. Le Muséologue et chercheur associé au CNRS, Marc Terrisse, s'intéresse à l'histoire des minorités et des migrants dans les sociétés occidentales.
C'est un récit de voyage à travers Manhattan et les quartiers de Brooklyn que nous propose Marc Terrisse dans New York, portrait d'une ville arabe. On part à la rencontre des descendants des Libanais et Syriens arrivés à la fin du 19ᵉ siècle, puis des Palestiniens, Égyptiens, Yéménites, Marocains venus s'installer dans la grande pomme au tournant des années 50. Le Muséologue et chercheur associé au CNRS, Marc Terrisse, s'intéresse à l'histoire des minorités et des migrants dans les sociétés occidentales.
In this episode, we talk all about relationships with your agents! We provide insightful advice on timing your communications effectively, being respectful of the recipient's time, and staying top of mind by sending short, meaningful messages. Also, we stress the importance of following up and consistently being professional. In the latter part of the episode, we highlight the essence of open communication and mutual trust between voice actors and agents. So, whether you're a voice actor looking to break into the industry or an established talent seeking ways to enhance your networking game, this podcast episode has you covered. Join us as we bring you the premier business owner strategies and successes being utilized by the industry's top talent today! 00:01 - Intro (Announcement) It's time to take your business to the next level, the boss level. These are the premier business owner strategies and successes being utilized by the industry's top talent today. Rock your business like a boss, a VO boss. Now let's welcome your host, Anne Ganguzza. 00:20 - Anne (Host) Hey everyone, welcome to the VO Boss podcast and the Boss Superpower series. I'm your host, Anne Ganguzza, and I'm here with my lovely, amazing boss, co-host Lau Lapides. Thank you, ann, awesome to see you today. Hey Law, yes, so awesome to see you too. 00:38 So the other day I was prepping for a new year of my VO Peeps group, where I have guest directors come in once a month to do online workshops, and the very popular ones are typically ones that have agents such as yourself and casting directors. And I was going through the list okay, what casting directors, what agents do I know? And there are some agents that I don't know but I would like to know, and agents that I do know that I've dealt with before, and I thought there has to be a protocol because I need to introduce myself to them. Right, and I know a lot of people when they want to get an agent, they have to introduce themselves to an agent, and so I thought it would be a good time to talk about protocol when working with an agent or reaching out to an agent or casting director and then maintaining a relationship. 01:29 - Lau (Host) That's a great topic. Let's talk about that. Yeah, absolutely. 01:33 - Anne (Host) So I'm going to ask you, because you are an agent, so tell me, what is your preferred method of? Let's say, a new talent wants to be represented by you. What do you recommend, or how do you prefer that someone reaches out to? 01:48 - Lau (Host) you Right, that's a great question. 01:50 I'm one of those people that is out in the world, so I'm not just at the office, I'm also out in the world. 01:55 So I'm speaking at conferences, I'm invited to events, I'm doing online training. I'm like all over the map and partly it's to educate and partly it's to meet new talent, and I make that very clear. I'm very transparent about that and that's a very New York LA sentiment for actors that if they want to meet casting and agents, they oftentimes will take classes, they'll work with those people in the training, in the conference, in the group, so that they can see a little bit of their work or at least get to talk to them, because I feel like a human interface is so much better for me than just getting an email if possible. So I love it when people are in a class, in a group, in a session, and they point themselves out, and that could be as simple as maybe they ask a really smart question or maybe they volunteer to do a read, if they're allowed to do a read, or maybe they put their contact information in the chat if it's online. 02:51 My point is I love proactive people because I know proactive talent are going to be much easier to work with than talent who's passive or shy or just unknowing or newbie and they're waiting for magic to happen. I love people who are partnering with me and creating magic on their own too, so I love when they reach out in person at an event, at a class, at a happening. Number one that's my favorite. If it doesn't happen that way, it's okay to email and submit. I welcome that and I need that because we're still growing our roster. However, I will say one thing Kiss it, keep it short and sweet. I get too many emails and I know you do as well that are three, four, five, six paragraphs long, telling me everything that's going on. Do it Even with someone. I know I can't get through it. I just don't have the time to read through that whole thing. Just one paragraph right and just throw in your links. 03:51 - Anne (Host) I think anytime you send an email these days, the shorter and the sweeter you can make it the better, the better. Every person has time to read a full page of email. 04:03 - Lau (Host) No, and I need to see it right up front, like we call it, above the fold. So if I get to the website for instance, if you have a website that's terrific. Anything you have online I just need to see it quickly. If I have to scroll all the way down or go to another page, it's hard because I don't know what I'm looking for and I don't always want to hear all of the animation, demos or all of the other kinds of work that you do. It's a great reference point to have, but I don't always need that. So targeting the person you are courting is really important. If I'm courting a commercial agent, the commercial agent just isn't going to be as interested oftentimes in your animation work. 04:40 They'll like to know you have it, because they'll consider you're working pro, but they may not represent that kind of work versus an animation production house. You have to have your animation demos with an S, not just one, but more than one, and that's got to be front and center. So I say target your market, know exactly who you're reaching out. To. Keep it short and sweet, kiss it. Keep it short and sweet and give them exactly what they're looking for upfront. If they want more info, they'll ask you. 05:08 - Anne (Host) Oh, I like that. So how do we know what information to send? 05:12 Because here's the thing, right, let's say, if there is an opportunity to meet them in an online workout or at a conference, that's a great way to get in front of an agent and I think that that has worked really well for a multitude of students I know that have gotten taken on a roster after they've appeared in a workout at VOPEAPS and also at conferences. I've seen that work out really well for people. But what if there are some agencies that maybe are not looking to fill their roster just yet, or maybe their roster is full but yet people want to introduce themselves and maybe make an impression? Is that a favorable thing to do and how should they do that? 05:48 - Lau (Host) Absolutely. And you have to remember just because you're in front of someone does not mean they're interested in working with you. It doesn't mean they're even interested in receiving a submission from you. So I do find the more I meet fellow agents and casting and producers, the more articulate they are. If they're on a panel or if they're doing a workshop, they'll tell you oftentimes the very straightforward people and they'll say hey, yeah, I'd like to see your submission, I'd like to see your work, or no, I don't give out my contact information. I'll check in with you in a couple of months if I need anything. So typically they're pretty articulate to say if they're comfortable you contacting them or not. 06:27 And if you do contact them, what exactly are you contacting them for? They don't fool around across the board. They wanna know exactly who you are and what you want. What are you contacting them for? Otherwise you're bothering them. You know what I mean. Like it's a typical letter that you would send out to any prospect in business. Like say don't give me your life story, no one cares. What they care about is why are you coming to me? Sure, what are you looking for? 06:53 - Anne (Host) And I think that it's very important to understand. Just as in direct marketing, I deal with this with the VO, boss Blast, right. I have a lot of clients that are like look, I sent out my marketing materials to all these people on the list but nobody's contacted me. It's very much a timing issue, meaning there has to be a need. It's not like you've submitted auditions right. When somebody's come to you with auditions, right here I've got an audition for the spot. There is a need, right. It's a demonstrated need that I've got a commercial I'm producing or I've got some sort of promotion that I'm going to produce and I need a voice artist or I need a voice actor for that. When you're direct marketing and kind of saying hi, I'm here, can I get on your roster you don't know at what time you're reaching right. Is there a need for you on that roster? And if not, it's gotta be one of those things where it's a gentle sort of inquiry into and, as you said, keep it short and sweet, because otherwise you are bothering them because maybe there is no need. 07:54 And I always go back to my old how do we buy? How do we purchase, how do we acquire things, or how do we get things that we need Right now? It's been a crazy holiday season, right? So I am signed up for all these mailing lists, right? And I get three or four emails a week from the same companies, but yet I don't have a need for anything that they have. But when I do have a need, I'm then looking at that subject line, I'm looking into the email, and that's a very important part of determining whether I'm going to read that email and then purchase or, let's say, entertain the option of having somebody on my roster. 08:34 So the timing has to be right, and so sometimes you could send emails and nothing happens, and that's very true, I think, with reaching out to Asians or casting directors, right. I mean, you may not get any response, and then you might be like, oh gosh, have I done the right thing? And I'll tell you that, the one thing that you want to do, just as in yourself, right? You don't want people to be annoying. You don't want to read a book because I don't have time to get through that book. It needs to be short and to the point and respectful of their time. 09:04 - Lau (Host) I would agree, oh my gosh, totally agree. And I would say, you know, it's the old FOMO thing. It's like keep top of mind. If they see you, enough, you're branding yourself, so you're seeing you they get to psychologically feel that you've been in business forever. Even though you've been in business for two years, they start to say, oh, they've been around, I don't want to miss out on just seeing quickly what John Smith is doing like and then they trash it. Great, that's what you want. So that then when they have the need, they think John Smith, I always get his stuff right. So it's that sort of keeping your finger on the pulse of what is happening in all of their worlds and not falling into that mindset that you and I speak about all the time, the narcissism of, like I'm ready to work, I'm here, why aren't they hiring me? Well, they don't need you. 09:51 - Anne (Host) Right, top of mind is so interesting for an agent, right, like I love that. We said you do need to be top of mind. So that means you reach back out, right. If you don't hear anything, you reach back out. But how often, law? This is the question. How often do we reach out Now for marketing and soliciting voice acting services? 10:09 I think you can reach out to somebody once, twice a month, three times a month, and if you give them the option to unsubscribe right For direct marketing, that's awesome. I personally think we should add that option to unsubscribe if you're reaching out too many times to an agent or a casting director, because that will tell you right away if they have a need or not, or it shows that you're considerate of their time. And I actually just kind of came up with this right now. I'm like gosh, that would be nice, a nice option, if you just threw at the end of your email just say hey, I would love to connect with you. Please let me know I'd like to follow up with you. Maybe not next week, but I'd like to follow up with you in a few months. If you would prefer that I don't, please let me know by hitting reply and that kind of thing. 10:52 - Intro (Announcement) I love it. 10:52 - Anne (Host) I think that would show number one, that you're considerate of their time. Number two, that you know how to conduct yourself professionally and not be a pain in the butt, because I know that when people send me unsolicited emails, I get annoyed. If there's more of them that come in the next day, or what happens in I have Gmail, it shows in a thread. So I see like, oh, you've sent me five emails already pretty much following up and I have not responded to you, so you would think take me off your list, right? 11:19 - Lau (Host) Right and I think that that's honestly. I think it's inferred nowadays that if I don't want to get your stuff, I go to the bottom of your email. I find my preferences, I find my M subscribe me or my assistant can do it in like 15 seconds. It's okay, I'm used to doing that. It's like that's part of our thing that we do these days. But most of the time I actually don't do it, unless it's a big box store or a huge corporation that I have no interest in at all. 11:42 I want to know what my talent's doing. I want to know what prospects are doing, and what we will say is we try to be really kind, both as the studio and an agency. So if someone comes in and they're sending me their stuff and they're not a good fit, we'll write to them, we'll let them know. We won't just let them hang in the balance. We'll say, hey, you're not a good fit for our roster right now. Could you please come back and check in in the next three to six months? Perhaps you'll have updated materials, perhaps you'll have a couple of cool jobs to share with us and we'd like to relook at that later which we would we would, and that's really nice of you, but not all agents will do that. 12:16 No no, they won't, and so if they don't. 12:18 - Anne (Host) I think that it's absolutely a professional thing to actually, in the email at the very end, just say I would like to contact you in three to six months Again, if that would be okay with you. If not, please let me know that kind of thing and that just shows that you are respectful of them and their time. And also don't forget, bosses, to really research the person that you're sending out to, like you should know like what is this agency specialized in? What does their roster look like already? Are you filling a hole in that roster? Because, again, there has to be a need. I have to have a need to buy from Old Navy that pair of shorts or that T-shirt. 12:55 - Lau (Host) I'm glad you said that Because so few people are Googling or going to websites Like you should be. Before you blast anyone, go to the website. Make sure they're legit, see where they're located, see if that's the market you want to cover. See the kinds of voices that they're working with. Now when do you fit in that whole realm? It only takes you five minutes or less to do that. And let's say you're going to paste. What I call pasting is doing a blast of like 50 or 100. 13:20 - Intro (Announcement) So spend a Saturday doing a little bit of research. 13:23 - Lau (Host) It's worth it, because what if they're interested in working with you, then you know nothing about them, right? You want to have some working knowledge if you meet with them or if you go back and forth with them. I also want to say any, too, because so many talent have a lot of reps, which is great if they're freelancing, if they're not signed exclusively, they should. Our agency is freelance, not exclusive, so we know they're going to work with six or eight or 10 different people. Sure, keep them straight, keep them straight. Here's what we found. We found a number of auditions that come in every couple of auditions have the wrong slate on them, with the wrong agency, because agencies, as we all know, on the national front, will get some of the same science and some of the same scripts and be very careful that you don't do. 14:11 We were really offended by that oh gosh, yes, I would be offended because number one, that told us they weren't playing it back and listening to it, but number two, that they would send that in. And number three is, like, have an awareness of like who's sending you what and who's doing what I'm just going to say. 14:27 - Anne (Host) Way to get yourself kind of blacklisted. 14:29 - Intro (Announcement) You know what I mean. We didn't do that, but we were making an impression when you do that. 14:35 - Anne (Host) And that impression sometimes lasts for a long time. 14:38 - Lau (Host) We won't forget that. We know exactly the people that did that and they didn't do it on purpose and we're not going to have any malice towards them, but we're watching them. If they do it again, they could be dropped, because we don't want to not hear that, because we're too busy. Send it out to a client and then it goes to another agency. Okay, so that's one thing. The other thing too is like when you sign a contract and I'm sure most of these places you're going to have you sign a freelance agreement of some kind. Read it. Some of the folks are not reading it. 15:07 And we've had a few people that don't have source connect and they're up for bookings and we're like wait a second, you signed her agreement. It said right, we've dropped a couple people over that, because we're like, we're not going to be at your home doing this for you. 15:21 You got to do it for yourself and that's sad, but it's like that's the nature of the protocol and etiquette scene. Oh, another question. We get to law. I don't want to offend anyone, so if I'm getting the same script from a couple different offices, how should I treat that? For us, it's very simple. For me, it's simple. You do my script. Well, some offices do say that they actually threaten the talent. I've heard that behind the scenes they will threaten the talent to drop them if they don't do theirs, which I don't like that. I don't like scare tactics. I would say it's up to you. You can either go with the first one that sent it to you for time sensitivity, just go with the first. Or, if they're coming in the same time, two or three offices, just choose the one you have the best for them. 16:01 - Anne (Host) I agree, I agree. 16:02 - Lau (Host) It's up to you. We're not going to be offended in any way. Oh, and the other thing I want to say too is please and I'm only talking for us, I'm not talking about every other agency, I'm only talking about MCVL Don't tell us you're passing on a job, just pass, because we could get 20, 30, 40, 60 emails saying sorry on vacation, sorry, I'm passing, sorry I'd be like it's okay, we got plenty of talent. We're going to be submitting for this, it's okay. I think sometimes talent feel like I'm being selected personally for this audition. 16:37 - Anne (Host) I feel like I have an agent who does select personally, and so if I can audition, they will get upset if I don't. But you would know that. See, that's the thing. You should know your agent enough. Exactly, you should know your agent enough. 16:48 - Lau (Host) Yes, we do that too. So if we have a hand selection, we'll say, hey, we chose you for this Exactly, or our producer asked for you and we did it. You would know that. Otherwise, just assume it's coming to a number of people, not just you, right? Unless you hear from them. 17:03 - Anne (Host) Well, I remember when I initially signed with you, I was like, look, if I cannot respond to an audition, you won't be offended, right, because I do have an agent. That will be like, no, why did you not respond? And you were like, no, that's entirely fine, that is up to you, and so it behooves you to understand or have a relationship enough with your agent so that you know about these things. 17:23 - Intro (Announcement) You know if it's appropriate to respond, Just ask Now look. 17:26 - Anne (Host) How do you feel about people keeping up with you on their latest accomplishments? I think new demos are always good. Hey, you know, I just produced a new commercial demo. I wanted to send it to you so you can have an update. 17:39 - Lau (Host) Yeah, they do it, annie, they do it, it's fine, our pros do it. Pros in the roster will do it. That they'll say, hey, we got a new demo or we just did a job for this, or whatever. Tim and I always give really positive feedback and it's really great Just to kind of know what's happening. I don't need that. If you're not represented by us, I really don't need that. What I would need is, clearly you're submitting to the agency. So every couple months, just send a nice little letter and have your website updated and that's enough. We don't need to hear every single thing that you're booking or everything that you're doing, unless it's so huge. Now we kind of have to know about it. 18:13 You know what I mean Just be careful how much time and brain space you try to take up of people that you're working with. Less is always going to be more. I also wanted to talk to you about something that recently happened with one of our roster talent quite by accident, I think, not intentionally and that was this person auditioned for a gig in September and the clients didn't make their decisions. They're now whittling it down and checking availability. So we put it out to the couple talent we're checking. 18:42 - Anne (Host) That's three months bosses. By the way, that can happen, just FYI, over three months. Yes, over three months. 18:47 - Lau (Host) Yes. And this person came back and said, yeah, I'm going to pass on this because it's not up to speed with the rate guidelines that I'm looking at and I'd feel more comfortable and I know this talent and their phenomenal right. And we came back and we said, listen, we have to tell you you already auditioned for it. You forgot about it. Here's the MP3 right here and you have, in essence, agreed to the terms that you auditioned for. That's not to say we're not ready and able and willing to go fight for some more money, which we do, fight for more usage, which we do. That's like innate with us to do that. And that talent came back because they're a fabulous person, and said, oh, I'm so sorry, I literally forgot. It's okay, I'll follow through, I'll execute, I'm available, I got my source connect. That's what we call a mensch in the industry. That's a good person. That's a person that says, okay, I may not move forward on those kinds of jobs in the future, but I already accepted those terms when I auditioned. 19:43 - Anne (Host) That we make really clear, like because we may not be able to get more money on that or more stuff on that, sure and it shows that you're working together in partnership, and I think that that is something that is so important for voice actors to understand that it's not a one way relationship. It really is a give and a take and you are working together in partnership to get this job. I mean, you're both there to satisfy the client and make some money, and I feel that if a voice actor is not gonna follow through or they're gonna all of a sudden become difficult and then start demanding I mean, look, I am all about getting a fair wage and getting fair compensation for our voices, and I think we've been fighting for that all along, and if you don't have belief in your agent that they are also fighting that battle for you right then maybe you shouldn't be together anymore. 20:33 I mean really. 20:34 - Lau (Host) I mean that's the job of the agent. I mean the job is not just to accept the terms and say, oh this is great whatever, but to say, okay, that's what we call leveraging. 20:43 So if we have a great talent that comes on because, remember, the talent is not seeing the relationship in the background that you have to assume there's this whole like a horse with blinders on, there's this whole thing going on that you're not privy to. That is, how well do we know the client? Can we go back and forth with them? Can we shimmy, which we always try to do? Tim is great at it and I try, on my end as well, to say, hey, we got you another 500 bucks and another 1,000 bucks on that one because they saw the logic behind it or they saw it was difficult to get the talent for it. But the truth is I know the truth is non-PC, but the truth is, if this talent decided not to do it, I would still love this talent because they're awesome person and fabulous, but we can replace them in a second. That's just the truth of it. 21:31 I have a hundred people in that category right now, ready to sort of kill nuns to get that job. So it's not something that our agency would be willing to give up. So it's a balance, is what I'm saying? Like, we wanna be fair to the talent, we wanna be fair to the client, we wanna have good working practices, we wanna come back and do more work. So we're pushing. We're always like pushing, pushing, pushing. But sometimes you have to stay and you have to make the decision if you're gonna move forward or not. And it's okay. If you don't, there's other talent who will. 22:02 - Anne (Host) Absolutely Another great discussion. So I think always important to really just get to know your agent, get to know your manager and really educate on the agency. Educate and really be a human being. I think Just be a good human being because that's really when it comes down to it. We are interacting with human beings and we both want a positive experience as a voice actor and as an agent. 22:27 - Lau (Host) And if you do get a manager, I would say make sure the manager knows your agencies and works well with them. You don't wanna hide people under the rug, you wanna have a team, have a team approach. A lot of people feel like if they tell me about their other agencies they're cheating on me in the marriage and I don't treat it that way. I feel like you're making a viable career that makes me happy. That you book something somewhere, it's great. So have that team approach Makes you more marketable for you actually. 22:53 - Anne (Host) So yeah, for sure. All right, bosses, simple mission, big impact, 100 voices, one hour, $10,000 four times a year. Bosses, visit 100voiceshoocareorg to join us and big shout out to our sponsor, ipdtl. You too can connect and network like bosses, like Law and myself. Find out more at IPDTLcom. You guys have an amazing week and we'll see you next week. Bye. 23:21 - Intro (Announcement) Join us next week for another edition of VO Boss with your host, Ann Gangusa, and take your business to the next level. Sign up for our mailing list at vobosscom and receive exclusive content, industry revolutionizing tips and strategies and new ways to rock your business like a boss. Redistribution with permission. Coast to coast connectivity via IPDTL. 23:51 - Lau (Host) And it's 4th of July. I noticed that I have no idea why. 23:54 - Anne (Host) Move your mouse. Maybe that's so funny. I don't have a mouse. 23:58 - Lau (Host) Oh, my God, that's so funny. I'm back. I don't have any mouse. This is amazing. It's almost like your screen. 24:03 - Anne (Host) It's almost like your screen is going to sleep or you're making it Going to sleep. 24:08 - Lau (Host) Yeah, or you're making it explosive, I'm making it explosive, I love that.
durée : 00:02:55 - Bientôt chez vous - À partir du mois de juin, le NYPD, la célèbre police de New York, va devoir prendre note de l'âge, du genre et de la couleur des personnes qu'ils interrogent. Le conseil municipal à majorité démocrate a voté en faveur de cette loi cette semaine avec un objectif de transparence.
Extrait de l'épisode 197 du Basket Lab : Le Trade de OG Anunoby ! (31/12/2023) Podcast en intégralité ici : https://www.podcastics.com/podcast/episode/e197-le-trade-de-og-anunoby-273789/ Flux principal du Basket Lab : https://www.podcastics.com/podcast/le-basket-lab/ Bonne écoute ! Guillaume (@GuillaumeBLab) -- Youtube : https://www.youtube.com/@lebasketlab7044 Twitter : https://twitter.com/GuillaumeBLab Discord : https://discord.gg/CfWkhZx9xM
durée : 01:23:48 - Je vous écris du plus lointain de mes rêves - En janvier 1998, à l'occasion de la Course de la Route de l'Or, Claude Villers repart aux Etats-Unis et nous conte l'histoire de la ruée vers l'or. Il arpente ensuite les rues de New York avec Christine Ausseur, autrice d'un "Guide littéraire de New York".
Ecoutez RTL autour du monde du 04 décembre 2023 avec Correspondants RTL à l'étranger.
Dave and Jason discuss the recent war crimes in the Middle East before pivoting to a retrospective on the films "Escape from New York/LA."Please help Ed Gometz and his family battle leukemia at this link: https://www.gofundme.com/f/help-dr-ed
REDIFF - 'Le fantôme de l'opéra". A l'été 1980, les journaux de New York n'ont pas eu à chercher loin pour trouver ce titre. Et pour cause, une violoniste du très prestigieux Metropolitan Opera, le "Met" comme on le surnomme, venait de disparaître en pleine représentation. Retrouvez tous les jours en podcast le décryptage d'un faits divers, d'un crime ou d'une énigme judiciaire par Jean-Alphonse Richard, entouré de spécialistes, et de témoins d'affaires criminelles. Ecoutez L'heure du Crime du 07 juillet 2023 avec Jean-Alphonse Richard.
durée : 01:00:00 - Les Nuits de France Culture - par : Albane Penaranda - Par Colette Fellous - Avec Tania Lopert (comédienne), Béatrice Ellis, Jacques Charlier (pète haïtien), Chrystel Egall (vidéaste), Richard Berstein (peintre), John Ashbery (poète) et Ronnie Bird (jazzman et chanteur) - Réalisation Mehdi El Hadj
Una Pizza Napoletana a New York si riconferma la migliore pizzeria degli Stati Uniti d'America. Questo il risultato secondo la guida più influente nel mondo della pizza, 50 Top Pizza.
durée : 00:04:22 - Le zoom de la rédaction - C'est le musée new yorkais préféré des touristes français, c'est aussi le décor du film culte "La nuit au musée". L'American Museum of Natural History s'offre un coup de jeune. Une nouvelle aile ultra-futuriste ouvrira ses portes jeudi. Visite en avant-première.
In this episode, Jennifer talks to Stacie Capone about ways to foster and build a film community. They talk about ways to bring people together, find like-minded folks, and grow with those around you. They also unpack the importance of learning how to ask for assistance and support. Stacie shares her journey founding FilmmakeHers, a monthly salon for women+ creators of film, television, and digital content, with chapters in New York & LA, that has brought artists together in collaboration and expansion. About Stacie:Stacie Capone is a Los Angeles-based actress and producer. She is currently appearing on two episodes of Grey's Anatomy, and as Janice in the short film Love's Baby Soft - screening on the iconic 70's perfume's own website. She is attached to two features in development, The Ghost in the Attic and The Spirit of Detroit (an Academy Nicholl SemiFinalist). She is the founder and leader of the FilmmakeHers - a female-driven film community and monthly salon that features leading industry guests and mentors.Stacie previously led The Professional Actors Collective, where she made 11 short films in one calendar year. This project served as her film school, and launched both her producing career and her production company, which she runs to this day. Small Media Extra Large is a bicoastal production company with clients big and small; Meta, Sesame Street, Nickelodeon, TED, and theSkimm, just to name a few.As a lifelong New Yorker, Stacie made it her mission to find great pizza and bagels in LA - and being a stubborn Leo, she succeeded! Get in touch if you want to talk carbs…or film. Stacie's IG: @staciecapone FilmmakeHers IG: @thefilmmakeHers Stacie's Websites: staciecapone.com & smallmediaxl.com Want to coach with Jennifer? Schedule a session here! https://appt.link/jenniferapple Monologue Sourcing Promo Link! https://empoweredartistcollective.com/podcastpromo Learn more: https://www.empoweredartistcollective.com/podcast EAC IG: @EmpoweredArtistCollective EAC TikTok: @EmpowerArtistCollective EAC Facebook: https://www.facebook.com/empoweredartistcollective/ Sign up for our newsletter! https://mailchi.mp/8e72e8dcb662/stay-in-touch Check Out Our Merch! https://www.empoweredartistcollective.threadless.com/ Any thoughts you'd like to share? Email us at EmpoweredArtistCollective@gmail.com
Une Québécoise de 15 ans en exposition à New York | La censure de livres en hausse aux États-Unis | L'autobiographie de Ginette Reno sera disponible exclusivement dans les pharmacies Jean Coutu Dans cet épisode intégral du lundi 27 mars, en entrevue : Mégane Fortin, artiste peintre Nicolas Lemieux, producteur et homme d'affaires Une production QUB radioMars 2023Pour de l'information concernant l'utilisation de vos données personnelles - https://omnystudio.com/policies/listener/fr
Présentation de l'invitée : L'année 2022 marque les 10 ans de la marque Louise Damas : inspirée par des héroïnes de la littérature, puis du quotidien, Louise propose à travers ses collections, des bijoux intemporels, accessibles et fabriqués à la main à Paris, « des bijoux pour raconter l'histoire des femmes qui les portent et écrire avec elles celles à venir. » L'histoire de Louise Damas, c'est aussi celle d'une rencontre : avec Claire Rischette, fondatrice de Fauvette Paris, elles imaginent ensemble Passage Doré, un atelier-boutique dans lequel elles fabriquent et proposent chacune leurs créations, qu'elles accompagnent de « curiosités » (bougies, papeteries, objets imprimés, chaussures etc.) choisies par leur soin. Dans ce nouvel épisode, Louise Damas revient sur tout son parcours, ses études, la difficulté de trouver sa voie, les débuts de sa marque, sa rencontre avec Claire de Fauvette Paris, la création de Passage Doré, l'ADN de la marque et son processus de création. « Je n'ai pas de style très précis, car j'aime des choses très différentes : mes collections de bijoux sont donc très hétéroclites et plaisent à des personnes très différentes. » Ce que vous allez apprendre dans cet épisode : Louise Damas se présente Son séjour à New-York La difficulté de trouver sa voie Les débuts de la marque Sa rencontre avec Claire (Fauvette Paris) La création de la boutique Passage Doré L'ADN Louise Damas La cliente Louise Damas Louise Damas chez Le Bon Marché Se réinventer durant le confinement Le sourcing Le processus de création des bijoux Son positionnement prix Ses roles models Ses moyens d'acquisitions Comment elle reste inspirée Qui elle souhaiterait entendre dans ce podcast « Notre valeur ajoutée par rapport à d'autres marques de bijouterie fantaisie, c'est que l'on propose des modèles uniques : on ne fait pas seulement de l'assemblage, on crée nos propres moules. » « J'ai commencé à créer mes propres bijoux quand j'étais étudiante, car je n'avais pas forcément les moyens de m'en acheter. » « La littérature a toujours été une grande source d'inspiration : dans Salammbô de Flaubert, il y avait des descriptions magnifiques de rivières, de perles dans les cheveux, ça m'a de suite inspiré une collection autour de ce personnage. » N'oubliez pas de vous inscrire à la newsletter de Entreprendre Dans La Mode, les industries créatives et l'art de vivre sur www.entreprendredanslamode.com. Aussi, si vous souhaitez me contacter ou me suggérer de nouveaux invités, vous pouvez le faire sur Instagram sous le pseudonyme @entreprendredanslamode. Enfin, le plus important : laissez-moi un avis sur Apple Podcast ou iTunes, 5 étoiles de préférence ; cela m'aide à faire connaître le podcast à plus de monde et me motive à faire de meilleures interviews ! Merci de soutenir ce podcast et à bientôt pour un nouvel épisode ! Références : Louise Damas : https://www.louisedamas.fr/ Parsons School of Design : https://www.newschool.edu/parsons/ L'EPMT : https://www.epmt.fr/ American Apparel : https://retail.americanapparel.com/ Licence Lettre Moderne (Sorbonne Nouvelle) : http://www.univ-paris3.fr/licence-lettres-modernes-242640.kjsp CELSA : http://www.celsa.fr/admission-licence3-concours.php Fauvette Paris : https://fauvette-paris.com/ Passage Doré : https://passagedore.com/ Who's next : https://whosnext.com/fr Le Bon Marché : https://www.lebonmarche.com/ Sophie Arancio : https://www.instagram.com/sophiearancio/?hl=fr La Petite Grosse : https://www.lapetitegrosse.com/ Hello Mondays : https://hellomondays.co/ Maison Objet : https://www.maison-objet.com/paris
Présentation de l'invitée : L'année 2022 marque les 10 ans de la marque Louise Damas : inspirée par des héroïnes de la littérature, puis du quotidien, Louise propose à travers ses collections, des bijoux intemporels, accessibles et fabriqués à la main à Paris, « des bijoux pour raconter l'histoire des femmes qui les portent et écrire avec elles celles à venir. »L'histoire de Louise Damas, c'est aussi celle d'une rencontre : avec Claire Rischette, fondatrice de Fauvette Paris, elles imaginent ensemble Passage Doré, un atelier-boutique dans lequel elles fabriquent et proposent chacune leurs créations, qu'elles accompagnent de « curiosités » (bougies, papeteries, objets imprimés, chaussures etc.) choisies par leur soin. Dans ce nouvel épisode, Louise Damas revient sur tout son parcours, ses études, la difficulté de trouver sa voie, les débuts de sa marque, sa rencontre avec Claire de Fauvette Paris, la création de Passage Doré, l'ADN de la marque et son processus de création.« Je n'ai pas de style très précis, car j'aime des choses très différentes : mes collections de bijoux sont donc très hétéroclites et plaisent à des personnes très différentes. » Ce que vous allez apprendre dans cet épisode : Louise Damas se présente Son séjour à New-York La difficulté de trouver sa voie Les débuts de la marque Sa rencontre avec Claire (Fauvette Paris) La création de la boutique Passage Doré L'ADN Louise Damas La cliente Louise Damas Louise Damas chez Le Bon Marché Se réinventer durant le confinement Le sourcing Le processus de création des bijoux Son positionnement prix Ses roles models Ses moyens d'acquisitions Comment elle reste inspirée Qui elle souhaiterait entendre dans ce podcast « Notre valeur ajoutée par rapport à d'autres marques de bijouterie fantaisie, c'est que l'on propose des modèles uniques : on ne fait pas seulement de l'assemblage, on crée nos propres moules. » « J'ai commencé à créer mes propres bijoux quand j'étais étudiante, car je n'avais pas forcément les moyens de m'en acheter. » « La littérature a toujours été une grande source d'inspiration : dans Salammbô de Flaubert, il y avait des descriptions magnifiques de rivières, de perles dans les cheveux, ça m'a de suite inspiré une collection autour de ce personnage. » N'oubliez pas de vous inscrire à la newsletter de Entreprendre Dans La Mode, les industries créatives et l'art de vivre sur www.entreprendredanslamode.com. Aussi, si vous souhaitez me contacter ou me suggérer de nouveaux invités, vous pouvez le faire sur Instagram sous le pseudonyme @entreprendredanslamode. Enfin, le plus important : laissez-moi un avis sur Apple Podcast ou iTunes, 5 étoiles de préférence ; cela m'aide à faire connaître le podcast à plus de monde et me motive à faire de meilleures interviews ! Merci de soutenir ce podcast et à bientôt pour un nouvel épisode ! Références : Louise Damas : https://www.louisedamas.fr/ Parsons School of Design : https://www.newschool.edu/parsons/ L'EPMT : https://www.epmt.fr/ American Apparel : https://retail.americanapparel.com/ Licence Lettre Moderne (Sorbonne Nouvelle) : http://www.univ-paris3.fr/licence-lettres-modernes-242640.kjsp CELSA : http://www.celsa.fr/admission-licence3-concours.php Fauvette Paris : https://fauvette-paris.com/ Passage Doré : https://passagedore.com/ Who's next : https://whosnext.com/fr Le Bon Marché : https://www.lebonmarche.com/ Sophie Arancio : https://www.instagram.com/sophiearancio/?hl=fr La Petite Grosse : https://www.lapetitegrosse.com/ Hello Mondays : https://hellomondays.co/ Maison Objet : https://www.maison-objet.com/paris
Présentation de l'invitée : L'année 2022 marque les 10 ans de la marque Louise Damas : inspirée par des héroïnes de la littérature, puis du quotidien, Louise propose à travers ses collections, des bijoux intemporels, accessibles et fabriqués à la main à Paris, « des bijoux pour raconter l'histoire des femmes qui les portent et écrire avec elles celles à venir. »L'histoire de Louise Damas, c'est aussi celle d'une rencontre : avec Claire Rischette, fondatrice de Fauvette Paris, elles imaginent ensemble Passage Doré, un atelier-boutique dans lequel elles fabriquent et proposent chacune leurs créations, qu'elles accompagnent de « curiosités » (bougies, papeteries, objets imprimés, chaussures etc.) choisies par leur soin. Dans ce nouvel épisode, Louise Damas revient sur tout son parcours, ses études, la difficulté de trouver sa voie, les débuts de sa marque, sa rencontre avec Claire de Fauvette Paris, la création de Passage Doré, l'ADN de la marque et son processus de création.« Je n'ai pas de style très précis, car j'aime des choses très différentes : mes collections de bijoux sont donc très hétéroclites et plaisent à des personnes très différentes. » Ce que vous allez apprendre dans cet épisode : Louise Damas se présente Son séjour à New-York La difficulté de trouver sa voie Les débuts de la marque Sa rencontre avec Claire (Fauvette Paris) La création de la boutique Passage Doré L'ADN Louise Damas La cliente Louise Damas Louise Damas chez Le Bon Marché Se réinventer durant le confinement Le sourcing Le processus de création des bijoux Son positionnement prix Ses roles models Ses moyens d'acquisitions Comment elle reste inspirée Qui elle souhaiterait entendre dans ce podcast « Notre valeur ajoutée par rapport à d'autres marques de bijouterie fantaisie, c'est que l'on propose des modèles uniques : on ne fait pas seulement de l'assemblage, on crée nos propres moules. » « J'ai commencé à créer mes propres bijoux quand j'étais étudiante, car je n'avais pas forcément les moyens de m'en acheter. » « La littérature a toujours été une grande source d'inspiration : dans Salammbô de Flaubert, il y avait des descriptions magnifiques de rivières, de perles dans les cheveux, ça m'a de suite inspiré une collection autour de ce personnage. » N'oubliez pas de vous inscrire à la newsletter de Entreprendre Dans La Mode, les industries créatives et l'art de vivre sur www.entreprendredanslamode.com. Aussi, si vous souhaitez me contacter ou me suggérer de nouveaux invités, vous pouvez le faire sur Instagram sous le pseudonyme @entreprendredanslamode. Enfin, le plus important : laissez-moi un avis sur Apple Podcast ou iTunes, 5 étoiles de préférence ; cela m'aide à faire connaître le podcast à plus de monde et me motive à faire de meilleures interviews ! Merci de soutenir ce podcast et à bientôt pour un nouvel épisode ! Références : Louise Damas : https://www.louisedamas.fr/ Parsons School of Design : https://www.newschool.edu/parsons/ L'EPMT : https://www.epmt.fr/ American Apparel : https://retail.americanapparel.com/ Licence Lettre Moderne (Sorbonne Nouvelle) : http://www.univ-paris3.fr/licence-lettres-modernes-242640.kjsp CELSA : http://www.celsa.fr/admission-licence3-concours.php Fauvette Paris : https://fauvette-paris.com/ Passage Doré : https://passagedore.com/ Who's next : https://whosnext.com/fr Le Bon Marché : https://www.lebonmarche.com/ Sophie Arancio : https://www.instagram.com/sophiearancio/?hl=fr La Petite Grosse : https://www.lapetitegrosse.com/ Hello Mondays : https://hellomondays.co/ Maison Objet : https://www.maison-objet.com/paris
Présentation de l'invitée : L'année 2022 marque les 10 ans de la marque Louise Damas : inspirée par des héroïnes de la littérature, puis du quotidien, Louise propose à travers ses collections, des bijoux intemporels, accessibles et fabriqués à la main à Paris, « des bijoux pour raconter l'histoire des femmes qui les portent et écrire avec elles celles à venir. »L'histoire de Louise Damas, c'est aussi celle d'une rencontre : avec Claire Rischette, fondatrice de Fauvette Paris, elles imaginent ensemble Passage Doré, un atelier-boutique dans lequel elles fabriquent et proposent chacune leurs créations, qu'elles accompagnent de « curiosités » (bougies, papeteries, objets imprimés, chaussures etc.) choisies par leur soin. Dans ce nouvel épisode, Louise Damas revient sur tout son parcours, ses études, la difficulté de trouver sa voie, les débuts de sa marque, sa rencontre avec Claire de Fauvette Paris, la création de Passage Doré, l'ADN de la marque et son processus de création.« Je n'ai pas de style très précis, car j'aime des choses très différentes : mes collections de bijoux sont donc très hétéroclites et plaisent à des personnes très différentes. » Ce que vous allez apprendre dans cet épisode : Louise Damas se présente Son séjour à New-York La difficulté de trouver sa voie Les débuts de la marque Sa rencontre avec Claire (Fauvette Paris) La création de la boutique Passage Doré L'ADN Louise Damas La cliente Louise Damas Louise Damas chez Le Bon Marché Se réinventer durant le confinement Le sourcing Le processus de création des bijoux Son positionnement prix Ses roles models Ses moyens d'acquisitions Comment elle reste inspirée Qui elle souhaiterait entendre dans ce podcast « Notre valeur ajoutée par rapport à d'autres marques de bijouterie fantaisie, c'est que l'on propose des modèles uniques : on ne fait pas seulement de l'assemblage, on crée nos propres moules. » « J'ai commencé à créer mes propres bijoux quand j'étais étudiante, car je n'avais pas forcément les moyens de m'en acheter. » « La littérature a toujours été une grande source d'inspiration : dans Salammbô de Flaubert, il y avait des descriptions magnifiques de rivières, de perles dans les cheveux, ça m'a de suite inspiré une collection autour de ce personnage. » N'oubliez pas de vous inscrire à la newsletter de Entreprendre Dans La Mode, les industries créatives et l'art de vivre sur www.entreprendredanslamode.com. Aussi, si vous souhaitez me contacter ou me suggérer de nouveaux invités, vous pouvez le faire sur Instagram sous le pseudonyme @entreprendredanslamode. Enfin, le plus important : laissez-moi un avis sur Apple Podcast ou iTunes, 5 étoiles de préférence ; cela m'aide à faire connaître le podcast à plus de monde et me motive à faire de meilleures interviews ! Merci de soutenir ce podcast et à bientôt pour un nouvel épisode ! Références : Louise Damas : https://www.louisedamas.fr/ Parsons School of Design : https://www.newschool.edu/parsons/ L'EPMT : https://www.epmt.fr/ American Apparel : https://retail.americanapparel.com/ Licence Lettre Moderne (Sorbonne Nouvelle) : http://www.univ-paris3.fr/licence-lettres-modernes-242640.kjsp CELSA : http://www.celsa.fr/admission-licence3-concours.php Fauvette Paris : https://fauvette-paris.com/ Passage Doré : https://passagedore.com/ Who's next : https://whosnext.com/fr Le Bon Marché : https://www.lebonmarche.com/ Sophie Arancio : https://www.instagram.com/sophiearancio/?hl=fr La Petite Grosse : https://www.lapetitegrosse.com/ Hello Mondays : https://hellomondays.co/ Maison Objet : https://www.maison-objet.com/paris
« Le fantôme de l'opéra ». A l'été 1980, les journaux de New York n'ont pas eu à chercher loin pour trouver ce titre. Et pour cause, une violoniste du très prestigieux Metropolitan Opera, le "Met" comme on le surnomme, venait de disparaître en pleine représentation. Retrouvez tous les jours en podcast le décryptage d'un faits divers, d'un crime ou d'une énigme judiciaire par Jean-Alphonse Richard, entouré de spécialistes, et de témoins d'affaires criminelles. Ecoutez L'heure du Crime avec Jean-Alphonse Richard du 04 janvier 2023
What's so funny about Larry Goldings? He has been such a major musical force for so long, it's hard to remember a time when he was not around. He's one of the most accomplished, respected and admired hammond organ players alive and much of his career has been devoted to that instrument. The trio he formed in the early 90s with guitarist Peter Bernstein and Bill Stewart has been one of the pillars of his musical life for over 30 years, and the three have remained United for decades. Their most recent record, Perpetual Pendulum, was released earlier this year. The recording session for the album marked the 30th anniversary of the release of their first record together - the 1991 album The Intimacy of the Blues. Larry eventually moved to the West Coast and carved out a reputation as not only a jazz musician but also a highly sensitive session player, sideman, collaborator, songwriter, and film composer. Goldings is also no stranger to social media: For years he has posted clips of himself - not only musical, but also what you might describe as schtick or comedy. His alter ego, Hans Groiner, for example, claims to be an Austrian accordion player, pianist, educator and Thelonious Monk specialist who has improved Monk's music by making it "more relaxing, and less offensive to the ear." In recent years he's also become a regular fixture with Scary Pockets, the LA based YouTube famous funk collective. Larry Goldings and Scary Pockets even have their own side project called Scary Goldings, they've recorded a bunch of albums and videos together, and over time have brought in Larry's longtime friend John Scofield to join them, as well as other viral superstars like MonoNeon and Louis Cole. In this conversation, originally recorded in 2016, Larry talks about his early development and influences, his ongoing relationship with Peter Bernstein and Bill Stewart, working with John Scofield, James Taylor, Maceo Parker, Jon Hendricks, the New York - LA thing, his approach to accompaniment, organ playing and telling jokes on the bandstand. www.third-story.comwww.patreon.com/thirdstorypodcast https://www.wbgo.org/podcast/the-third-story Music in this episode: John Scofield “Do Like Eddie”Goldings, Bernstein, Stewart “United”James Taylor “School Song”Johnny Bowtie Barstow “First Noel” Hans Groiner - YoutubeLarry Goldings “Ivermectin”Scary Goldings “Larry Pockets”Jon Hendricks “Freddie Freeloader”Christopher Hollyday “No Second Quarter”Larry Goldings Trio “The Intimacy of The Blues”Jaco Pastorious “Word Of Mouth”Dave McKenna “C Jam Blues”Jimmy Smith and Wes Montgomery “James and Wes”Peter Bernstein (feat. Larry Goldings) “While We're Young”Chris Anderson “The Folks Who Live On The Hill”Jim Hall (feat. Larry Goldings) “Somewhere”Larry Young “Back Up”Billy Preston “Will It Go Round In Circles”Goldings, Bernstein, Stewart “Reflections In D”Weather Report “In A Silent Way”Jimmy Smith “The Sermon”Abdullah Ibrahim “Carnival”Maceo Parker “Shake Everything You Got”Maceo Parker “Pass The Peas”James Taylor “Country Road”
David Grieco"Miracolo a New York"La nave di Teseohttps://www.lanavediteseo.eu/L'11 settembre 2001 non era un giorno qualsiasi per morire. Gli amici e i parenti di tutti coloro che sono morti quella mattina sono destinati a non dimenticarli mai perché non hanno nemmenouna tomba su cui piangere o pregare. Il dottor Matthew Mason, protagonista di Miracolo a New York, non fa eccezione. Quel giorno ha perso sotto le macerie sua moglie Jodie, la madre del suo piccolo Charlie, e sebbene egli viva da tempo con un'altra donna che ha cresciuto suo figlio, Matthew trascorre le sue notti insonni a costruire con il Lego una folle, improbabile riproduzione delle Torri Gemelle. Una di quelle notti, Matthew viene chiamato al Pronto Soccorso dell'ospedale dove lavora. Si ritrova davanti a una donna che ha tentato il suicidio proprio lì. Matthew la riconosce. Jodie. Sua moglie. Non può che essere lei.Ma nessuno lo deve sapere. Da quel momento in poi, la vita di Matthew deraglia completamente. Ma quando perderà tutto, proprio tutto, il dottor Mason farà una scoperta sconvolgente che gli permetterà di rinascere.Giornalista, scrittore e regista, David Grieco ha scritto il romanzo Il comunista che mangiava i bambini (1994) – dal quale ha tratto un film intitolato Evilenko, interpretato da Malcolm McDowell – e numerosi libri di non fiction, l'ultimo dei quali è La macchinazione (2015), sulla morte di Pier Paolo Pasolini, e di questo ha diretto il film omonimo. È autore di numerose sceneggiature per il cinema, fra le quali quella di Caruso Pascoski di padre polacco con Francesco Nuti. Ha vinto svariati premi, tra i quali quello come miglior regista – unico italiano nella storia del premio – al festival americano di Tiburon e il prestigioso premio Adriana Prolo alla carriera conferito all'Associazione Museo Nazionale del Cinema.IL POSTO DELLE PAROLEAscoltare fa Pensarehttps://ilpostodelleparole.it/
Hlustaðu í fullri lengd inni á www.patreon.com/skodanabraedur Ágústa Ýr (@iceicebabyspice) er leikstjóri, ljósmyndari, fyrirsæta og creative director. Hún lærði í New York og hefur síðan þá verið að keyra gott prógram í stórborgum Vesturheims. Hérna er farið yfir það; verkefni, Instagram, partí, metorðastiginn, völd og virðing.
Intro: Nightmare, revisited. Let Me Run This By You: Gina's petty bullshit.Interview: We talk to the co-Artistic Director of Steppenwolf Theatre, Glenn Davis, about the Stratford Festival, King James, You Got Older, The Christians, being a producer with Tarell Alvin McCraney, Anna D. Shapiro, Audrey Francis, Rajiv Joseph, Alana Arenas, coming from a political family, pay equity, DEI, Seagull, Downstate, regret.FULL TRANSCRIPT (unedited):2 (10s):And I'm Gina Polizzi. We1 (11s):Went to theater all together. We survived it, but we didn't quite understand it.3 (16s):Years later, we're digging deep talking to our guests about their experiences and trying to make sense of it1 (20s):All. We survived theater school and you will too. Are we famous yet? Yeah, because the Handmaid's tale came true since we last talk.2 (36s):Oh my God. I was just preparing to say to you my new favorite party question, not that I ever go to parties is what country are you going to move to when they ask you to be a handmade? Because I think the trick is the timing, you know, like there's going to be a point of no return,1 (52s):Right? You could2 (54s):Go to,1 (54s):Yeah, I guess I could, I feel like things might be worse there in some ways, but not eventually. Maybe not like now you're right. It's a timing thing, because right now it might be worse. But in about, within a couple of years, it could be better. So you're right. It's a timing thing. So maybe the idea is to like get passports. Well, the problem is when you get one passport, you have to turn in another, I think, unless you're a secret double agent and doing illegal things, like, I don't know that you can be a duel. Oh, I'm confused. We need, that's what we need a guest on that knows about passports.2 (1m 32s):Well, I don't know anything about passports, but I will say I, the reason that I would be allowed to have dual citizenship in Italy is because I can prove, you know, that my ancestors came from there. So I probably the same thing is true for you1 (1m 50s):Only2 (1m 50s):Have to go back one generation immigrants lady1 (1m 54s):Over here.2 (1m 55s):Right?1 (1m 55s):Right. Yeah. It's interesting. I, yeah, I, there are a lot of, I mean, this whole thing has been this whole overturning Roe vs. Wade has been, it has been horrific. And also because I've come from things from this and as you do too, like the psychological lens is trauma lens. I'm like, okay. The reactions, especially on social media have been wild. So what I'm noticing is it's even more hand Handmaid's tailie in that people then other women aren't then sort of policing other people's responses to this.1 (2m 37s):Meaning people are like, well, I don't know why you're shocked. So instead of saying, yes, you can have your reaction. People are mad that women are shocked. Other women are like, well, what did you think was going to happen? We, and I'm like, okay, wait, wait, wait, wait, wait, wait, wait. This is part of the deal. Like let people have their responses, let them, so I am not shocked, but that does not mean that it hurts any less or that it, it is my job to tell someone that their outrage is not justified or not appropriate.2 (3m 15s):I mean, that's like, that's like telling a little kid, well, your dad hits you every time he gets drunk. What's why are you so surprised? You know, it's like, well, that doesn't make it hurt any less. That doesn't make me any less fearful. The feeling that I have in my body right now is the feeling that I had on election night in 2016. You know, I don't know if I ever told you my story about that, but just like every other reasonable person in the world, I completely assumed Hillary Clinton would win. And I wore my little pants version of a pantsuit to vote. I came home and I had, I didn't invite anybody over, but I made, I had like snacks, like it was a super bowl. And I put up a big piece of paper like that paper we wrote on when we were doing our, our TV show and with a map and I was gonna, I was marking the electoral votes, teach my kids about the electoral college.2 (4m 10s):And it's like, and it's just starts going, okay, well, that's not, that's not too bad. And then, and pretty early on, I realized what was happening. And I became immediately exhausted. And I went up to my bed and I fell asleep. And in the middle of the night, I rolled over to check my phone and I saw the confirmed, the worst had happened. And now I have that feeling again. I have that feeling of like, there's no hope.1 (4m 40s):This2 (4m 40s):Is, this is all bad.1 (4m 43s):I, I, I totally hear you. I, miles is famous for saying that. I knew that Trump was gonna win. And I did not, of course, but what I knew was when I went to the polls, it was the weirdest thing. There was this old, weird white guy, and this was in Evanston still. And this old, weird white guy in Evanston, which is very, very, very democratic. But he was handing out these flyers that were like very pro-Trump and very like Trump is going to win and he should, anyway, I had this sinking feeling. I was like, oh wait, wait, wait, this is Evanston.1 (5m 24s):And this guy is like, really sure. And also he seems like kind of a crack pot, but kind of not. And I, there was the first time at the polls where I was like, oh no, oh no, no, no, no, no. I have a bad feeling about this. And then we went to a friend's house, big mistake for an election night situation. And as the returns started coming in, people started at the party getting drunker. And so getting sadder and getting crazier and saying things like, well that this is fine. Like I'll just move to Italy or I'll just move to. But like, it was like the, the, the denial and the alcohol mixing was really, really, really, really depressing.1 (6m 8s):And I was like, I got to get out of here. And so we left before it was called, of course. And, and we, and it was, but I did have this sinking feeling when, when that, when the dude at the, it wasn't at the polls, it was like, I had gone to whole foods afterwards. It's right. And this guy was like putting leaflets on everyone's car that was like, basically get ready for Trump. And I was like in a good way. And I was like, oh shit. If this is happening at Evanston, we've got a problem area. So I wasn't shocked either, but I was very dismayed. And the feeling I have now is that like, literally, I feel like, like I kind of have a migraine today and I feel like I've had a migraine since 1975. That's kind of the feeling I have.1 (6m 49s):Like every time something like this happens, I feel like, oh, this feeling again, I have this feeling that I am exhausted and my head hurts and yeah. And then online, it's just a cesspool and some things are great and people are organizing. And, but some things are just, you know, a lot of people we all, as humans get, we just love to start censoring people's feelings and emotions about a tragedy.2 (7m 19s):Yeah, yeah. Yeah. But also that behavior is just like, I am trying to control you because I feel so out of control of myself. And I kind of like, doesn't even really register that much to me. But on Saturday I went to a rally and, you know, just like about 20 minutes from my house. And it's always a good feeling to do something when, when you feel like there's nothing to do. So that was great. And there was about a hundred people there. So that was great. And the, the person who was organizing it was a woman. So she, she literally said the very first words, but it was just to introduce this next speaker, who was a man.2 (8m 6s):And then after that was another man. And then after that was another man. So it was five men spoke in a1 (8m 11s):Row about this.2 (8m 16s):Yeah. Well, okay. So in the moment, the first person who spoke was our Senator Richard Blumenthal. Okay. That, Hey, he came here, that's pretty great. And he, and he has a very good record of voting the way that I agree with for women's rights, people's rights, human rights. So that felt okay. And then his son is also in politics, his1 (8m 45s):Son.2 (8m 46s):So then his son spoke and his son gave this speech that I could tell, like, I could tell them he did this thing. Or if like he was mimicking the cadence of how political speeches go, where you say three sentences on the fourth sentence, you, you get louder because that's when everybody's going to applaud. But then nobody applauded.1 (9m 8s):And he2 (9m 8s):Was real confused. He was real confused anyway, but by the fourth man who got up did say, I think I'm the fourth man in a row to be speaking here. You know, he was kind of at least trying to acknowledge it. And I'm of two minds because on the one hand, I think thank God that there are men in positions of power, who, who do agree with, you know, caudifying row, but at the same time, in a more like, step, take a step back way. I'm just going like, yeah, but this is the problem. This is the problem. This is the problem that only your voice matters.1 (9m 51s):Well, I think it, for me, it's what I call in LA, at least the giving tents to the houseless situation. So we're giving tends to it's the exact same thing. Right. We're giving tends to people that have no home. Okay. So they have shelter now. Okay. But what, what are we going to really get down to the real issue of what's happening here? So, so2 (10m 15s):Yeah. Why are they homeless and what are the services that they, okay,1 (10m 18s):Why are we not asking the big questions? And I think we, as people are asking the big questions, but the answers are so going to have to change the way the empire works, that nobody is going to, we, we're not really answering the questions. Right. So I think there's right at the, every I saw this and I don't know if this is accurate, but I saw something that the average, the empire last 250 years, and we're at 2 452 (10m 51s):Talk motherfucker. Yeah.1 (10m 54s):So, so I feel like, yeah, people are very afraid to talk about civil war. People are afraid, look, it's a scary thing. And, and, and Nope, Nope, nobody really wants that, but I don't understand where else we're headed. So, so while I don't like it, it's the same thing with the, with the response of people while I don't like that this is happening, it is happening. So I'm going to just say, okay, like, I, I, I, I am not, I don't have any face that we are interested in doing anything else, but, but leaping towards extinction.1 (11m 39s):That's how I feel like, I'm not sure what else we're going to do because I'm, I'm looking at facts and I'm looking at what's happening in, in, you know, obviously climate change wise. And I'm like, oh, we're, we're making choices. And right. And also people are probably going to be like, oh, well, there are people doing good work. And that is true. There are a lot of people doing good work. It's just seems like the people that are making decisions are the people, you know, with the most power are not doing good work are doing, I don't know what they're doing, but they're, they're, they're doing capitalism and what's best for, for, for their pocket.1 (12m 19s):And that's. Yeah.2 (12m 21s):But we, even1 (12m 22s):Though it's about money,2 (12m 23s):It's about money. And it's also about it's about money and it's about getting reelected because the, because the point of, you know, the reason that all these men's, they were all politicians and they were just, all right, it's all running for reelection. And that's the other thing is miss me with your false, like, I'm not saying to anybody on that stage had false promises, but there's quite a lot of good politicians, you know, as good as they can be, who run on these campaign promises. And they never deliver because they have a hard time, you know, getting their, their fellow senators and so forth to agree with them.2 (13m 3s):But yeah, now we're being selected out. I mean, like, there's just really no other way to look at it. And I guess I could say, I guess we deserve it.1 (13m 19s):Let me run this by you.2 (13m 27s):However, all of this doesn't mean that I don't still get involved in petty bullshit. Like I did.1 (13m 35s):Well, tell me, tell me all about that's fantastic.2 (13m 38s):We have this God damn fucking bitch of a neighbor that I, I mean, she's just the repository for my rage right now. You know, it's like, it's not really about her, but she she's, you know, she's the person who, when we first moved into this house, very friendly came over, introduced herself. We had kids similar ages, she's at our house for a while. Chatting. She leaves, she calls me 20 minutes later to, to, in an alarmed fashion to tell me that my children who at the time were six and eight or whatever it had had crossed the street without me there.2 (14m 21s):And that this was obviously going to be a big problem for me. And I, I mean, that just kind of sealed the deal. We, we tried to be friends. She, she started one of these multi-level marketing. She was selling jewelry. I bought her dumb ass jewelry, you know, and it's just been one thing after the other. And, and she's like the nosy neighbor. Who's never missing an opportunity to tell everybody what they should and shouldn't be doing. And she has these two really out of control dogs that just bark constantly. And she walks them or attempts to walk them. And she, and no other dogs basically can be on the street, you know, without there being a big kerfuffle.2 (15m 7s):Now, when I'm walking my dog and I see her coming, I turn the other way a, because I really don't want to see her, but also because I don't want to go through the whole thing of my dog. Yeah. It's all thing. Right. Well, my husband doesn't avoid things like that.1 (15m 22s):Well, I've miles wouldn't even notice until it was too late, but I feel like Aaron is more like, I'm going to just walk my dog.2 (15m 30s):He's like, it's my fucking street and my dog. And we still live in an America where you're free. You're free to walk your dog. So she's walking. So he's walking the dog and she's coming towards and she's doing her usual thing. And then she said, and this was not the first time she said this. She tells him it's not really a great time to be walking your dog right now as if like she gets to go to1 (15m 54s):No, no, no, no, no, no, no, no, no, no, no, no, no.2 (15m 58s):Well, my in-state, I really wanted to go fly into a rage over to her house. And I, luckily I didn't do that. I did go for a walk and walk by her house, both my fingers up. And I thought, well, if I saw her at my dream,1 (16m 14s):What I would say is2 (16m 15s):I tell you to take those Stella and dot necklaces and choke and hang yourself with them. But they're so cheap. All you'd get is a green net.1 (16m 23s):Yeah. You just break it. Wouldn't do the job. It wouldn't do the job. Oh my.2 (16m 31s):But in a way, you know, having these petty things is sort of life affirming right. In this weird way. It's like at the end of the day, you're just like, oh yeah, it's just, you don't like your neighbor. People sometimes don't like their neighbors. It's not as much.1 (16m 46s):What did, what did your husband say to her? Nothing.2 (16m 50s):I mean, he was just like, I I'm walking my dog. I mean, like, I think he was just so flummoxed by the whole thing. Like, is this person really trying to tell me God? Yeah. That's yeah. I think, I think he was done1 (17m 5s):The audacity. Yeah. I, I, I, yeah, I hate, I hate her already. And I also think the real issue is fucking, you feel terrible that you cannot control your dogs and you have it done with the rest of us dumb, but responsible fuckers have done, which is train our goddamn dogs. Doris, right now I'm paying an, a great amount of money. So she can go to fucking Frenchie school so that when she sees2 (17m 35s):Her all about1 (17m 37s):God, so she doesn't jump on people and she doesn't do well. Okay. So when we Doris is, so I did not understand that when even, okay. So Frenchies are bred to be completely dependent on humans. Okay. So like, meaning back in the day, they're not the kind of dog that's bred to go out on their own. They're highly dependent. They're like needy fucking things. Right. Okay. Great. But that doesn't mean what I'm understanding is they still need pack training because the pack, we are not their pack. It's so funny. Like I am not a dog and miles is not a dog. We don't understand dog.1 (18m 18s):And so even these like sort of boot, you know, like fancy bougie dogs need pack training, which I was so Cesar Milan always says like, you know, like Eden, these designer ass dogs need fricking socialization. And I thought that meant she just needed to be around people. And like, she needs to be around dogs. That will correct her. And so there is this guy who's obsessed with dogs that lives in, in the miracle mile. I thought it was west Hollywood. I don't know where I am. Anytime I cross over I'm like anywhere is away from Pasadena. So my friend was like, listen, there's something called the school. And they also have like Frenchie Fridays and they ha it's like a very Frenchie centric dog school.1 (19m 6s):And they bring in this trainer, that's a protege of Cesar Milan, but everyone can say their approach. I could say I'm a protege of Cesar Milan probably. But anyway, and they play Tibetan singing bowls for the dogs and they get them to calm down and they, and it's a lot of Frenchies, there's like 10 Frenchies that go there. And so I said, all right, I'm going to give it a chance because Doris is great. She's just a tip, very typical Frenchie. And she gets very excited and she doesn't know how to calm herself down. So she pees inside and she will jump on you. And she's really mouthy still at a year. And so I was like, okay, well, like I need to, and, and she she's missing.1 (19m 48s):You can tell like, she's missing. Ideally we'd get another dog, but there's no way in hell in a one bedroom. That's this small. I would ever get another dog, especially not another Frenchie. So I was like, what, what to do, what to do. And this guy is like, that runs, this school will send you recaps of the class today in Frenchie class we learned. And then he will explain all the things that we learned. I'm not there. He's not, it's the dogs. It's like so funny. And then there's pictures. So she's doing great, but it is a schlep. It is 35 minutes. Each way. It is expensive. It is.1 (20m 28s):So what I am saying is those of us who fucking don't want to be like your neighbor and are like, you know what? I'm going to confront the fact that my dog needs some work and that whatever that we are doing miles and I isn't quite cutting it. And she's not behaving in a way that's going to make her friends like with people or with dogs. What do I do about it? I don't say to other people, it's your fault.2 (20m 52s):Somebody else's fault.1 (20m 54s):I have no goddamn money. I'm spending the money and the time.2 (20m 59s):And there you have hit upon one of the very hardest parts of parenting, which is, and you've talked about this before on the podcast, getting feedback, negative feedback about your child is so demoralizing you at once, feel embarrassed and enraged. You feel enraged with the person. You feel enraged with your kid, for With yourself, for not doing a good enough job, such that this wouldn't be happening. Yeah. It's really, really hard. And everybody has to get to the point that you have already gotten to luckily, which is okay, well, I'm this, the good news is the bad news is I'm the source of this problem.2 (21m 44s):And the good news is I'm also the solution to,1 (21m 46s):I think we don't know how to make a lot of us. We don't know how to make friends. Right? So this lady, instead of being like, oh my God, maybe I should just like, say to people, you know, like she could do so many things. People can do so many. She could send a letter to each person on the block say, look, I have these asshole dogs. I don't know what to do. If you have fucking suggestions, besides euthanizing them, let me know. I would love that. Or can you help me? Or I'm so sorry. They're assholes. I don't know what to do. I'm I'm working on it or I'm stuck. Just let people know. And then you make friends. And then when you walk down the street, people are gonna be like, oh, there's those crazy asshole dogs.1 (22m 29s):Just she's she's trying at least,2 (22m 31s):Right. Yes. There is a universe in which a person has crazy dogs like that. And they allow, first of all, they allow for the rehab. They allow us to acknowledge the reality that it's your crazy dog. I mean, that's, that's the other thing I feel like, I feel like we're stopped at level one, which is she won't acknowledge that her dogs are crazy level two. She won't do something about it. You know,1 (22m 59s):I'd like level one. It's like level one is like you were saying it like it takes some, you got to just really get to the point of being accepted, having acceptance that what things are going to go horribly wrong. And a lot of times it's your fault in some way. And a lot of times it isn't, but they still go wrong. And like, I just, I was talking about this a lot yesterday choice points when we're at choice points. And I think it's really easy to be like, oh, that, you know, people choose bad things to happen to them. I think that's garbage people choose to be with, you know, houseless, garbage. I don't buy that. But what I do buy is I know plenty of people with inner and outer, especially outer resources that don't date.1 (23m 45s):They, they do not meat choice points with any sort of ownership and accountability. So they're just like, they don't have, they think they have no choices, but to be an asshole, it's not true. It's not true many times they're you could have my friend taken a turn neighbor, whoever politician and said, wait a minute, wait a minute, wait, I have a choice here. So it's interesting. It's like, just because there is this sort of bullshit, a Wu movement to like over to like blame the victim. Yeah. That's true. But I think there is also a willingness to excuse behavior because people feel that people are limited.1 (24m 26s):Fuck you limited where you don't like, you know, so there's, there's a line. And I think that we, that the black and white thinking of like, you know, all good, all bad. All everyone chooses everything. It's not, it's just not the way it works. But like, yeah. So I,2 (24m 43s):No, it's not the way it works. You're so your thing recently is all about choice points. My thing is all about dissociation and, and I feel, I think I've hit on in the past. I've always said the reason I don't get along with anybody in my town is like, it's all Puritan and whatever. And that's probably true too, but there's another deeper thing. Because a lot of times I will meet somebody and I was trying to define what's the immediate thing that within seconds of talking to somebody, you can proceed. Cause you feel this is a, this is going to, this might go in a good direction for me it's they don't seem completely dissociated.2 (25m 25s):Right. And people are going to hear that and think, I mean, a bunch of people with multiple personalities, that's not what I1 (25m 31s):Mean. Yeah.2 (25m 34s):I really just mean the kind of person who says, for example, you know, my dogs are not crazy. My dogs are not crazy and my dogs are not crazy or my life is not in shambles. My marriages I'm shambles. My kids are not whatever, like whatever it is, there's a lot of, you know, people have to do so much work to hold up. These myths about themselves and their families and their lives. And I get it because to be in touch with the reality of one's life or one situation is completely overwhelmed.1 (26m 7s):So painful too. It's so painful.2 (26m 11s):It's so painful. But so, but like I need, in order to have a thing with a human, I need to be able to look at them and have some vague semblance that they're not in another, on another planet now. Sometimes I get past that and I, and it's like, okay, but I still just don't like you, right. For whatever reason. But I think that's the majority of the people I encounter in life or in some type of a dissociative place. And maybe it's because of the pandemic and maybe it's because things have been a shit show for the last several years, but that w that thought really clarified for me.2 (26m 51s):Okay. Yeah. This is the, this is like the stumbling block I have with a lot of people. I have a friend right now who, I mean, she's, she's kind of a friend, but she she's one of these people, like the day we met, she started referring to me as her best friend kind of, kind of a thing. And she likes to drink a lot. And so I kind of pulled back on the relationship. And during the pandemic, I had a pretty good reason to, and after that she's been contacting me and she's just not really kind of getting the hint. So I decided to take the opportunity the last time she contacted me to say, well, you know, like things aren't really going that great, like this and this and this, no response, no response, because what she wants for me is to validate the myth that she doesn't drink too much.2 (27m 41s):And that everything is fine in her life. Right. And when I want to talk about how things are not fine, she's not interested.1 (27m 49s):Yeah. That's really a telltale sign. Yeah. I mean, yeah, that it is. Yeah. And then I take it a step further, which is in my brain, which is I get angry because I have lived, I have spent so much time, energy, sweat, and, you know, sweat equity in looking at the painful stuff that I just can't perpetuate the circus show that that it's okay.2 (28m 27s):Well, today we are talking to Glen Davis. Glenn Davis is one of the hardest working busiest people we have ever met. He is the artistic director of Steppenwolf theater in Chicago. He's just closed a production of king James, which had also been a Steppenwolf. He just closed it at the mark taper forum in Los Angeles. He has a production company with Trell, Alvin McCraney, and they've got 10 projects on the slate right now. He's a writer, he's a director, he's a performer, he's a producer. And he is an artistic director. So please enjoy not our, it was just boss, boss, his conversation with Glenn Davis.4 (29m 22s):I gave it to my office. You survive theater school, but mostly I want to ask what's happening with you right now. Tell me what are you doing and what are you feeling and how are you today?5 (29m 34s):Right now? I am doing great. I am doing a play here at, in LA, at the mark taper forum called king James. We have been here for over a month and we closed this Sunday.4 (29m 50s):All right. So here's my question to you. We talked to our first attempt and it goes so well in terms of our tech, but so you went to the theater school. I just finished teaching at a theater school. I don't know if I'm going back. They have a new Dean coming in. Yeah. Who? I had a meeting who asked to have a meeting and she was lovely if you had, I'm asking this5 (30m 11s):Question.4 (30m 12s):Yes. So if you had to go back, would you have gone to a theater conservatory? Would you do it again? Would you go to a conservatory for acting training to5 (30m 24s):Theater school specifically, or just one4 (30m 26s):In general and then to the theater school specifically?5 (30m 30s):Yes. Yes. I would say at the very least, even if I didn't learn anything, I made some of my strongest friendships at the theater school.4 (30m 40s):You, you have, you have not only kept in touch, but you are thriving alongside people that you went to school with. So you would have done done it again. Okay. Favorite? What do you, what kind of art do you want to make my friend? Like, what is your, if you had, I'm asking this to all my, our guests, we just have to someone. And I said like, what are we doing here on this planet? And what kind of art do you want to make?5 (31m 6s):I guess I would say art that is impactful and challenges. Its audiences and challenges are sort of moral and ethical codes. Our identity, our idea of what we think is right or wrong in the world.4 (31m 24s):Can you say more about that?5 (31m 25s):Yeah. I did a play a few seasons ago called downstate and that this does exactly right.4 (31m 33s):Yeah. Intense. Yeah. Intense I side. Yeah. Yeah, yeah. That's, it's about people that live in like a halfway house.5 (31m 42s):Yeah. They're in a group home. It's five sex offenders who have, who have been released from prison, but into a group home. And so they have to figure out how to, you know, assimilate back into normal society. And you go into that play, you know, with your most folks have, I would imagine, have their own, very strong opinions about sex offenders, you know, pedophiles full stop, you know, and then this play the best way I can explain it is that it makes you reconsider what you think of those people when they, when they sort of visceral level, you, you go in thinking, okay, I know I don't need to explore this.5 (32m 29s):And then you do even just for, you know, this two hour play. And even if it's just a minor shift, it feels like you've gone a far way out of the way to give back maybe to the same place. But you, you know, Bruce Norris wrote this play and he talks about how he wrote the play because he wanted to, he wanted folks to challenge. He wanted to challenge the audience's ability to, to their capacity for forgiveness.4 (32m 59s):Yeah. I mean, I'm obsessed with the idea of who gets to be forgiven and why, and what happens when yeah. People make choices. And I think w you know, working with felons when they got out of prison, I learned that most of us well. Yeah. I, I truly believe that most of us are like one bad choice away. A lot of times from being an exact same position as my clients were in, or as the people in that player. And, and it's not as simple as we think, but, you know, I, yeah, I agree. So, okay. So you want to make that kind of art. Do you feel like you made that kind of art at the theater school at all?4 (33m 40s):Did you,5 (33m 43s):I think at the theater school, I was less concerned with making art and more concerned with managing the cut system. If we had a cut system and then, you know, just being a good actor, it was, it was primarily, primarily about self. It was less about storytelling. I didn't, I don't think I got to that place in my life career until a few, few years out of school. You do some work and you figure out it's not simply about me and how good I am in it, or you know, how much money I'm making.4 (34m 18s):Yeah. Did you, when you did the showcase, did you the show? Okay, so I was just the, the, the kids, the kiddos were just here during the showcase. There was no real showcase in person which sucked this year, but they came to LA and it brought back memories. And so I was going to ask you about your experience. Did you go to New York LA and do Chicago? Okay. What was it like for you? What material do you remember the material you did? And what was the, what was your experience of that in terms of interest reps?5 (34m 51s):I don't remember what scene I did for showcase, but I did, I did do a scene. I remember I was playing, I had a basketball at his house playing basketball at the same time. I should figure out what play that was, but I did that. And then I got, I guess, a healthy amount of interest in New York and LA, and I knew from showcase even before that, that I knew I was, I was leaving Chicago.4 (35m 18s):Okay. This is very exciting to me to, to, so you, you, w w how did you know that, like, when you went there and you did your scene and afterwards, they said, so, and so wants to meet with you or these people, like you, you just, like, I gotta get outta here, or what was the feeling like? My next move is,5 (35m 37s):Well, I was cold in Chicago, so I had just done a Chicago winter, and I wasn't, I was determined not to do another. And I think for a long time, I thought I'd go to New York. What happened was I ended up getting a, managed, signing with a manager here in LA, right out of showcase, and then decided, okay, I'm going to go to LA. And then I booked this other job. It took me to Canada for two years, but I kept my LA manager. And then I moved to LA right after this thing called the Stratford festival.4 (36m 10s):Of course. Yeah. Two years. Yeah. Holy shit. So you went right out of school to Canada. Yeah. Do you, how was that?5 (36m 20s):It was great. It was, it was this sort of things that I didn't anticipate I'd ever do. I didn't even know where Stratford was when I got the job. And so I went into, it was called the Birmingham conservatory for classical theater training at Stratford festival. And so I go up and I studied for 20 weeks in the winter and in Stratford, Ontario. And then you go into the season as an actor. So I was up there for two years4 (36m 52s):And then, okay. So you're doing that for two years where you kept your manager and then what happens after Canada5 (36m 58s):Moved to LA4 (36m 59s):You just straight up moved here? Yup. Okay. And then, and then you back and forth, or you were here for a while. What years are your year here? Youngster. What year was this? Not that long ago.5 (37m 8s):I moved to LA and then I, I was, I think I did submit two thousands. Then I went to New York to do a play. I want to say something like 2008. And then from then on, I started going back and forth between New York and LA. I did that for probably brought till about 2000, 2014, something like that.4 (37m 44s):And then what happened? I'm fascinated. You, you have a story that I don't for theater school grads, that this doesn't usually happen. So usually what we notice is you do the showcase, you pick a place and you stay there for a long time, but you've been moving around. So then, okay. So after you did back and forth, how did you land? I mean,5 (38m 4s):Well, I was living in LA. I had done a play in New York, and so I thought to myself, I wanted to be able to go back and forth. So I still kept my, my home in LA, I guess I call it. And I would just, I got a roommate in New York and I would just go back and forth between the two. And so I did a play in New York in 2008, then I did another in 2011. And, and then I think I will probably let that place go. New York around 2014.4 (38m 38s):Yeah. And then since then, I've just5 (38m 40s):Been, then I was in LA and then I D I went back to Chicago in 2013 to do a play at Steppenwolf. And then I got a place in Chicago. So I replaced my place in New York with a place in Chicago. And I would just go back and forth between Chicago and LA.4 (38m 57s):Okay. So now, now you run the joint with, with a bunch of, with Audrey and probably some help, some other step waltz. W why do you take, why did you take that on, like, what, what, what, what happened there that you were like, this is the next thing I'm like, fascinated by the choices people make. And this was the same with my clients and the same with my characters. I write, like, how does that happen when you're going back and forth from New York or to mostly now, Chicago and LA. Yeah. And then you're like, you're, you were obviously an ensemble member I'm assuming first. Okay. And then what, how does that happen? That, you5 (39m 36s):Know, wow. When I was made ensemble, remember in 2017, I had just done another play a step one side. I think I did like4 (39m 44s):About, you got older.5 (39m 46s):Yeah. You got older. Okay. Thank you. Thank you. And so I did another play called the Christians and had, had a great time. And after that, I, I had started to the other part of my life. I'm a producer in television and film. So I started producing and then it just sort of became natural to me, for me to want to sort of guide projects to fruition. And so when the Steppenwolf job came up and R D Shapiro who brought me into the company announced that she was leaving and the company did a, that the company has a self-imposed mandate that an ensemble member always be the artistic director.4 (40m 31s):I did not know that.5 (40m 32s):Okay. It's only ever been on ensemble. So we did a search within the company and myself and Audrey Francis, who, you know, we got the most votes. And so,4 (40m 44s):Yeah.5 (40m 44s):Yeah. The ensemble bows down, sambal chooses the ensemble, the artistic director.4 (40m 50s):I did not know this. Okay. This is very fascinating to me. Okay. So you got the most votes and why two people, like, did they, has it ever been to at the same time,5 (41m 0s):If it has there's rumors that it was two before this there's only ever been two in a formalized setting, formalized situation. And so we decided to do it together because it's such a huge job. And both of us are actors. Yeah. Audrey is also a director. I am a producer. And so we thought, you know, to do this job, you know, most times it's directors, because, you know, it affords them the ability to still have their career outside of it for an actor. If you're running the theater. And like right now, I'm in Los Angeles doing king James.5 (41m 41s):Yeah. Then it, it, who, who do, who does staff go to? Who, who, who sort of running, steering the ship while I'm away or the counterpart is away. So we said, okay, if there's two of us that we can sort of outline in any given year that as long as one of us is on campus, one of us is steering the ship to the garden at any given time. Then there's a version of the second work. So we, we, we decided together that we would, we would pitch ourselves together instead of one of us doing it. And so the ensemble loved it and the board thought it was a great idea. And so they contracted both of us. And so here we are.4 (42m 22s):And does it go on forever and ever until you get sick of it,5 (42m 26s):We have to let them know we do, we do contracts. And so before the contract ends, you let them know, Hey, I want to stay on it, or I want to,4 (42m 36s):How's it going?5 (42m 37s):It's going4 (42m 38s):Right. Do you like it?5 (42m 40s):I love it. Is it4 (42m 40s):Hard?5 (42m 41s):Oh yeah. Yeah. It's hard.4 (42m 43s):It's fulfilling.5 (42m 45s):Very,4 (42m 45s):Yeah. Okay. Do you have any time to do anything? Do you, do you, you must because you're here. So you have, but you do a lot of things. So I guess my next question is how do you do a lot of things and managed to not lose your mind?5 (43m 0s):What I would say that I'm a big planner. I have a lot of help. Obviously. I have assistance. I partners, turtle album McCraney, who my, I wasn't mentioning before4 (43m 15s):That is to school together,5 (43m 17s):Went to school together. Yeah. And he is my best friend in the world. Also my producing partner,4 (43m 23s):Brilliant boat. But yeah, you're both very brilliant human.5 (43m 26s):Thank you. I appreciate that. And so we have a production company based here in LA and we're in an overall deal at universal. And so we, we, that's a partnership and we have a team, a very strong team that we produce television and film. And then at Steppenwolf, I have Audrey, who's the best partner one can ask for. And we, we, we together manage through all the, the things that are going on and step off. So, and then, you know, when I'm going to do a play, yeah. I'm constantly in communication with her constantly communication with Tarell about all the things that we're doing.4 (44m 7s):Oh my God. So I guess the communication is, is really the key. Okay. My question is, what would you say to like the students and my young students who are like, what kind of world am I walking into? What, in the entertainment industry, how can I take ownership over my career? What the fuck do I do? I always like to be whatever you're doing, something's going right in your career. So, which is great. And I'm not saying it doesn't take a tremendous amount of work, but I'm also saying, is there any tips or like how to manage this life? You've graduated. You've just, like you said, like, you want to, you want to make it, you want to, you, you want to earn money, want to pay the rent and still make good art.4 (44m 56s):How the fuck do you do that?5 (45m 0s):Well, you're saying w what advice I would give. Right. I would say the, one of the first questions you asked was, you know, LA or Chicago, or, you know, I would say pick the place that you'd like to live. Like a lot of times people go, oh, I got to go to LA. If I want a career, you don't have to do that anymore. You can be in London, you'll be in Toronto. You can be in new Orleans, you can Chicago. So I would Fe I would say, go to the place that makes you happiest, makes you feel like the best version of yourself or some approximation of it. And then sort of sit down. I always look at my life in terms of five-year goals and plans.5 (45m 40s):What do I want, what I want my life to look like in the next five years. And so sit down and make a plan. If that's to be a series regular on a TV show, then put all of your efforts towards that. If it's to be, you know, a Broadway actor, then, you know, you know, there's a path to that, presumably. So I would say, make a plan and take some risks. You know, they might not always be comfortable, but you go out and you say, at least for, at least for me, I've, I've learned the most about myself. And I really taken a risk. And lastly, I would say, particularly for actors become, you know, did this happen by happenstance with me, but my best friend in the world is a writer and a very accomplished yeah,4 (46m 28s):Yeah. Like not, yeah, no slouch like a brilliant one of the most brilliant. Yeah.5 (46m 33s):And, and I've because of that, I've, you know, our partnership I've been in almost every one of his plays I've, we've created together. He's making things for me. I would say, if you can find a creative partner partnership or ships, you know, Rajiv, Joseph is another friend of mine who we're very close friends, we've done two plays together. Now we're doing TV shows together. Like find those folks that you're like, I just like being in partnership with you. And let's, you know, it might take five, 10 years to create something together, but let's start the conversation.4 (47m 9s):Did you know that immediately at school, that these folks were going to, cause there's also, isn't there a woman that you also are close with, that you met?5 (47m 17s):Yeah. Alana arenas is my other best tool in a lot of my two best friends in the world. Okay.4 (47m 21s):Okay. So did you know at the, at school, at the theater school where you immediately, like, I ha I love these books and I want to make art with them, or how did5 (47m 30s):That? No, I don't. I don't think cause Tara wasn't a writer at the time. He was, he was an actor and a theater school a year ahead of me and Atlanta was two years ahead of me. And, but they just, they were home. I met them and I just said, oh, you're my person. And so those two have been in my life for the last, you know, 20 however many years. And those are proud. I've worked with them several times over and over. They're both supremely talented Alana was on Tyrrell's TV show called David makes man. And she was amazing in it. So I think that, yeah, I just found them as people interesting and you know, beautiful people inside and out and they just so happen to be, you know, supremely talented, but I didn't go into it looking for them like, who do I like?5 (48m 21s):You know? So that's, that's essentially what it was. You.4 (48m 25s):Okay. What kind of, you said you want to make art, like, do you, is it more that the medium doesn't matter as much as the story in terms of TV versus being in a F or working on films or working on television? Or what, what is, do you have a favorite or are you just open to telling good stories, whatever form it takes? Are you that kind of a,5 (48m 46s):Yeah, I think it's the, the ladder. They're very different forms to work in as an actor. I'm doing a play right now, obviously. Yeah. I get a fulfillment that I don't get in producing television and film, but also in television and film, I get a, a fulfillment there as well, where I'm the, I have, my voice means is, is hugely meaningful in the room. If it's not me making the final decision on something, you know, very close to the, the, the folks in the room who are making those final decisions. So as an actor, you're, you're coming to be a cog in a wheel, you know, or you're there to service the story in film and TV as a producer, at least you're, you're get the engine you're, you're providing the platform or the, the landscape for artists to come in and tell their stories.5 (49m 44s):So it's a very different fulfillment that, you know, being in one in the other. And so I love them, both. Yeah. Theater is, is where I come from from first fell in love with storytelling and the art and the craft.4 (49m 58s):W I can't remember. I know that your family is not, it's more of a political family, right? Yeah.5 (50m 2s):And in terms of politics in Chicago.4 (50m 3s):Yeah. Yeah. So, but not so not theater so much. Okay. And then how did you end up doing theater since you said theaters5 (50m 12s):You're I was on the basketball team in high school. That's right.4 (50m 14s):Then you realized,5 (50m 16s):Yeah. Yeah. I realized I just audition audition for a play randomly. And I thought, oh wow, this is, I can do this. And so I gave up sports or basketball and she said, my, I thought, I thought at the time I had a burgeoning basketball career.4 (50m 31s):But if you did, though, you must have had a co I mean, what you were, you said you loved it and you were good at it. You just didn't think you were good enough.5 (50m 41s):Yeah. I don't even think at the time I knew if I was good enough. And I probably had all the bravado that any young4 (50m 47s):Men5 (50m 48s):That I could go to the NBA, but I just fell in love with theater. I fell in love with the art form and, you know, later studying it at DePaul at other places, setting Shakespeare. I just thought I can do this for the rest of my life. So.4 (51m 6s):Oh. And you knew it, right? Yeah. Okay. Well, there you go. So you knew it. Okay. And then if you had to like, like the next thing you want to do, like you have, are you doing exactly? I talked to people sometimes and they're doing exactly what they want to do, or they're excited. Or sometimes they're like, no, I want to pivot. And in a year, like we talk about, you talked about five years, so what's your five-year, what do you want to do in five years in your five-year plan? Do you have any grant?5 (51m 33s):Yeah. Well, I think that a big part of my artistic life right now is stepping up is I'm leading the company. There are some things that industry-wide, that I would love to see changed.4 (51m 46s):I want to know what they are,5 (51m 48s):Where there's a, there's a long list4 (51m 50s):With one5 (51m 54s):More pay equity for, for people in the arts theater theater specifically. There's, there's just not, you know, you can't, most of us cannot live, let alone thrive on a theater salary. So we'd love to change that diversity equity inclusion is very important to me getting more people involved, who don't, who historically have not been a part of the theater community. I think doing king James has been sort of eye opening for me because so many people have come because they love basketball. They love LeBron, or they love sports.5 (52m 35s):And now they're, you know, they're coming to a play and they go with some of the first play I've ever been to. And I loved it. So I think there's a lot, a lot of work there to do.4 (52m 46s):And do you feel like the word beat with the pandemic and everything? Have you, have you been able to start diet? Like, are you diving in now or are you, were you in the, when did you start take over you and Andre?5 (52m 60s):Our first day was as artistic director was September 1st, 2021.4 (53m 7s):Yeah. Okay. And now what's happening? The seagull happened? No.5 (53m 13s):Yeah, we just, we just closed the seagull. It was, it was our first theater in the,4 (53m 19s):The new spaces. Is it gorgeous?5 (53m 22s):Or it's, it's, it's all I walk into it and I'm just blown away. And I actually get very excited about one day being able to perform in that theater. But it's this beautiful in the round space that is state of the art, these wonderfully resonant acoustics. It is. Yeah. It's, it's a playground. I love that. I love that space, but yeah, we just opened our first play. We opened, there was the seagull, an adaptation of checkoffs, the seagull by Yassin playing golf and he wrote and directed it and it, it was fantastic.5 (54m 3s):And yeah. So now that now that theater is open,4 (54m 7s):Are you, do you have any things exciting that are probably a million things that are happening, but like television or film wise or for you, or, oh yeah. Or your company or anything that, you know, what's happening.5 (54m 21s):We have step move, just announced this new season. So the false will start, well, we'll have that season, beginning, this fall that we're excited about. So the first season that Audra and I were able to curate ourselves, so that's exciting.4 (54m 39s):What does that mean? Like you're in charge. Like you have to plan the whole shit or like, so like, if you have all the plays out there, you have a literary person I'm sure. And they say, okay, this is all on the table. Yeah. And then you read them all and then does lively debate ensued what happened? Okay.5 (54m 57s):We have an artistic team that we go back and forth over place and we decide, you know, obviously it's4 (55m 4s):No.5 (55m 5s):Yeah. We announced our season April, I think. Okay.4 (55m 8s):What are you super excited? I'm married. You're probably out. So a little bit more. Okay. Do we know if you are going to be in them? Can5 (55m 15s):You be, or you4 (55m 17s):Can't. Okay.5 (55m 18s):I, I don't know just yet. I just don't know, like4 (55m 24s):Deciding.5 (55m 25s):Yeah, sure. Yeah. It's possible. Yeah.4 (55m 27s):That's going to be exciting and you're playing closes. And then when you leave here to go back to Chicago,5 (55m 32s):I leave here I go on vacation and then I'll go back to Chicago. And then I do a play in the fall called well downstate. Oh yeah. We do that in New York in the fall. And then we have Trella and I have 10 TV series that are in development. Yeah. Yeah.4 (55m 55s):Totally crap. Congratulations.5 (55m 58s):Very much. So4 (55m 60s):Tenancy develop, I guess that's how it works. Wow. Wow. Good for you.5 (56m 5s):So what looks to go into production on one later this year? And yeah, we're pitching shows always. And so that's, most of my days are, you know, pitching shows, working on development with our executives at universal and managing the theater. So picking plays really4 (56m 26s):Plays very full5 (56m 28s):Life and doing a play.4 (56m 29s):Do you love your life?5 (56m 31s):Yeah, I love it. Wow.4 (56m 32s):Okay. Do you re we, we were just had I'm in a book club and we were talking about regret. Do you believe in, what's your idea when someone says to you, what do you think about regrets? Do you have them, do you think it's bullshit? Do you think that regret is good? Because it makes us, we had a lively discussion about regret the other night here at the office.5 (56m 51s):What was the consensus?4 (56m 52s):Well, some people are like, no, there's no such thing as regret because in the moment you do the best you can with the choices you have. But I actually think regret has been helpful for me because things like I regret that I didn't do certain things. It's not about judgment for me. It's more about like, I'm S maybe it's sadness. I don't know. I regret that, like my mom and I never talked about X before she passed. Right. Or, but I don't say, and I'm an asshole because of that. I just say, I regret that. But other people are saying, no, no regrets, like live your life with no regrets. I don't know. Where do you fall on this? I don't know.5 (57m 28s):I think that, I think for all honest with ourselves, there, there are things that may be in our past that we wrapped that we maybe wish we had not done done in that same way. That's the sort of notion of a regret. You know, you wish you made a different choice to varying degrees, but I think that at least when most people say, because I understand the notion of, Hey, there's no regrets. You, you had to make the choice you were going to make to be the person that you go to. You're going to be, I get it. So I think that, I think more to the point for me is there are regrets. You just have to live with them. You just have to learn to live with them. And, you know, all of us decide or make a, make a choice of how we're going to sort of, how do you say it is a word I'm looking for, but how you sort of assimilate all your choices into your person,4 (58m 25s):Integrate that and like, become like accept them or like the least own them, maybe.5 (58m 32s):Okay. I did that. It is what it is. it is what it is. I think you're saying it is what it is. It didn't turn out in my favor, but you know, w what else was I going to do? Ah,4 (58m 43s):That brings me to my final. I'll let you, but what was your, her a bit of as a human, but like, what do you do when things don't go your way? How do you, cause I think a lot of people that listen to the podcast are coping with like regret and also rejection. And when things don't go your way, whatever that means, how do you as a person, as an artist, however you want to answer it, how do you get back up how do you, how do you keep going?5 (59m 13s):Yeah, I think that I learned this, this trick oh, years ago, where I go and I thought to myself, I'm never going to, whenever I auditioned for, yeah, I am. I am, I will not covet it. I will do everything in my power not to covet it so that if, and when I don't get it, which he usually don't, you didn't lose anything. It was never yours4 (59m 35s):Coveting as it is an interesting word there. Right. Cause it's like, it means sort of to try to clench or hold onto or grasp and like control. All right. So you say that to yourself?5 (59m 47s):Yeah. It gives me a sense of relaxation, relaxation going into the room. Look, if I get it and it could be, life-changing awesome. But if it doesn't, my life is where it is today. Awesome.4 (59m 58s):Part of the thing that I noticed with you is like that you've built such an awesome life anyway, that like stuff will add to it if something mindblowing comes along, but it's not as though it's the only thing going on. Right? So like you have so much going on that you seem to love that if you don't get book a job, it's not going to make the whole house fall down. Right? Like it's not the whole entirety of who you are as an artist.5 (1h 0m 21s):Yeah. This is, this goes back to an experience I had when I first moved to LA, I was in, I was a, an intern at a casting office and that's something I would actually suggest actors recommended they do because you get to see what the other side looks like. And I remember being in there and this, this guy comes in for this audition. He's just Emmy nominated actor at the time. And he has like four page monologue. And I'm reading with him, he's reading through it. He looks down at the pages maybe twice. And he got it the night before. So he did this enormous amount of work. He's reading through it. I'm looking down at the page, just trying to remember it. And I've just have one line of course responses.5 (1h 1m 1s):And he finished it. He is brilliant. He4 (1h 1m 3s):Finishes it.5 (1h 1m 4s):He did a fantastic job. He's brilliant. He gets up right away and says, well, look, thank you all. Thank you all so much and have a nice weekend or whatever. Yeah. He didn't linger. He didn't say, do you need more? He didn't say, Hey, how4 (1h 1m 20s):You know,5 (1h 1m 22s):He just left out and he did not. It seemed like something else was pulling him out of the room.4 (1h 1m 29s):Other5 (1h 1m 31s):Life, something, something else, this wasn't everything he goes out. And the director, I mean the, the casting director, there's, there's just this hush for about 10 seconds, which is a long time after somebody leaves a room after auditioning and it's all executives in the room and me and the cats. And he says the casting director, she says, the casting director says, that's why he's immune nominated. And then there's another beat or two. And then the, the lead executive says, yeah, but he's not right.5 (1h 2m 11s):And so that was it. And so what it taught me was even if you go in with, in your, you're doing all the right things, you're playing all the right beats are the guy. There's a version of that show in which he was fantastic and went on to write awards and4 (1h 2m 27s):Things,5 (1h 2m 28s):But he wasn't right in their estimation. So it took the pressure off of me of trying to have to be4 (1h 2m 33s):Right for everything. Like we can't be right for everything5 (1h 2m 37s):Not going to be right.4 (1h 2m 37s):And what's not, ours is not ours. Like you're saying like, you can covet something all you want, but if it's not meant for me, it's not coming to me,5 (1h 2m 45s):But it mattered to him no less because he still went in and knock their socks off as an actor. And that's the narrative that comes out of that room is that he wasn't right. But wow, he's brilliant. I can't wait to, he is right for the right for,4 (1h 2m 58s):And also it had quite an effect on you. And now you're telling me this story and then it'll be told on the podcast. And so it's, it matters, right? Like it's a ripple effect. So he might not have been right for that part. You know, there's a friend of mine is a casting director and she always says, you probably know her Mickey Paskal on Chicago. And she says, not yet for the person. So it is not, no, it is not there, Terry, you know, she said, not yet, it's not yours yet. Not yet for you. Not yet. And I love that because it, it sort of implies that something's coming. We just don't know when. And we just don't know what it looks like specifically, but just not yet. And I was like, oh, it's such a more, oh, it's like an open way to look at these jobs rather than just like you did with the, it's just not right for it.4 (1h 3m 45s):He, he was brilliant. And then, like you said, there's a version of that show with him in it, but this is not this one. Yeah. And so it's, I, I think that that's great. And I, I think young actors really need to hear that, which is not yet. And you're not going to be right for everything you can't be.5 (1h 4m 1s):Yeah. It took a lot of pressure off me to have to be perfect. And I just started relaxing and just, you know what, I'm gonna do the best job, my version of this, this character. And then if I get it awesome, if I don't, I haven't lost anything. Yeah.4 (1h 4m 15s):And I think, I think what I'm getting just from this, from this interview too, is that idea of building a life with that is full of things that I, or anyone loves to do. Not just one thing. So that if, if one thing doesn't go in one area, doesn't go like perfectly. I could still be like, thank you, have a great day. I'm going to go out and live my life. That is like really dope over here. I have family, I have whatever the things are. Great. So you're not dependent on this one. Yes. To like be okay, but I think it's, it's yeah.5 (1h 4m 51s):It's hard to find you to find your happiness. It's4 (1h 4m 53s):Just like a part of your day, right? Like it's one part of your day. And then you go on and do your things and have your conference calls with Steppenwolf and whatever, eat a sandwich or whatever. So5 (1h 5m 3s):Remember this one or from one friend of mine years ago said, I look at auditions as my one opportunity to act that day or to perform or to tell a story. And I had my two minutes, I go in and I do it and then I'll let it go. And I throw away the sides. And I, I, I go home.4 (1h 5m 19s):I mean, I think that's great. Like I think, I think taking the pressure off and also, right, it's sort of what I call, like right-sizing things, you know, like I've, I I've said before I got into rooms, like I have seen the face of hell and this is not it we're going to go in and we're gonna do it. All right. So I will let you go because you're very, you're very busy and you have a lot of things going on, but I, I just want to thank you. And I also want to say, like, I have a lot of hope. I mean, I, I love Audrey and now I adore you. And I think that the American theater has a real opportunity. The, one of the things that I'm noticing, especially in the whole two weeks that we've had in terms of the Supreme court, that w we have a lot of opportunity, like, things are really, really hard and terrible, but I also think that anytime there's something really terrible, there's also an opportunity for the counterpoint to that.4 (1h 6m 12s):So I'm hoping with the American theater and art in general, perhaps that maybe we can be part of that counterpoint of all the terrible shit that's going on. And I'm hoping that stepping Wolf, I can't wait to see, I'm going to see what the season is, is going to, you don't have to tell me what the season is. I'll look it up. I think you and Audrey should be in all the plays and that's probably not going to happen, but, but no, I am hopeful. I am still hopeful. Are you still hopeful about things?5 (1h 6m 38s):Absolutely. Yeah. I wouldn't do it if I wasn't, it's it's not a job you want to take on with a sense of hopelessness. You have to really believe in the, in the sort of prospects of the artists involved in the sort of theater landscape itself.4 (1h 6m 54s):And since you, do you think the same holds true for like film and television? Are you still hopeful?5 (1h 6m 58s):Yeah. Filming film and television have this thing, that theater doesn't and that's called money. So whether you're, you know, I know a lot of folks who are on TV shows who are, you know, maybe not creatively inspired, you know, we've heard that story a lot, but they're getting there. You know, if, if it's, if it's an exchange of dividends for their time, then they're being paid in comparison to their counterparts in other industries they're being paid handsomely. And so that brings you a sense of happiness versus a fulfilling.4 (1h 7m 29s):Yeah. I didn't help your family and you can at least two. So that's true. Like, I think that that's, yeah. We seem to have found a mix of the things that you love and are important to you. And I think that that's something that, that is, that is brilliant, that we don't see a lot. So I say, keep, keep on. I mean, of course you're going to keep on, but thank you for talking to5 (1h 7m 48s):Me.3 (1h 7m 58s):If you liked what you heard today, please give us a positive five star review and subscribe and tell your friends. I survived. Theater school is an undeniable ink production. Jen Bosworth, Ramirez, and Gina cheat, or the co-hosts this episode was produced, edited, and sound mixed by Gina for more information about this podcast or other goings on of undeniable, Inc. Please visit our website@undeniablewriters.com. You can also follow us on Facebook, Instagram, and Twitter. Thank you.
durée : 00:35:00 - Les Nuits de France Culture - Par Luc Bérimont
Today the guys sit down with the NBA Whisperer, Count on Vic. The million-dollar question is, what does Vic even do? She's created her own lane while being skilled in so many different things in the creative space. New York > LA. New York is the fashion capital, with more seasons, more different styles, and Yankee fitteds. With the Leaguefits awards dropping they go over Vic's MVP, first team and best jersey bodysuit of all time! She gives us some of the WNBA players to look out for this year. Last but not least they build out Joe's itinerary for New York Fashion Week.
The population of Multnomah County fell by 12,494 people last year, the largest decline of any county in the larger Portland region, according to U.S. Census figures released Thursday, March 24.Multnomah County's population declined by 1.5% compared to an overall 0.2% decrease for the seven-county region that includes Clark County in Washington. Portland is the largest city in Multnomah County.The decrease happened during a year of unprecedented turmoil, including job losses caused by the COVID-19 pandemic, ongoing political protests, rising gun violence, and increasing housing costs. Recent polls show the vast majority of voters believe Portland and the surrounding region are headed in the wrong direction.LIKE & SUBSCRIBE for new videos everyday. https://bit.ly/3fs6dBU
Kevin Erdmann is the author of "Shut Out: How a Housing Shortage Caused the Great Recession and Crippled Our Economy" and "Building from the Ground Up: Reclaiming the American Housing Boom". His work has appeared in the Wall Street Journal, Barron's, the National Review, USA Today, and Politico, and it has been featured on C-SPAN. Some of his papers and articles published with the support of the Mercatus Center at George Mason University can be found at https://www.mercatus.org/scholars/kevin-erdmann . He tweets as @KAErdmann. In this episode we talked about: • Kevin`s Bio & Background • Great Financial Crisis and America's Housing Boom • Post Crisis Period in Real Estate • View on Housing Bubble • Unlocking Affordable Housing Policy • “What are Landlords good for?” • Real Estate Trends 2022 Useful links: https://twitter.com/kaerdmann https://www.idiosyncraticwhisk.com/2022/03/16-part-series-on-housing-affordability.html https://www.mercatus.org/scholars/kevin-erdmann Transcriptions: Jesse (0s): Welcome to the working capital real estate podcast. My name is Jesper galley. And on this show, we discuss all things real estate with investors and experts in a variety of industries that impact real estate. Whether you're looking at your first investment or raising your first fund, join me and let's build that portfolio one square foot at a time. Ladies and gentlemen, my name's Jessica galley, and you're listening to working capital the real estate podcast. My guest today is Kevin Erdmann. Kevin is a former small businessman and a researcher in hosing monetary policy and financial markets. In 2015, Kevin began to reconsider a range of evidence contradicting commonly held beliefs about the pre 2007 American housing boom, his first book shutout along with several extensions to his research, which were published with the support of the Mercatus center at George Mason university, where he continued to develop a revolutionary new approach to the practical rules of housing debt and money in recent American trends. I caught the attention or he caught my attention recently reading an article and the article was entitled. What are landlords good for? And I thought that was an interesting question. So here we are today, Kevin, how you doing? Kevin (1m 11s): Great. It's great. Thanks for having me. Jesse (1m 13s): Yeah. Well thank you for coming on. We were talking a little bit before the show, a little bit about your background and kind of that first article that I saw. And I was like, well, you know what? It sounds like something that the listeners would get, get a lot of good information, especially since we kind of tackle real estate from the investor's perspective, but also an economic perspective. So thanks again, I guess, you know, we always start with a little bit of a, a history lesson on our guests are a little bit of a background, so maybe you could kick us off and talk a little bit about, you know, your past roles and how you kind of came into the world, the world of real estate and economics. Kevin (1m 53s): I, yeah, it really is all sort of an accident. I was a, as you mentioned, I was a small business owner and back around 2010, 2011, I went back to school to get a graduate degree in finance. And I was sort of making my way toward a new career in finance. And in the meantime was just doing sort of personal research. And in, in the process of doing what I thought would be sort of a week or two week or month long dive into home builders and whether they might be a good investment back in 2015, in 2016, you know, sort of background research, I just kept running into oddities and the data that just completely contradicted the conventional wisdom about what had happened leading up to 2008, you know, that were compelling enough that I, you know, turned into two months in three months and really it was six or seven or eight months into the, into that research before I really Paul the, this whole sort of closed access to the idea, whole limited supply problem into the sort of the center of this story. Originally, the first things were just re you know, finding national data on credit and that sort of thing, just, you know, there, there was, there was no sign in the national data back in that period of, of there being this, they lose of credit going to unqualified homeowners and that sort of thing. And so anyway, just all of this, all of these points kept building up to the point where I just accidentally sort of had this tiger by the tail of this story to tell, but for some reason, nobody else had discovered, and, and the book just comes out of the accident of learning this stuff and realizing it was important enough to, to shares. So here I am six years into that week-long projects Jesse (3m 50s): For where you formerly in the research world at that point, you said you were doing a graduate degree with, did that just kind of coincidentally that happened at the same time, or was that prompted by, by your research in, in your graduate degree? Kevin (4m 3s): Yeah, no, I was just, you know, I managed some personal money and I was just intending to go back and, you know, go into transition away from small business ownership to some sort of career in finance. And just this story was so compelling. It drew me into what really, I suppose now as a career in public policy. So although there definitely are a lot of lessons for it, for investors and homeowners and everybody else. Jesse (4m 27s): Yeah. We're finding more and more, everything seems to be interrelated. So, you know, for the person taking a look at this from the outside, you hear a million different stories after the great financial crisis after the housing boom in oh six, you know, what was it? Well, I guess, to back up, what is the general perception from your point of view that people had, or the story that they told themselves about that time period? And what were you finding that, you know, was the first telltale to you that there's some contradictions here? Kevin (5m 0s): I mean, the first things that I found were, again, like I said, just that there really is very little evidence, you know, for instance, the typical, the median home homeowner in 2005 or six had a higher relative income compared to renters than they had had in say 1995, there wasn't this surge of unqualified homeowners, their average homeowner in 2005 and six had, you know, tended to have like education was becoming a more important factor. So ownership among high school graduates was relatively level or declining in homeownership, you know, among college graduates and people with professional degrees and that's where home ownership was rising. So those were the initial sort of data points. But eventually what I realized is, you know, really what we have is a supply problem. There's key cities, which I call the closed access to these, which mainly is Boston, New York city San now LA those, those metropolitan areas that, you know, the character of our economy is basically becoming dominated by the fact that those cities aren't willing and able to grow as fast as the economy should grow. And so what happens anytime there's any sort of growth, whether it's growth in credit access or just incomes, just productivity, there's this increasing bidding war to get into these limited locations. And so what happens is the price of housing skyrockets as a result of that. And so looking at that, there seems to be just an, for some reason, a bias toward blaming demand side factors on that too much money, too much credit speculators. You know, today we we've sort of killed the marginal home buyer market. So today we blame private equity and foreign buyers and corporate buyers and corporate landlords. And, but all along, it's just not enough supply price can go up for two reasons, not enough supply or too much demand and all along, even back then, the problem is not enough. And instead we have this recurring intuition to say, oh, everyone else has too much money. And that's why I can't afford important things anymore. And, and so, yeah, it's, you know, it's, it's a simple story thing. The houses are expensive because we don't have enough of them and you just have to look at it. You know, it's not hard to understand. You just have to look at it and accept that as a potential conclusion. And then the rest, the rest of the story sort of tells itself. Jesse (7m 43s): So at the time, or even ex post the, you know, after, after the, the crisis years after we, you have movies coming out, you have people, you know, writing articles specifically on this writing books, you know, a lot of what the, I would say the general public was told was there was a lot of available credit. There was access to a lot of money. The money was very cheap, you know, somewhat similar to what we're hearing right now, fast forward this many years, but there was also this, this conversation or this theme that there was excess building, that there was an oversupply of housing. And, you know, what was it about this story that was so compelling for people to adopt? If, if you know, you're saying the cases, the data just does, did not, or does not bear it out. Kevin (8m 36s): I mean, it's a, it's a good question. I, I mean, today, you know, to me, it's getting, it's been, it's sort of easy for me to tell the story as time passes, because to continue holding onto that conventional wisdom gets harder and harder over time, right? Like I made today, we're in this weird political environment where, you know, mortgage growth growth has actually been, you know, dead for a decade and barely has started growing again in the last couple quarters. And so how exactly are lower are low mortgage rates, you know, the, the, to blame for rising home prices, it's cashed by like everybody knows this, you see papers or stories in every paper about cash buyers coming in and 20 bids over asking and all this stuff. And so people with mortgages can't even get in on the process because they, they can't get an appraisal high enough to get their mortgage funded. So, you know, at some points that it just becomes absurd to, to blame credit for it. You know, it's not quite as absurd back then, but effectively the same disconnects are, are in play and in the newer, but building from the ground at that, I know some of the data about, you know, for instance, in a, in a market like Arizona, which was, you know, a poster child was sort of a bubble city. You know, the, the conventional story is there was all this money flooding into housing through the credit channels that led to a bunch of excess building, or actually first that led to prices skyrocketing because of all this credit. And then that led to overbuilding too many housing, too many houses. And then that all collapsed of its own weight. But it, it happened in the opposite order of that. The first thing that happened was there was a lot of new building because Phoenix was taking in all these people that didn't have houses in LA that would have preferred to live in LA. So the first thing that happened is there's a bunch of new building in Phoenix, but then they, they sort of reached their local limit. So then you see prices start to sky rocket and Phoenix in 2004 and five borrowing, you know, per capita debt in Arizona is still pretty normal until late 2005. And then finally, when house prices in starts peaked at the end of 2005, then you finally start to see debt start to raise. So everything happens in the opposite order of what, you know, what the stories seemed to tell, you know, the conventional wisdom says, but you know, it, you have to sort of dig into the numbers a little bit and, and, you know, to sort of see that come out, you know, one of the problems is there's not really a national housing market. And I think that's where there should, there could be a national housing market, but because these supply constraints were so localized, it's very difficult to just certain information. You have to be careful about this serving information by looking at national numbers, because the market in Nashville or Omaha was much different than marketing San Francisco. And you throw all those numbers into one big basket, you know, the, the noise ends up hiding the information. So that's, that's one, you know, if you look at the national numbers, it does look like mortgages and prices were all sort of going up together. But you know, most of the countries didn't have either a price, boom, or as construction, boom, most of you know, cities like Atlanta and Omaha and all those cities were building houses about the same rate as they have been, you know, for several years, the housing boom is in, was in places like LA that were building so few houses that even a relative boom is still an it pitiful on absolute members. And then you had a boom in places like Phoenix that are overwhelmed by the people looking for affordable place to live. Jesse (12m 42s): And with that story, I assume, when you looked at different cities was the same story of that causality, just being exactly the opposite of what people had thought it was that, you know, interest rates, you know, if those were a factor, it was almost like gasoline at the very end to, to kind of keep fueling what had already started prior. Kevin (13m 1s): Yeah, yeah. And so, you know, really when you get to 2007, you have what we have is a housing market or in an economy, or let's say you go back to 2005, really in 2005, the fed was, you know, pretty much, you know, we were about on target in terms of nominal GDP growth inflation. The thing we were a little out of whack on was that rent inflation had been high since the mid nineties and was still a little high, but was finally actually coming down where rent inflation was about the same as normal inflation. So, so in 2005, what we really had was in the economy where the fed was doing their job, that we could use a few more homes, but the conventional wisdom was so powerfully sort of on the opposite side of the F you know, in the belief that we had overbuilt that there was, you know, the high prices were because of demand side stuff. So that must mean we're doing too much. And so, you know, the funny thing is housing started started to collapse in 2006. The first thing that happened in 2006 and seven is rent inflation shoots back up again. So actually we, one of the things I go in to, in the building from the ground up narrative is it's sort of parallel to the seventies where you had inflation, but you had these oil shocks that the fed was reacting to really in 2006 and seven, what we had was a housing shock, just like the oil shocks. We got a housing supply shock because the fed itself had, had slowed down construction. And then when rent inflation rared up in the face of this housing supply shock, the fed reacted to the inflation and say, oh, it's our job to keep inflation low. And we do that by lowering incomes. And so by 2006 and seven, we get in this vicious cycle where they're actually reacting to the shock they had. They had started, you know, instead of, instead of seeing what was happening and thinking, oh, we've gone too far. Every time they Ratched it up, you know, slow down the economy more and rent, inflation was high and housing starts kept collapsing. Then they looked at that and they said, oh, we, we were wrong. You know, our critics were right in 2005, we must have, we must have induced too much home building because now it's 2007. And when we try to correct things, home housing starts are collapsing even more than what we thought they would. So we must've been doing too much in 2005. And what happens is by the end of 2007, they're convinced that they had made mistakes in 2005. That by now it was too late to fix. They actually solved some sort of crisis coming and they just came to believe that they couldn't do anything about it. Really, if they had flooded the market with liquidity in 2007, that what we needed is a fed aggressive enough for housing starts to recover in 2007. And then none, none of us would be talking about any of this today and what we we'd still be blaming the banks for. Hi, we'd be having the conversation they have in Canada about housing, right? We'd still be blaming whatever for home prices and probably blaming the fed for them, not knowing that we had escaped the worst economic calamity intergeneration. Jesse (16m 14s): So what, what policy mechanisms, so back then, we'll, we'll fast forward today in a little bit, but what policy mechanism at that point, are you going to be able to use to encourage that or discourage the, what you were talking about with Arizona, where you hit your cap, you know, very similar to Toronto or New York LA very strict laws on, you know, how much can be built, what can be built. So is it, is it are the mechanisms left at the local level rather than at the federal level? You know, what do you do at that point where you're trying to encourage, you're trying to encourage building and, and we're, we're conceding that it is a supply issue. Kevin (16m 53s): Exactly. Yeah. So that's, you know, that's the difficult question is optimal policies aren't available. So, you know, really, it's just the case that we have these cities that are unwilling to grow at the rate that our economy should be growing. And so anytime anything good happens, you know, if things get good enough, then there's this inevitable segregation by financial means by, you know, segregation by income, you know, the people that can, you know, now there's a bidding war for those, these limited locations. So anything that eventually leads to just a nice economy that you'd like to have is going to lead to a segregation at this inter metropolitan or area migration. And the way that migration works is housing gets more and more expensive in those cities until somebody hurts enough that they give up on living in the city, they want lived to move to these other cities. So, yeah, I mean, it's, it's sort of a weird, you know, th the second best optimal solution in that context is to slow the economy down enough, to like limit the pain of that segregation process. That's not, you know, we need those cities to fix their problems. That's not, that's not a second best solution. You want your national economic figures to be aiming for. Right. But, but yeah, that's essentially, that's what happened is that process of segregation because of a lack of housing got so accelerated so much and became so painful that it started, you know, bleeding out into these, the cities that I call the contagion cities, which are the Phoenix, is in Florida and Arizona and Nevada and inland California, that we're taking in all these people coming out of the coastal metropolises. And so what happened is the fed slowed down the economy enough to, to ease those segregation pressures. And then, but then, you know, instead of sort of stopping one thing I say in the band building from the ground up is they actually did succeed by mid 2007 at creating a soft landing, as good as they ever could have planned for. And that was the least satisfying, you know, conclude, you know, in expat they could get at, nobody was satisfied with that. And so they kept pushing and pushing it to all that bad debt actually happens well past the peak of the housing boom of people in places like Arizona and Florida, that now are early entrance into this coming crisis, because they've said that, you know, for decades, they've been growing two or two and a half percent a year. And then as that as, as the economic growth in the two thousands ratcheted up and people were moving there to find affordable housing, now they're going and more like 3% a year. And it's so much that that's adding stress to their local economies. And then suddenly from 2006 to 2008 or nine, it goes to zebra, like suddenly decades, long migration, just flattens. And so, although, you know, so many of those mortgages taking, taken out in Arizona and Florida in 2006 and seven were actually just households dealing with the financial crisis that hit them before it hit everyone else. And instead of reacting to that with generosity, with, with the name towards stability, we just took everything that happened as a, this is another thing that's happening because of this, because of the excesses from 2005, and really for people to learn their lesson, people need to suffer those losses. You know, that was the mentality. And so, you know, that 2008 crisis was really a popular crisis that happened because nobody would for anything less damaging than that. Jesse (20m 50s): So just on this point, I want to talk a little bit about affordable housing and policy perspective, but just before we do on that, the, the idea, you know, we're, we're in a housing bubble or, you know, we're, we're currently in a housing bubble or back then we were in a housing bubble. I know, you know, you can take the very strict in every time I would do little bit of research on this. You'd get, you know, the famous Eugene Fama and, you know, he would talk about it's, he would have such a strict definition of what a bubble could possibly be that it's like, well, it's always priced in, but this idea that asset prices are untenably high was, is that the framework that you looked at, oh 7 0 8 or even today, or do you have a different, different view on what that, that term means to you? Kevin (21m 37s): Again, this is a great example of how looking at national numbers versus desegregated numbers is, you know, it gives you two different stories. So you can look at national numbers and, you know, from the mid nineties, till 2005 price to rent ratios, you know, take the national aggregate value of homes and divided by the national rental value of homes and priced rate ratios went up. And so it's a very easy story to tell yourself that, oh, there's all this credit it's, you know, prices are rising and, you know, all the official documents on this, like the financial crisis, that agree commission, the 500 books on the shelf at the bookstore about the crisis. I mean, they all, they all, they all very briefly point that out and it becomes the presumption of everything to follow, you know, like the big short, like, you know, in the book, in building from the ground up, I say, you know, the big, there's nothing wrong in the big short, it's just a story about an, a growing crisis that started in 2006. And it just takes us the presumption that that crisis was inevitable or that these things happening in 2006, have anything to do with what happened in 2003 or four or five. And so it's just that, you know, that, that presumption that, oh, prices went up for no reason. And they so surely they must have to come back down. Right. But if you desegregate by city, you know, re prices were going up where rents were going up, prices were going up where there aren't any vacancies, you know, so if you, if you do a cross sectional and regression across cities, then it's the stories reversed, but prices are totally being driven by fundamentals. And it is funny in, in the financial crisis inquiry commission report, you know, they take, they do literally take a single paragraph to dismiss rents is an important factor in rising prices. And it, you know, with this, this logic that price to rent ratios have gone up well, the, they have three or four cities, examples of where priced rent ratios, you know, had doubled or more at which, you know, surely is so outrageous that it shows the prices are too high to those cities where LA in New York city. So, you know, to me, the, you know, sort of reorienting the way we look at this story, imagine writing a 500 page review of the financial crisis. And based on the idea that rent is an unimportant factor in high-end housing costs in Los Angeles and New York city, right? The reason price to rent ratios are so high. Ironically, the reason price to rent ratios were so high and had gone up so much, is that the main factor that increases price to rent ratios is high rents. I just cry across time across cities, within cities, anywhere where you compare rents and prices, price to rent ratios are always highest where rents are Heights. And I'm sure all your investor listeners understand that, you know, they're, they're not out by, you know, getting investment properties in the wealthy suburbs of the metropolitan areas, because the cause the returns on their investment are much lower there. You know, the, the investors are buying at the low end where your, where your cap rates, where your, your, your yields are higher. It's just a systematic thing that happens across the board. So again, it's this weird, you can understand how they would make that mistake. It seems like they give price to rent ratio is a doubled over a decade that, that, that, you know, you know, you don't have it. Doesn't take a lot of analysis to say, oh yeah, the prices must be rising in spite of rinse. But the irony is actually those, you know, you go again, you go to an Omaha or a St. Louis Price ratios hadn't changed very much at all in those cities. Now, if it was households with low incomes, getting, getting mortgages, they weren't qualified for those would be the cities you do. You think you'd see a bit of a jump in the price to rent ratios they heard, right. But no re their prices were highly throughout this entire period from the mid nineties tilts today, rent has continually become a more and more important factor determining the relative price of, of any particular house. Jesse (26m 3s): So for the, I mean, to me, that analysis, you, you almost, it's easier to accept the former because it just, one thing is easily. You can say, okay, that follows where the other one, you have to do a little bit more digging. So for instance, if you see, especially, you know, Toronto Vancouver, where we were, where we are very similar to San Francisco LA New York, where you could from the outside valuations have gone up like crazy interest rates aside from very recently have remained very low. And for the foreseeable future, that's the way it looked like it was going to go and rents were going up, but not at the same rate, that values were going up. And if you just looked at it, just statically that, then you could kind of see that argument. But, you know, even, you know, for where we live, we've this year, we're going to have record immigration. And I re I don't remember a law firm economics class, but I remember, you know, what moves, not just what goes up and down the supply curve, but what actually shifts the supply curve and, you know, technological innovation or immigration, where those are things that maybe they're not necessarily seen right from the outset. But those coupled with lack of building could create this mismatch. I'm curious, the, the actual from the perspective, and then we can dive into affordable housing here from the perspective of, of affordable housing. I think in, you know, in many cities in north America, there, there is housing that is left, locked because of regulations and, you know, basement, walkouts, accessory apartments, different zoning regulation. Is that a, is that a large portion of where you think that we could unlock affordable housing? Would that be a policy tool that, that, you know, would be at the top of the list? Kevin (27m 48s): I think we definitely, it, it's not a situation now where there are just tons of empty units. I don't think, I mean, I think there's a lot of locked, you know, unbuilt units and some of my colleagues at Mercatus, you know, work on that, they call it the missing middle sort of, you know, there was this historically there was a, there used to be a lot more of, you know, say a family, building a duplex or triplex and living in one of the units or building a unit in the backyard, or, you know, that may be a grandparent lives in to begin with and eventually becomes a rental or whatever. So that sort of building just hasn't been happening for decades because it was regulated away. And, but vacancies have really, you know, we really put, turn the screws tightly on mortgage lending after 2007. And so I really, what I say is there's a donut hole in the American housing market. Now, there are, you know, we're sort of maxing out our multiunit building, which is really largely limited by regulatory obstacles. And then that the pristine credit borrowers at the high end are, are buying as much house as they want because they can get low rates. And they, you know, so they they're basically unconstrained in how much housing they went. And then there's this middle millions of households that used to be able to get mortgages that can't today. And so it's that entry level, new housing market that we just basically, you know, any given year before say 2006, the new homes built for sale at, at less than a $200,000 price point in the United States. There were, there would be more than a half a million a year built by the last couple of years. That's down to like 70,000 a year. Now, you know, there's some inflation, it's a little bit hard to control for that, but, you know, for most of that time, home prices were lower than they had been in 2005. So, so really we, we just made it impossible for those entry level owners to induce new supply themselves. So that's the irony today is now today because there's a, you know, everyone blames demand side stuff, you know, for high home prices what's happened is because we have this donut hole in the middle of the American housing market. No, city's been able to build enough at the Metro area level to have adequate supply over the last 12 years. And so in every city rents at the low end are going up just like Vincent. The low ended have been going up in San Francisco, in New York city for, for, you know, years before then. And now that's drawing in institutional investors. And now the narrative is, oh, institutional investors are pricing out, you know, traditional home buyers. Well, you know, we we've excluded traditional home buyers from that market 12, 13 years ago that, you know, any, anybody that can get a mortgage in those sort of markets could lower their monthly housing costs by becoming an owner versus a renter in most cities today, it becomes the low end. The yields are very good. So, you know, especially compared to mortgage rates. So it's, it's, they're not being priced out of the market. They're being regulated out of the market. And it's good. Finally, we have institutions coming in with enough interest that it's actually inducing home builders to build entry-level units and these new build for rent neighborhoods. Now, those shouldn't be being bought by the families that are gonna live in them, but it's not the institutions that are keeping them out. It's the, it's the FHF and the consumer finance protection bureau that are keeping them from being owners. Jesse (31m 47s): So you talked, I mean, we started at the outset of this, basically this article that you wrote that kind of ties in here and it was called what are landlords good for? And I just wanted to, we talked a little bit about this, but I hope, hope that you can expand a little bit and I'll just quote this part here. So to understand why housing affordability policies should primarily consider rent and why the U S focus on price has proven disastrous. We need to understand the roles and incentives of three key parties, landlords financeers and tenants and quote at this particular article article was about the three services that landlords provide transactional capital and diversification as kind of the spotlight for this, this concept. You know, you don't have to go into super granular detail here, but could you talk a little bit about what you, you know, what the aim of that article was and why the focus on, on landlords in this particular way? Kevin (32m 45s): Yeah, well, maybe, I don't know if this is coming directly from the same point of that article, but, but I do think one of the things, you know, on that idea of focusing on rents as the core affordability issue and not prices, I think we, there's a lot of bad habits in housing analysis that I wish we could, we could move past. And one of them is treating the homeowner market as if it's a different thing than the renter market, you know, and a lot of times you get these sort of implications in the way people talk about housing as if, when somebody buys a house that, you know, somehow that's adding demand for housing as if they were living under a bridge when they weren't an owner, or, you know, when an institution buys a house that takes away supply, or, you know, as if, you know, they tear it down after they buy it. Right. And, and another thing which I think these, these cities with the lack of supply of sort of fed into another notion, which is that either you get these outstanding, you know, excess returns, like somebody that bought a house in LA or San Francisco twenty-five years ago, that somehow that's like the goal of being a homeowner and that somebody that bought a house for 120,000 to Detroit twenty-five years ago, that may be only worth 150,000 today somehow missed out. Or somehow that was a bad investment use. You've seen this phrase a lot that housing can be affordable, or it could investment, but can't be both. It's like, you know, the, Y w people acting wise will say this, you know, you know, sort of impart their wisdom on everyone. And it's a terrible, it's totally wrong, you know, and it, nobody goes to the stock market and says, oh, I'm only going to buy the most expensive stocks because you know, it's not, can be expensive, they're affordable or a good investment, but not both, but of course the best affordable house is the cheap house. And you shouldn't expect to make a million dollars on it. If you sit on it for, that's the thing that's wrong, that's the thing that's out of whack. And so I think there's been way too much focus on the idea that buying a house gives you access to capital gains. And in fact, the main value to being a homeowner is that you're, that you're getting a job as a landlord, as a management company, and you have the best tenants anyone could ever ask for that never disagreed, you know, that never have any disagreements with you about how to manage the property, right? They, if you take two years to fix the leaky window, they never complain, right. If you, if you can't afford to upgrade the kitchen exactly. When they went to, they're not going to move out on, they, they understand, you know, you have to wait until you, so they, you know, there's principal agent problems that make a landlord tenant situation, actually, you know, but by, by making the tenant and the landlord, the same person you get rid of all those costs, there's the problem with that, of that. You can't diversify there. Now, you own this big giant asset, and that's a cost of that. But clearly for most people, the getting rid of the agency costs is, is more valuable than the lack of diversification. And so, again, that, to me, that's why the whole thing about institutions, pricing people out institutions, can't price people out. If somebody has access to credit, they will, they can outbid the institutions. It's the access to credit. That's a, and it's not that institutions have too much credit it's that we've prevented people from getting the credit that they need in order to get rid of these agency costs and be their own landlord. So, you know, the thing is home ownership, the value of home ownership actually should be this really boring thing that it's, you know, amounts to a couple thousand dollars a year of, of being able to, you know, sort of earn the rental value of that a landlord would earn because they have to take the risk of having bad tenants, and you can earn that income without taking that risk on. And so, you know, you should be able to, you know, you should expect to be able to buy a cheap house in the city. That's still going to be cheap in 20 years and be very happy with that investment. And in fact, that investment, as I was saying, price to rent ratios are systematically higher. The more expensive the market is. So the people were locking out of the market as homeowners. They're the people for whom being a homeowner is the most valuable that the yield on their unit is much better. You know, somebody that would love to get a mortgage to buy $150,000 house in Atlanta, that's paying, you know, they're paying 1500 a month in rent today and they could get a mortgage for 800 a month. And the CFPB says, I don't think you're qualified for that. Right. You know, they we're preventing them from being a landlord for them is very lucrative. Like it's several hundred dollars a month in value they get from that. And so, yeah, we were basically locking out the people that, you know, the person that owns the half million dollar house in Atlanta that they're not getting as good a deal. It's still a good deal to be a homeowner for them, but it's not as good a deal as it is for the person that would like the $150,000 house. Jesse (38m 15s): It's a compelling argument. When you say the, the, you know, when people are saying these institutional purchasers are pricing people out, they can't price people out. You know, for me, it crystallizes when I think about our industry and commercial real estate, when we have a multiple bid situation with commercial property, the nine times out of 10, it is the owner that is going to be able to pay the most for it. And it is essentially the same thing in, in, I mean, in a sense where they are purchasing and leasing back to their own company. And it is this idea that they have all the mechanisms to be the one that can pay the most. So to your point, it kind of has a similar thread of, you know, comparing the institution that they can do everything that you are doing as the purchaser, but they can't eliminate every single tree. They can have scale, but they can eliminate every single transaction costs. Kevin (39m 5s): Yeah, yeah. But yeah, it is very similar there. They can decide if you're, if you own it and they're the tenant, they, they have their own reasons for whether they would close the store down and, and not renew the lease or whatever. They don't care if that's a cost to you, but, but if they're their own landlord, well, now you can account for all the costs and maybe they'd stay a few more years and yeah, exactly. It's and so we, we basically regulated a bunch of American households out of being able to make that decision on the March. Jesse (39m 39s): So we're coming up to the end of the, the time here. I think we, we definitely have to get you back on Kevin re I'm. Sure we could talk a little bit more about your book and the current situation or current, you know, place that we're in economically, but before we do, you know, give people direction on where they can go to reach out to you, maybe we talk a little bit about, you know, where you see trends are going right now with, you know, we're in the beginning and of Q1 20, 22, you know, is there anything that people should be looking out for from real estate or economics point of view that you'd like to touch on? Kevin (40m 16s): I'd say it's a little bit the same in a little bit different than what was happening in 2004 and five. Again, it's, it's the same story in that rents are what's driving prices in a way that's much more connected and important that people are giving group credit for it. And in fact, I, one of the things I think is sort of funny about the, all these sort of public conversations happening is you get a conversation over here, you know, oh, you know, rent inflation is really high. And you know, the CPI rent inflation is lagging, but you know, the, the indexes that follow, you know, market rents on new units, they're up double digits. And so these across the country, right? So you have that conversation that, oh, rents are through the roof. And so that conversation tends to be about oh, inflation and monetary policy. So we need to, we need to slow down the economy because people have too much money. Then there's this other conversation that, oh, prices are through the roof. And it, and it's because mortgage rates are too low. And so people are overpaying for houses and, and it's a whole totally different conversation. But it's based on this idea that the fed controls, the interest rate, which they don't, the fed couldn't make mortgage rates 6%. If they, they, we would be trade. We would be bartering seashells for things before they could get Margaret trace to 5%, they'd have to suck every dollar out of the fact, that's what happened in 2008, they literally would have had to suck every dollar out of the economy to hit their 2% rate a target in 2008. And, and they couldn't, and they ended up creating a financial crisis. So, but there's this idea that the fed controls that rate. And so now they have to raise rates to S to lower those prices because the prices, well, those things are related. High prices are high because rents are high and they're both high because we don't have enough supply. And, but the thing that makes it different in 2005 is that back then, it was very localized. That prices were going up in these, in these individual metropolitan areas that, that were, that specifically have local supply problems. When we put this donut hole in the middle of the American housing buyer market. Now we've created a supply crisis in every city in the country. So rents are going up everywhere. Like they had been only going up in the coastal metropolises and those, those housing costs take on a, in fact, I got some papers that I'm, that we'll be publishing pretty soon. I've been working on this, this idea that when there's limited supply in a city, it takes a very peculiar picture. It's the low end of the city where prices and rents get ratcheted up by that lack of supply. Because at th at the high end, people can substitute down. Like if, if you're making $200,000 a year in San Francisco, you're not going to buy the same house. You'd buy in Phoenix. What you're going to do a substitute down to a neighborhood that should, the people that live in that neighborhood should be able to making 70,000 a year, but you're taking one of their houses because you, because you're not going to spend the money. Right. So all that pressure gets pushed down, down, down and down in the market. So all the, all the cost pressure ends up getting, getting loaded at the low end until finally somebody making $50,000 a year moves out of town because they just can't take the cost anymore, but you can see this. So for instance, in the last five or six years, rent inflation is through the roof in every city, but it's very income specific in the, in, in the neighborhoods, in a city where incomes are low, every city is seeing double digit inflation rents at the high end are pretty stable. So you get this weird market where yeah. Prices are going up at the high end of every city. And yeah, those are, you know, somewhat related to low interest rates. So there is some, there is a little bit of, of price to rent ratio expansion at the top end, which is, you know, it's still a fundamental it's rates are low and they're low for fundamental reasons at the low end prices are going up more than that. Then they are at the high end, but it's purely a rent function. It's purely because rents are going up so much more than women. So the irony is, yeah, there is some, some expansion in the ratios, but the, the homes where the homes whose prices have gone up the most are the homes where ratio expansion is the least important fact. It's, it's rents that are driving the places that are going up the most. That's not going to reverse overnight. Like we need to build millions of homes to stop that process. Now, I, I see again, you know, where it's second best alternatives. We should be building a bunch of condos in New York city in LA, and we're not. So the best, second best alternative is to build whatever we can everywhere else. So, you know, we have second best, you know, we start with the second best, you know, we should be building homes or condos in LA and San Francisco. We can't. So we built, so we try to build them everywhere else. You know, that means a lot of people would be building a lot of single family homes in the suburbs and all these other cities. Now we won't let it that a lot of them do it. So now it's like the best alternative is to let institutions build them and rent them out. So, you know, if that's the only solution we allow for ourselves, then that's the only way we're going to bring down rents and that's going to be a long drawn out process. But I certainly don't take any, Hey, I don't think anybody needs to worry about mortgage rates going to 7%, all of a sudden, and be even if mortgage rates go up a little, I don't think low rates are really what's driving the market. So housing, I think, and real estate, General's a very interesting sector now because it really is sort of both offensive defense. You know, there's, the rents are going to keep rising until we meet the demand with adequate supply. And so there's going to be a natural continuing price appreciation. And the only way that that's going to stop is for the home builders and the, and the private equity, you know, multiunit built companies to, to do what they do and do more of it. And so to me, there's nothing, but you know, nothing but growth ahead, either in supply or in prices. And yeah, so, you know, I'm shocked at the, you know, I think there's so much worry in the market about reliving 2008. To me, you look at some of the valuations on home builders. It's, it's just insanity. They're trading at legitimate PE ratios of two or three points on forward PE ratios. And, you know, I don't see any legitimate reason to think their earnings are going anywhere. Jesse (47m 19s): Well, we definitely need to delve into, I guess, the, the state of the economy now and, and what we see coming down the pike, because I think it's, it's another conversation Kevin, for individuals that want to, you know, get in contact, or just want to get exposed to some of the writings that you, that you're doing. And you mentioned a couple of papers as well. I work in working people, working, you send them to online. Kevin (47m 45s): I have my Twitter handle is K Erdman and you can see the, the papers that'll be coming out will be Mercatus papers. And so my, my scholar page at Mercatus is probably a good spot to, to dig into. And including that, that the, the post you referenced was from, was it, I forget how many parts were in that say it was a long series. I did back a couple of years ago on housing affordability. And so that you would find in that series, that the murkiness and scholar page. Jesse (48m 19s): Yeah. We'll put a link up to that. And we'll, we'll link the, the two books on Amazon building from the ground up and shut out. So we'll have links. If anybody's interested there, just check out the show notes Kevin (48m 33s): In my DMS are open at Twitter. If anybody wants to home, Jesse (48m 38s): My guest today has been Kevin Erdman. Kevin, thank you for being part of working capital. Kevin (48m 43s): Thanks. Jesse (48m 51s): Thank you so much for listening to working capital the real estate podcast. I'm your host, Jesse, for galley. If you liked the episode, head on to iTunes and leave us a five star review and share on social media, it really helps us out. If you have any questions, feel free to reach out to me on Instagram, Jesse for galley, F R a G a L E, have a good one take care.
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La gynécologie n'est pas une science déconnectée de la société. C'est même une discipline médicale dont l'histoire est émaillée de racisme, d'homophobie, de sexisme. Dans cet épisode, avec notre invitée Adiaratou Diarrassouba (qui, avec Dolorès Bakèla, a fondé la plateforme L'Afro et co-organise le Fraiches Women Festival), on aborde le racisme dans la gynécologie et dans le quotidien des personnées racisées et menstruées. TW : nous abordons dans cet épisode des épisodes de l'histoire qui sont violents, qui parlent de violences gynécologiques et obstétricales. Il n'y a pas de descriptions "graphiques", mais ces sujets sont tout de même abordés en longueur. Si ce sont des sujets qui sont difficiles pour vous, prenez le en compte avant d'écouter. Les recos : la BD Pucelle de Florence Dupré La Tour le podcast Better Call Marie, de Marie Dasylva, coach stratégique et créatrice de l'agence Nkaliworks coup de gueule à propos du communiqué de l'Ordre des Médecins sur les "annuaires communautaires" les comptes Twitter et Instagram du médecin Baptiste Beaulieu Pour aller plus loin sur le sujet : New York: La statue d'un médecin qui torturait des femmes esclaves a été déboulonnée La gynécologie, une discipline mise au monde par des pères racistes, sur la plateforme Les Flux L'Afrique cobaye ou le corps noir dans la médecine occidentale Les corps de Sarah Baartman et de Georges Cuvier Maltraitance gynécologique : quand les femmes racontent leur souffrance Les préjugés racistes dans le monde médical, exposés après la mort de Naomi Musenga La thèse "La santé maternelle des « Africaines » en Île-de-France : racisation des patientes et trajectoires de soins" de Priscilla Sauvegrain Vous pouvez nous suivre sur Instagram, Facebook et Twitter. Crédit logo : Clayton DRX
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