On today's Dan Patrick Show, DP's joined by a stacked guest list. Buccaneers Head Coach Bruce Arians calls in to discuss their win against the Patriots on Sunday night. Jim Nantz judges Seton's Tony Romo Impression. Voice of the Yankees' Michael Kay previews tonight's wildcard game between the Red Sox and Yankees. And Giants QB Daniel Jones answers whether he likes the nickname Danny Dimes or not. Learn more about your ad-choices at https://www.iheartpodcastnetwork.com
This week we have the pleasure of talking to Seton Tucker co-host of the hit podcast about the Murdaugh mystery. This is a southern gothic case that keeps grabbing headlines.
On Today's Dan Patrick Show, DP recaps last night's Packers/Lions game. Are all concerns with the Packers now a thing of the past? Former NFL O-Lineman Tony Boselli calls into assess moral in Jacksonville. And Al Michaels shares his thoughts on the Manning broadcast, as well as listens to Seton's impression of him. Learn more about your ad-choices at https://www.iheartpodcastnetwork.com
The Summer Session Interview Series returns for a late summer special! We welcome former SHU Pirate Ty Shine for trip down memory lane as we relive the last time the Pirates made it to the Sweet Sixteen. Ty holds nothing back as we go over the good times and bad during his years in South Orange!
Vanishing Postcards host and storyteller Evan Stern on the importance of telling the stories from the places that are off the interstate. This episode is brought to you by Brain.fm. I love and use brain.fm every day! It combines music and neuroscience to help me focus, meditate, and even sleep! Because you listen to this show, you can get a free trial.* URL: https://brain.fm/innovativemindset If you love it as much as I do, you can get 20% off with this exclusive coupon code: innovativemindset Born during the driving rainstorm that inspired Stevie Ray Vaughan to record the classic “Texas Flood,” Evan Stern is one of a proud few who can claim Austin as his legitimate hometown. Having caught the performing bug early on, he first gained attention at age 11 with a second-place finish in Austin's famed O. Henry Pun Off, and has since graced the stages of New York's Carnegie Hall and Lincoln Center. A graduate of Sarah Lawrence College and the British American Drama Academy, whether acting Shakespeare, or charming audiences with the turn of a Cole Porter phrase, Evan is first and foremost a storyteller, with a sincere love and appreciation for history, travel and the art of raconteurship. He is now honored to return to Texas for the first season of Vanishing Postcards, an ambitious project that represents a synthesis of these passions through the form of audio essay. Vanishing Postcards is a documentary travelogue in which listeners are invited on a road trip exploring the hidden dives, traditions, and frequently threatened histories that can be discovered by exiting the interstates. Named one of the Best Podcasts of 2021 by Digital Trends. Connect with Evan IG - @vanishing_postcards IG - @evansternnyc Podcast- https://podcasts.apple.com/us/podcast/vanishing-postcards/id1544610020 Episode Transcript [00:00:00] Evan Stern: It's hard for me to really latch on one specific lesson that I have gained, but I do believe that. Everybody wants, ultimately wants to be heard. [00:00:18] Izolda Trakhtenberg: Hello and welcome to the innovative mindset podcast. I'm your host Izolda Trakhtenberg on the show. I interview peak performing innovators in the creative social impact and earth conservation spaces or working to change the world. This episode is brought to you by brain FM brain FM combines the best of music and neuroscience to help you relax, focus, meditate, and even sleep. [00:00:39] I love it and have been using it to write, create and do. Deepest work because you're a listener of the show. You can get a free trial head over to brain.fm/innovative mindset to check it out. If you decide to subscribe, you can get 20% off with the coupon code, innovative mindset, all one word. And now let's get to the show. [00:00:58] Yeah.[00:01:00] [00:01:02] Hey there. And welcome to the innovative mindset podcast. My name is Izolda Trakhtenberg. I'm your host, and I'm super thrilled that you're here. I'm also really excited and thrilled to talk about and meet this week's guest. Listen to this. Evan stern was born during the driving rainstorm that inspired Stevie Ray Vaughn to record the class. [00:01:22] Texas flood. I love that Evan stern is one of a proud few who can claim Austin. S's legitimate hometown that's the town is growing. So, wow. That's amazing how few people probably are from there. Having caught the performing bug early on. He first gained attention at age 11 with a second place finish in Austin's famed. [00:01:43] Oh, Henry punt off. And it says grace, the stages of new York's Carnegie hall and Lincoln center, a graduate of Sarah Lawrence college. American drama academy. Wow. Whether acting Shakespeare or charming audiences with the turn of a Cole Porter phrase, Evan is first and foremost, a storyteller, and [00:02:00] you know how close that is to my heart. [00:02:02] He's got a sincere love and appreciation for history travel and the art of a wreck on tour ship. He's now honored to return to Texas for the first season of vanishing postcards and ambitious project that represents a synthesis of these passions through the form of audio essay. Vanishing postcards is a documentary travel log in which listeners are invited on a road trip, exploring the hidden dives, traditions, and frequently threatened histories that can be discovered by exiting the interstates named one of the best podcasts of 2021 by digital trends, evidence here to talk about banishing postcards and everything else. [00:02:37] So amazing that he's doing Evan. Thank you so much for being there. Show welcome. [00:02:41] Evan Stern: Thank you so much for having me. It's a great honor. Oh, [00:02:44] Izolda Trakhtenberg: you're very sweet. So I I'm, this is such an exciting thing. Delving into the history of Texas. First of all, into the, into the storytellers of Texas into the dives and the honky-tonks of Texas as a travel log.[00:03:00] [00:03:00] But as a podcast, what, what inspired you to do this? What inspired you to go? You know what? I'm going to create this travel log. And I'm going to make it about my home state. What happened that you went, yes, I want to do this. [00:03:13] Evan Stern: Well, it was, it, it wasn't as if there was a lightning bolt of inspiration. It was a very kind of slow gradual process. [00:03:21] Um, and, and you told me, you know, a few years ago that right now I'd be working on a podcast. Um, you know, I might've said really. Um, but like, like so many though, I am one of those people who over the last 10 years just absolutely fell in love. Podcasting, um, and the, um, audio medium of storytelling, I think kind of the gateway drug for me, um, was years ago, I started listening to the moth, you know, just people getting up and telling personal stories without notes. [00:03:52] I, I just absolutely loved it. Um, then you start discovering, um, other programs, you know, like the, the kitchen [00:04:00] sisters and, and, and, and there's, you know, different, different stuff. I mean, there, there's a wonderful podcast about classic Hollywood called you must remember this. There's one about country music called cocaine and rhinestones, um, and around, and, you know, not too long ago as well. [00:04:18] Um, you know, the YouTube algorithm, uh, kept suggesting for whatever reason that I watched these, uh, travel blog, travel blog videos, and in watching them, I would never really see the way that I enjoy traveling represented. Um, I mean, certainly it's not always the case, but I think more often than not, when you, when you see videos of that nature, it's much less about the places themselves. [00:04:45] It's much more about the people saying, oh, look at me and how cute I am in this place. Um, and I just kind of gradually started thinking, you know, I wonder if there is something that, uh, that, that I can do. [00:05:00] Um, and initially I had this grand idea. That I wanted to do a show that was going to be a musical travel log of Mexico. [00:05:09] Um, you know, I'm, I'm immersed in the gig economy in New York, and I always try my best to get away January February just to, to escape the, the bitter cold of the winter. And, um, you know, Mexico is my happy place. It's, it's cheap, it's warm. Um, and so I initially had this idea that I was going to go, uh, kind of explore, use music as a portal to exploring the cultural, regional history of Mexico. [00:05:36] I was going to go to Vera Cruz that was going to where the tradition of, you know, and one a Watteau and, um, you know, in Monterey and the north. And I went so far as to, uh, produce a pilot episode, um, in Marietta Yucatan, um, about the tradition of the trophies that they have there. And it's one thing to, you know, when you're running an event, [00:06:00] Um, you know, you're thinking to yourself, oh my goodness, this is just going to be the best thing ever. [00:06:05] This is going to be amazing. And then you sit down and you listen to what you have spent months working on and you go, oh my goodness, I have missed the mark. So terribly. Um, it was a perfect lesson in show. Don't tell, I mean, w what happened was, is I talked all about the city of Marietta. It's about its history, this, that, and the other, but you didn't actually, um, when, when you were listening to it, I also learned pretty quickly that the, the human voice has such terrific color, shade, and nuance to it. [00:06:37] That if you have an actor come in, um, to a dub over, uh, you know, what was said in English, you just, you just lose so much. Um, and I realized pretty quickly that I needed to learn much more about audio production before tackling a project of that ambitious nature. And so I started thinking to myself, well, you know what. [00:06:59] Might [00:07:00] not be as exotic as Mexico, but if there's one thing I know it's that Texas people love to talk and they tell great stories. So in January of 2020, um, grab some equipments. Um, and I went back down to Texas to see what I could do. Um, really, it was just, uh, going to be kind of an experiment. Um, but it very quickly evolved into vanishing postcards. [00:07:26] Um, what happened was, is I took a look at what I was doing, um, and I realized that each episode was a snapshot of a different place. And if there was a thing that the place has had in common it's that you didn't know how much longer a lot of them were going to be around or that they were representative of broader cultural histories or traditions that. [00:07:52] You know, you, you just, they're kind of rare, um, in, in this kind of fast paced rapidly homogenizing [00:08:00] world. Um, and, um, since then it, it became, it it's, it's been an incredibly rewarding journey. Um, you know, as I maybe referenced earlier in, in many ways, it is kind of a 180 from a lot of the work I've previously done at the, at the same time. [00:08:17] Um, I feel that all of that work really kind of beautifully prepared me for it. Um, and having embarked on this journey, um, I ended up covering like about 1500 miles of, of Texas and, um, having embarked on this journey as a solo traveler, um, I'm now really grateful that the series is out in the world. Um, and I can invite, uh, you know, people like you and listeners really around the world, uh, to, to join me now and experience, uh, everything that I got to do. [00:08:49] Izolda Trakhtenberg: Wow. That's amazing. And it's incredible to me, what you just said about how you took everything that you had learned up until that [00:09:00] point and reframed it and repurposed it almost into this, this way of looking at your home state. And yet it is both technical and it takes a lot of artistry. And I'm wondering what, in, as part of, as part of doing this project, what did you learn? [00:09:21] What was the thing that stood out for you that you learned maybe about yourself or about the people in your state or about the places? What was the biggest thing you learned and how did it change you? [00:09:31] Evan Stern: Well, there's a lot, I mean, it's hard to, for me to really latch on one specific lesson that I have gained. [00:09:38] Um, but I do believe that. Everybody wants, ultimately wants to be heard. They, they really do. Um, and I mean, people often ask me, you know, w w w w when I first started doing this, it was, it was in January, 2020. It was before the pandemic hit. Obviously the pandemic changed, um, a [00:10:00] lot of what I could do. Um, but I was really the first episodes that you'll hear in the series. [00:10:05] I was really just kind of showing up at these places completely unannounced. Um, they really had no idea, um, that I was going to be there. Um, and it, it, people ask me, you know, did you meet resistance? We'll we'll really know. Um, everyone was, was intrigued. And for the most part, people were so honored that, you know, someone like me was taking an interest in their work, their place, uh, what they were doing. [00:10:35] Um, and I don't think too, I mean, Someone recently asked me too, that, that when they, you know, listen to the, to the series, you know, that, you know, they, they feel as if I'm able to, you know, extract these, these stories. And they said, well, how, how do you, how do you make this magic happen? And, well, the truth is is that you, you can't, um, there is nothing that you can do to you. [00:10:59] You never [00:11:00] really know what is is going to happen. Um, but the stories, if you just, if you start talking to people, um, you approach them with respect, empathy, and a willingness to listen. Um, and you ask them specific questions. Um, you just, you, you never know what you're going to. Um, and something that I tell anyone who's maybe interested in doing something like this. [00:11:29] Um, I will say that if you do want to, you know, get stories, you do want to ask people specific questions. Um, I would never go up to someone and just say, tell me about yourself. Um, I might say, um, before we get started, could you maybe describe for me your childhood home, you know, something like that. And, um, that really kind of opens up the door and we just kind of take things from there. [00:11:51] Yeah. [00:11:56] Izolda Trakhtenberg: Sorry. I'm taking all of that in. I like to take a pause to make sure [00:12:00] that I've, that I've understood everything. One of the things that I heard you say that really struck a chord with me was that it's about listening. And the other thing of course was asking those specific questions and. Were there any, and if so, what are they techniques that you use specifically as a, as a performer to help you with that part of it? [00:12:26] Evan Stern: Well, you know, I honestly, I think that, um, as I said so much of my experience, um, leading PR prepared me in, in leading up to this, um, and a big job that I've had for a number of years here in the city is it's a very, it's a very strange job. Um, I work as a, what is called a standardized patient, um, that is the medical schools, programs, hire actors to facilitate simulations [00:13:00] for, uh, medical interns and students. [00:13:03] Um, I have played all sorts of different cases. You'd never believe. I mean, they've had to diagnose me. I've been the graphic designer they've had to diagnose with cancer. Um, I have, uh, you know, I, I I've been the 19 year old crack addict who suffered a panic attack. You name it. I've I've had it. Um, but I have learned so much in, in working with these students in terms of how they build rapport and what works and what doesn't. [00:13:34] Um, I think it's amazing. How many people, uh, it can be applied to interview situations, whatever, um, you know, you give someone a microphone. Sometimes they just kind of become a completely different person. You know, they think that every question, you know, has to be probing and every question, you know, has to have weight, but you really just have to remember how you talk to people in your [00:14:00] everyday life. [00:14:02] You know, how do you introduce yourself to a stranger? Um, you know, you're just going to start talking to people, um, and you know, you, you read their body language and you, you really just it's about establishing trust. Um, and it, and I feel that people understand that. I don't think of myself as a journalist. [00:14:30] Um, I'll be the first to say that I think of myself as more of an essayist. I really think that a journalist job is to investigate a journalist job is to probe. I'm not really there to do that. I'm really there just to, you know, kind of have a conversation and, and enjoy the ride and see where that ride takes. [00:14:49] You know, I'm not, if someone tells me a tall tale, um, I'm not going to fact check that story. Um, but I think that people recognize [00:15:00] that. Um, and you know, I just think that, um, just, just really, like I said, just, just remembering how we relate to one another, uh, every day is, is just crucial. [00:15:15] Izolda Trakhtenberg: Yeah, you're talking. I mean, as you're talking, I'm going, he's, he's talking about integrity and authenticity, and those words are abandoned about aura a lot nowadays, but it really, it seems to me that that's, that that's what you, that, that that's what, what you were using, you know, using who you, who you were authentically to meet these people. [00:15:37] And I know you said that people asked you if you, if you met resistance, I'm wondering what was the most wild story you heard? [00:15:46] Evan Stern: Goodness. Oh, man, there, there were, there was, uh, so, so there's this teeny town called Castile, Texas that sits on the Western edge of the, uh, [00:16:00] the hill country. It's absolutely beautiful, very isolated. [00:16:04] The town has a population of six and, um, I don't even know if he's really there, mayor, I don't know if they actually have a mayor, but you know, the, the big local personality is Randy Love. Festi, uh, he's the owner of the Castille store. Um, I'll be releasing his episode in a, in a few weeks. Um, but, uh, when I was there, he told me that, uh, he had, uh, he, he, he, he took a trip to Cabo San Lucas with his girlfriend. [00:16:36] Uh, they saw this, uh, chicken in a bar and he said, you know what, I need a chicken for the store. So, um, you know, he bought this, uh, roof. For the store. And, um, he had this, uh, Billy Bass that was like, you know, one of those electronic things, you know, you clap your hands in the best wiggles. Well, um, one day as he tells [00:17:00] me, he looks over and, um, this rooster is having sexual relations with that bass. [00:17:05] So this thing he tells me became this huge sensation where people from all over the place started coming to town to see his rooster perform, you know, 12 times a day. And he was able to, uh, make hundreds of thousands of dollars in real estate deals that he was able to sell to the people who came through the store because of that rooster. [00:17:27] And then he proudly led me into the store where he showed me this. He, you know, he, he called the rooster cockroach. Yeah, and the rooster died. And after the rooster died, he had that. He took him to the taxidermists and, um, had him, uh, mounted and placed on top of his good friend, Billy the bass. And I've seen a lot of taxidermy in my day. [00:17:51] I don't think I have ever seen a stuffed rooster and I have certainly never seen a row stuffed rooster on top of a Billy Bass. I'll [00:18:00] tell you that right now. [00:18:02] Izolda Trakhtenberg: Wow. That is. Tall tale for sure. [00:18:10] Oh my goodness. I uh, wow. Yeah, yeah. I don't even, I'm like, whatever. How do I follow that up? I think, I don't [00:18:21] know. I did. I did, because you know, the thing, the thing about this is that anytime we tell stories or listen to stories, I think we're changed by them even if, even if it's, oh, that's just the most ridiculous thing I've ever heard. Your experience of life is, is, is changed in some way or another. So I guess I'm wondering, how have you been changed by doing this project? [00:18:45] Evan Stern: Well, It's in many ways, it's been a dive into the unknown, as I said, it's, it's very, it was all very new for me in the beginning. Um, I had to do a lot of learning and [00:19:00] I re I really had to put myself out there. Um, it definitely, um, tested the boundaries of my comfort, um, in a lot of ways. Um, you know, you really just have to, as I said earlier, you have to go up out there and just start talking to people. [00:19:16] Um, and I usually found that I was way more nervous than the people I was talking to. And, um, I was talking to someone else about this, um, experience. Someone said, and, you know, she asked me, she was like, well, how do you, where does that confidence come from? Where do you get that confidence? And I said, well, you know what? [00:19:36] I, I, I think I've discovered that confidence is kind of overrated. Um, because you can't just read a book or, you know, attend a three-day workshop, whatever, and magically have confidence. It just doesn't happen that way. Confidence happens as a result of experience. Um, it happens as a result of mistakes. Um, and, [00:20:00] um, I think. [00:20:02] I heard somewhere that, you know, what heroic act doesn't involve, just huge levels of vulnerability. Um, and so I, I think I have definitely grown in confidence as a result of all of this, but that really, uh, just is a by-product of, of the work itself and everything that, you know, has been asked of me to, to rise to this challenge [00:20:36] Izolda Trakhtenberg: and that in itself, the, the skills you've built, the ideas that you've gotten and, and brought to fruition is a big part of the change I would imagine. And I love, I'd love to discuss a little bit as you talk about this, what is the process? What was the creative process that goes in to making an episode to crafting vanishing posts? [00:20:59] Evan Stern: Absolutely. [00:21:00] So each, you know, obviously I do have each episode does have a subject that I am interested in delving into. Um, there are people that I want to meet, just so you know, so basically, um, a bit more about the show itself for, for those listening out there. So essentially listeners are invited to join me on a road trip. [00:21:23] And so each episode is produced in documentary style. So, you know, you're going to hear a lot of, it's not, you know, interview, it's not talk show, you're going to hear a lot of different voices. Um, you're going to hear some of my narration, um, and I really work hard to make it an immersive listening experience for those who, who are hearing the episodes. [00:21:49] Um, but basically the, the way that I constructed is, um, there are. And, uh, as I said, you know, each episode, there are certain issues that, that I'm looking at. [00:22:00] Um, and so I just go, I, I talk to people, um, and I assemble a number of interviews at the, at the places that I go to. Um, you know, I try to talk to the, uh, the owners. [00:22:14] I try to talk to the workers. I try to talk to the people who go to these places. Um, you're going to ask all of those people different questions. Um, but you're also, I think there, you know, you also want to, there are also some specific questions that I will ask all of them. Um, and then what I do is I, I come back home and I listened to all of the, um, I listened to all of the interviews and I extract, you know, the, the gold from each person I speak with, you know, I could very well talk to someone for like an hour out of that hour conversation. [00:22:51] I might just take, you know, Three minutes worth of, of nuggets or whatnot. Um, and then I, you know, I, I look at [00:23:00] everything that I have and I stepped back and I, I just kind of look for it, you know, that, what, what, what, what, what are the commonalities, what, what do people keep coming back to, you know, are there opposing views? [00:23:15] Um, and from there, I, I just kind of take these nuggets and I weave together a story out of all of that. Um, I really let my subjects kind of guide the way that the, the story moves and goes. Um, the, the most challenging job for me is in the writing process of pasting it all together. Um, everything has to have I learned, you know, for years, I, you know, I've, I've. [00:23:45] Did a lot of performing in the cabaret world. Um, and you know, even if you're just putting together a show, that's, that's really kind of, you know, a series of songs, what is said in between those songs is every bit as [00:24:00] important as the songs themselves and everything has to have architecture and a beginning, middle and an end. [00:24:06] Um, so the, the greatest challenge for me is about how I can link everything together, um, in the narration as part of a cohesive whole, um, you know, I think, but each episode, uh, you know, I, I never, totally, there are always things that I want to focus on, but you just never totally know where it's going to go. [00:24:27] And before each one, um, I always ask my God, is this going to work? Um, but some so far it's worked out okay, [00:24:38] Izolda Trakhtenberg: That moment of, oh, what if this is going to be a complete disaster? I know it well. Um, and it's, I'm so fascinated by what you're saying with respect to the storytelling, the beginning, middle and end, and the sort of the patter between songs in, in, in a cabaret show, all of, all of those things, those elements [00:25:00] of storytelling, what do you think is the result? [00:25:06] What is the most crucial thing to put into it? And what is the result? How do you, when do you feel like yes, it has worked as opposed to, oh, it's going to be a disaster. [00:25:16] Evan Stern: Well, as I said earlier, again, the most important thing is, is show don't tell, um, and what, what, what is always best for me is I try not to. [00:25:34] I try not to express too much in the way of, of opinion. Um, what, what is really magical though, is just when you have, when you're talking to someone and, you know, whether they realize it or not, they, they share and tell a story that just kind of beautifully encapsulates everything, you know, that, that just really explains the issue [00:26:00] without it, you know, at that point, the work for you is, is really done. [00:26:05] Um, but you know, kind of an example of, of something that, you know, I, I did that, that was a challenge, um, was, you know, I have an episode that's coming out in a bit where. I took a trip first to, to Brownsville, Texas, where I spoke with this man who is the last, uh, cook in the United States who was allowed to serve a barbacoa cooked barbacoa, as it was meant to be prepared, which means it's, it's cooked in a pit under the ground. [00:26:37] Um, and that's what he does. He, he, he's serving barbacoa out of what had been his childhood home. Um, there's a pit out back that's in the ground and, you know, that's where he cooks it. The reason that he's allowed to do it is because his father started it in 1956 and it's been going on for this long. And so I focused on him and I did a segment on him. [00:26:57] And then I went to San [00:27:00] Antonio and I, um, you know, met a cook there who, you know, talked about cooking up puffy tacos. And, um, it ended up, you know, she, her story went in a completely different direction. Um, I mean, her mother. Started this business out of, uh, out of a garage because it was her last hope. Um, she was an incredible woman, a revered figure in San Antonio, um, who, you know, was shockingly murdered. [00:27:28] Um, and she talked all about that and, and, and everything. And, and then, and how she like found forgiveness and was being able to move beyond and, you know, everything that her, how her mother prepared her and how her mother expressed love through, through cooking. And, um, I realized that, you know, on, on the surface, you know, these two stories, yes, they were about cooking, but they were very, very different. [00:27:55] But what, what is it that they had in common? I realized that, you know, [00:28:00] through their cooking, they were both expressing love. And for me, and that's how I brought the two together. [00:28:14] Izolda Trakhtenberg: I'm still thinking, sorry, it's a beautiful, uh, yeah. That notion of, um, cooking and, and healing through cooking and expressing love through cooking, but also expressing love for, I guess, the, the heritage and the inspiration for what they did is so important. And I'm wondering if you have someone or figures or people in, in your world. [00:28:45] Hoo hoo hoo. Does that for you? Who inspired you to do this? And if so, is it that same love, it sounds weird to say love connection, but is that connection one of love and respect? What [00:29:00] is it about the people or the images or, or the ideas that inspired you that comes from that place? [00:29:11] Oh, no you're [00:29:11] Evan Stern: thinking. Oh, no, of course, absolutely. I mean, [00:29:20] There. I mean, who can you say, can you just rephrase the question in a simple, in a simple one sentence in a simple one sentence for me? Can you say, say what you're getting at [00:29:30] Izolda Trakhtenberg: again here? Sure. I'm just wondering who inspired you throughout the journey? Are there any public figures or is there anybody in Texas? [00:29:37] Are there any people who made you go, ah, this is what I want. Well, [00:29:41] Evan Stern: what I can say is that if, if there is a bar that I am always working towards, you know, never, never met him personally. Um, but I am old enough to remember growing up on CVS. There was a man by the name of Charles Kuralt who would travel the [00:30:00] country and he would really just kind of share good news is, is what he was, is what he was doing. [00:30:07] And he. He, he never expressed anything in, in terms of, in, in, in showing these stories, he was able to present, you know, the best of people without really expressing anything in the way of judgment. And there are many situations throughout this process where I have asked myself, what would Charles Kuralt do? [00:30:32] Hmm. Um, and you know, I, I don't mean to, I'm not trying to compare myself to Charles Caroll. Um, in the least, you know, I have much more work to do, you know, before I feel like I can get people called him the Walt Whitman of American television. Um, but I can tell you that that is the bar that I am always working towards. [00:30:56] Um, and the greatest compliments that I have received, [00:31:00] um, you know, or when people have heard this series and said, oh, you know what, this reminds me of Charles Perrault. [00:31:08] Izolda Trakhtenberg: That's lovely. And I remember Charles Caroll also on like, uh, CBS Sunday morning or something like that. Yeah, yeah. Yeah. His stories were all, you know, when, uh, you were mentioning the idea of love and heart. [00:31:20] That's what I remember thinking about his stories was that they were always full of such quiet soul and heart. They didn't have to be huge stories, but they were, they always left me feeling better and always gave me something to think about. Well, yeah, [00:31:38] Evan Stern: go on. Go on. No, no, no, go ahead. Go ahead. Well, and I do believe that there is a great void of that when you look at our media landscape right now, and th there, there really is. [00:31:48] Um, we live in a horribly polarized, horribly divided age. Um, I, I do not believe that anything that we have lived through over the [00:32:00] last five, six years should be normalized. I will be the first to say that, um, But I do believe that, you know, the, the issues that we are wrestling with right now as a nation, uh, in the divisions that we're dealing with in terms of politics and race are completely unsustainable. [00:32:20] But at the same time, I do think that there is more that we have in common than what we've realized. And I do think that culture right now is one of those rare areas of agreement. And what this show is about celebrating is that culture, um, you know, culture provides opportunity for shared experiences and you know, that that's really kind of what I'm getting at with, with all of this. [00:32:53] Um, and, and additionally too, I mean, how can we expect for people in [00:33:00] our rural communities to appreciate what is good and beautiful about places like New York city or San Francisco, or even Austin for that matter, if we cannot appreciate what is good and beautiful about them, [00:33:22] Izolda Trakhtenberg: from what you just said, it feels like there's a sort of a, through the looking glass aspect to your show that you're inviting people to go on a journey with you to, to see these places or to listen to these, to these stories and to hear about them. When you do that, when you're in that space of inviting people on a journey, how do you decide which stories are the ones that are important to tell. [00:33:52] Evan Stern: Well, something that's important to me. Is that so often when we think about art and [00:34:00] culture, I mean, we think about palaces of civilization, like the mat, the British museum, the, the loop, but the truth is that art and culture is everywhere. And oftentimes some of the best of it comes from places that you're just not going to read about in glossy magazines. [00:34:20] You're not going to see about these places on Instagram. And it's really about exploring that, you know, Detroit gave us Motown, Clarksdale, Mississippi gave us the blues. Um, and, and for me, it's really kind of about seeking these, these places out. You know, if you read a, you know, if you read like a tourist guide book about Texas, they're going to tell you to go to the Alamo. [00:34:49] They're going to tell you to go to the river walk, do this, do that. Um, There's so much more to that. I mean, I had the [00:35:00] great honor of visiting a town called San Benito, um, which is about, you know, 15, 18 miles north of the border. Um, and you know, th this is, you know, if you look at this country, um, you know, the real Grandy valley, um, is just statistically, one of the, the poor regions, you know, there's been a lot. [00:35:21] Um, you know, uh, D population, you know, flight, whatnot, but this town of San Benito, um, was responsible for giving birth to the movement of music. Um, which is an incredible genre. Basically what happened is the, uh, the Mexican laborers down in south Texas, um, heard the music that was brought to the area by the checks, the Germans, they heard the Pocus, they heard the accordions, um, and they, they took that accordion music. [00:35:51] They took those polkas and they added their own lyrics and Spanish to them. They threw in guitar and they created this whole entire genre [00:36:00] of music. And, um, w w the story there is, is, is I knew that I wanted to. To do a piece, you know, on the border, you hear about the border a lot, um, in the news right now, but what is always lost in the noise surrounding all of that is the culture and the people who actually exist there. [00:36:19] Um, and I thought that kahuna really kind of provided a terrific, uh, opportunity just to explore kind of the beautiful th the, the beauty that exists there. And I heard that there was this museum in this town called the Texas kahuna music hall of fame. So I sent a message on Facebook. Um, I I'd heard that, uh, it was founded and owned by a man by the name of Ray Abila. [00:36:42] And a little while later, I got a call from his son, turned out, uh, that Mr. Abila, his father had died about seven months prior, but that if I wanted to go, um, visit the museum, that they would be honored to have me and I showed up. This museum, the small town in [00:37:00] Texas and the entire family was there because they wanted for me to know about their father. [00:37:07] Um, they wanted me to know about Cancun . Um, they found a, the president of a record label who specializes in this music so that he could be there with us too. And they had such pride and joy in, in sharing. And an honor that someone took the time to visit a place like, like San Benito. Um, it is an experience I will always treasure and never forget. [00:37:34] Izolda Trakhtenberg: That is so lovely. And I'm so glad that you got to tell that to, to tell that story, to show, to show, to sort of open the window, if you will, into San Benito and into this music. And I'm wondering something, this is a little off topic, but do you know who Alan Lomax was? I [00:37:54] Evan Stern: have heard the name. Um, please refresh my memory. [00:37:57] Izolda Trakhtenberg: Sure, sure. So he was an [00:38:00] ethnomusicologist and what he did with his whole career for 50 years, he traveled the world and he recorded music. And when video came along, video of mew, indigenous music, wherever he was, he tried to find the music from that place. And, uh, and there, when I worked at the national geographic site in many moons ago, he came over and he was like, Hey, I would love to put together a library that didn't happen with the geographic, but his daughter, after his death put up a website and there is a website that you can go and, uh, sort of see the music from anywhere. [00:38:35] You can hear the music from anywhere, you just type it in. And if it's there, if they got a recording of it, you'll be able to hear it. And so I'm wondering for posterity, what is your. W w w this library, if you will, that you're creating this travel log that you're creating in my mind, Alan Lomax, his version of it is providing us access to music from all [00:39:00] over the world that is, that could be lost. [00:39:03] And I'm wondering, what do you, what is your feeling about that with the stories that you're telling you mentioned earlier that these that's, their survival is not certain the different traditions and the, and even the, the, you know, the honky-tonks the places themselves, what are you going for here? What is your long-term vision for vanishing postcard? [00:39:24] Evan Stern: Well, so yes, so I'm collecting oral history and I, I think it is really important that we do have a record of it. Um, I think in some ways, uh, this is something perhaps of a bit of a call to arms. Um, you know, I, I want to say it's about shining a light on, you know, what is, what is still, what is still there. [00:39:47] Um, but we can still go to, but as I said, you know, some of this stuff might not be around for too much longer, so it's, it's really kind of about drawing attention to it so that we can preserve it. Um, you know, I look at my [00:40:00] hometown of Austin. Texas as a whole. Um, it is, it is changing at rapid pace. I don't think that change is something to be feared. [00:40:09] Um, in, in many ways I think it is something that, um, should be embraced, but we have to change and grow responsibly. Um, we have to ask, you know, why, w w what is it that people like about Austin? What is it about Texas that draws people there? Why do people keep coming? Um, and I do think that it is it's culture, and I believe that we, as a society need to do a lot more to protect the culture that surrounds us. [00:40:36] I mean, th th most of the places that I spotlight are small businesses and. You know, whenever a small business closes that, you know, has a great history behind it or fondness to it, you'll have all of these people come out of the woodwork saying, oh my goodness, this is horrible. This is the worst thing ever. [00:40:54] But my question always is, well, when was the last time you, you actually went there? Um, [00:41:00] I mean, it's really exhausting. It's a lot of hard work, um, to, to keep these places going. And if people get tired or they aren't making ends meet you, you can't blame them. Um, and this is an issue that you see happening in New York. [00:41:14] It's an issue you see happening in Texas, California, London, name it it's happening. Um, and so I do think that. You know, th th hopefully this series kind of makes people think, uh, a bit more about that. Um, and long-term, it is my hope, uh, that I can expand the map beyond Texas because, um, the, the issues that I feel are explored in this series are truly universal. [00:41:44] In fact, if you look at the analytics, um, most people tuning in and listening right now are actually listening from outside of Texas. Um, and so I think it's important to, uh, you know, I want to expand the map [00:42:00] and, um, you know, if I can do a part to draw attention to, you know, the, the, the beauty of a meal, American culture that surrounds us, um, you know, that's kind of what my goal is. [00:42:16] Izolda Trakhtenberg: And it's a great goal. And I'm so glad that you said that you eventually, cause that was going to be, my next question was, do you want to take it outside of Texas? And I mean, Texas covering Texas can be a lifetime's work cause it's such a big place with such a varied set of, of uh, peoples and cultures. [00:42:32] And yet I love the notion of, of that, what you said, finding those small businesses, finding those people, who aren't, the ones trumpeting themselves and giving them a chance to, to shine. I think that's amazing and wonderful that you're doing that. And I love the notion. And if you could. What would you go next? [00:42:53] Evan Stern: Uh, well, I, I have a dream. I would love to drive route 66 from Oklahoma to [00:43:00] California, and I would love to collect stories and oral histories along the way. Um, I think that route 66, so much of why, um, it kind of occupies this mythic status, um, is because of the timing. Um, you know, there were other highways that were built before or after there were larger ones. [00:43:19] Um, but I think, you know, if you journey route 60, I've never done it, but I, I have to think that if you drive route 66, I mean, you were following in the steps of the, the Okies who migrated to California because of the dust bowl and the great depression. Um, it was an incredible artery during world war II. [00:43:38] So there's that history as well. Um, then it kind of. You know, in encapsulates that golden age of American travel and in the late forties and fifties, then it was decommissioned. And, you know, there was a lot of abandonment that happened and kind of, what does that say? Um, you know, about the American dream, you [00:44:00] know, it was it, uh, and, and so there's a lot that I would like to explore and taking that journey, um, beyond that, I would also love to take a trip to Mississippi sometime, uh, something that fascinates me about Mississippi. [00:44:11] I think, um, the, the writer really Maura said that Mississippi is America's Ireland. Um, if you look at it, it has produced the most incredible Canon of just literary lions, um, William Fox. Um, Richard Wright, Eudora, Welty. Um, they were all Mississippians and Mississippi continues to produce an incredible writers there. [00:44:36] There's a wonderful storytelling tradition attached to Mississippi. Um, and I would love to see, uh, what, what I could get there. [00:44:47] Izolda Trakhtenberg: I love it. I think that's amazing. First of all, I'd driven along 66 and you will, you will love it. Love it, love it. And, uh, you know, Mississippi and the south in general [00:45:00] has a rich storytelling culture. I have every time I spend time in Alabama, Mississippi, Georgia, Florida, that, that part of the country there, if you, if you set a spell, you will, you will get amazing stories. [00:45:16] And often you don't, it doesn't take a lot of prompting. So I'm I'm you said earlier that, that it's just about sort of talking to people the way you would talk to them. The, I guess the question is, have you had people who just say Nope, Nope. Not doing it. And if so, what have you done if that particular story is important to you or do you just move on to the next person? [00:45:38] Oh, [00:45:38] Evan Stern: absolutely. Well, there, there is. Um, you know, so the. The third episode that you'll hear in the series. Um, I did at a honky-tonk called arche blue, silver dollar, um, in this town called Bandera, Texas. Um, it's a fantastic place. Um, again, it was pre pandemic. Um, so, you know, I showed up there unannounced and I really wanted to [00:46:00] talk to, uh, archi blue. [00:46:01] He's he's the owner, he's in his eighties. He performs there every Saturday night. Um, I thought, you know, th this guy is a legend. I've got to talk to him, got to talk to him. He wanted absolutely nothing to do with it. Wouldn't give me an inch refuse to let me record him. Um, and you know, he was cordial when I talked to him, we're talking, you know, you're one word answers, you try everything. [00:46:24] Um, but what happened is, is, uh, every, I, I talked to everyone. That I could find around him and everybody had a story about archi that they wanted to share and, um, what resulted in. And so his refusal became part of the story itself. Um, but in talking to everyone who knew and loved him and had stories to share about him, you really got a terrific, uh, portrait that wouldn't have existed. [00:46:56] Otherwise that that I think is entirely charming. [00:47:00] Um, and when that happened, I had to remind myself that one of my very, very favorite, um, essays of all time, uh, was written by, uh, gates Elise. Um, in 1965, he was given an assignment to interview Frank Sinatra for Esquire magazine and Frank Sinatra completely refused to talk to him. [00:47:23] Um, but what he ended up doing was he interviewed all the hangers on everyone in his, his entourage. And, uh, to this day, people say that it is the most realistic. Portrait of Frank Sinatra that has ever been captured. Um, and so I would recommend to anyone who finds themselves in that position to think of that story and, you know, maybe read that story, uh, because that's something that I draw tremendous inspiration from.[00:48:00] [00:48:03] Izolda Trakhtenberg: It's so interesting. I have a friend who, uh, who's a PR expert and she talks about the difference between marketing and PR Gloria, Charles, her name. And she says marketing is when you come to people and you say, Hey, I'm great. But PR is when someone else goes, you know what? That person they're great. And as long as it's someone you trust, it weighs more than if the person is trumping again themselves, you know? [00:48:31] And so there's something to what you said that kind of reminded me of that, that notion of the other people around Frank Sinatra or, or, or archi, uh, being the ones who tell their tale. And I, I guess I'm wondering within that, I've asked you about the wildest, what is the story that has touched you the most? [00:48:55] The one that made you go, ah, wow. I had no [00:49:00] idea. [00:49:02] Evan Stern: Well, for me, the, the episode that, that, that has the most personal heart for me, um, is, is the second one. What happened is I went to this dance hall. Um, I, I, I knew that I wanted to do a piece on dance halls. Um, in, in Texas, you know, everyone always talks, always writes about Greenhall or Lukin Bach. [00:49:27] You know, those are the big dance halls, but there are many, many, many more others out there. And there was one I discovered that I'd never been to called SEF Shaq hall. It's in this teeny community, um, called Seton, Texas. It's about eight miles outside of a town called temple. It's a community of about 40 people. [00:49:48] And, um, and there's this old dance hall there called SEF shuck hall. That is pretty much trapped in time. Um, by most accounts, it is now the oldest, [00:50:00] um, family run dance hall in Texas. You know, it's a family that, that owns it. This family has, has always owned and run it. And, um, I went there and I wanted to talk to its owner, Alice, who is 89 years old. [00:50:19] Um, and, uh, you know, I had actually called an advanced to ask if I could come and talk to her. She said, sure, well, I got there. And I said, well, I'm here to talk to Alice. And it turned out, you know, that morning she took a fall and they had to take her to the emergency room. Um, and you know, and it kind of, you know, you could feel the way. [00:50:41] In that situation, you know, what, what happens to this place? Um, you know, without, without Alice here. And I ended up talking to her daughter-in-law and son, um, and you know, they're, they're committed to keeping it going. Um, but you could feel like the, you [00:51:00] know, the, you know, I, I feel like that situation kind of infused the episode with, with weight. [00:51:06] Um, but beyond that, um, you know, I listened to, to what I had initially, and there was something missing. Um, I said to myself, I said, you know, I'm doing a lot of talking here. I'd like to find someone else who could do some, some talking for. Um, and there there's an association called the Texas dance hall preservation. [00:51:29] And I found the woman who was working at the time as their executive director, because I wanted to talk to her just to kind of get some more historic perspective on dance halls. You know, I was talking about the history. I think it's better if someone else can talk about the history, other than me, that actually knows more. [00:51:45] And, you know, I talked earlier about how, you know, you have those moments where someone just kind of, you know, tells a story or share something that just beautifully illuminates everything. And, um, [00:52:00] I was talking to her and I asked, I said, you know, there are so many causes out there in this world that are, that are worth devoting attention to. [00:52:09] I said, you know, why are dance halls important to you? And she said it was, it became an incredibly emotional interview that I was not expecting at all. But she said that, you know, those places have a lot of heart and that her fear was that we're getting away from that as a society. And, you know, she, you know, ends up crying. [00:52:34] She's saying, you know, these places, you know, people go there, you know, it's not just about the fun. It's, it's not just about the dancing. Um, it's about, you know, it's about cleaning the roof. It's about cleaning the toilet. And she says, I see so many people working so hard to keep these places going and, you know, and of course it is perfectly illustrated what the shoe lock family, you know, we're, we're [00:53:00] doing, you know, the, the, the daughter-in-law the son, you know, they, they work, you know, five days, they do not take days off. [00:53:07] You know, they have regular jobs that they keep Monday through Friday, and then they're there on the weekends. And, um, I think that it beautifully exemplified their story. In addition to just about every other person that I talked to in the series as a whole, [00:53:30] Izolda Trakhtenberg: that is beautiful. And I'm so grateful that you shared that, that moment of, of talking to her and also the story of. Dance halls in general or, or anything that we do because we love it. Um, you know, we, we do it because whatever it is, whatever that thing is that you do, because you love it. And particularly these places where one of the things that I think Evan, that, that you've highlighted, that I think is so [00:54:00] incredible is that you've taken, you've highlighted places that aren't going out for fame. [00:54:08] You know, these are people and places that are just living, doing their thing and living their lives day in and day out, year in and year out. And they're not going to be a celebrity. They're not trying to be world famous for example. And yet you've shown the light on them. And I think that's so it's powerful because of that, because they're living their lives and doing something hopefully that they love, like with the dance hall story. [00:54:35] And they're not looking for accolades and yet you've given them a platform. And I'm so grateful that you've [00:54:43] Evan Stern: done that. Well, I will say it's not even that. I think a lot of them as well, feel a responsibility to the people who go to these places, you know, like a dive bar, isn't just a place to grab a beer. [00:54:58] You know, a dive [00:55:00] bar represents an entire community. Um, you know, a dive bar, a dance hall. These are all places where people go to, to belong. That's that's, that's what, all of the, that's another through line that I think these places have in common, you know, whether it's a barbecue joint, a dive bar, a dance hall, people go to these places for community and for places to belong. [00:55:25] And I think that it's, it's, it's important to highlight that aspect as well. [00:55:31] Izolda Trakhtenberg: Absolutely. I agree. Yeah. Interestingly because people come and go, like you said, there are a lot of people who, who come to Texas, uh, especially Austin has, has ballooned. Uh, I guess the question that's come that's upper. Most of my mind right now is culturally the culture of places changes. [00:55:54] Right? And so, as the culture evolves, I [00:56:00] know that you're a lot of what vanishing postcards is about is, is capturing that before it goes away before it's no longer in its current form. Are there things that you've done that have been, uh, sort of in the process of changing or something is over and something new's coming to take its place? [00:56:21] And if so, what have those things been? [00:56:25] Evan Stern: Um, you mean my work or places I've been. [00:56:30] Izolda Trakhtenberg: I guess I'm not asking the question very well. I'm just wondering about culturally, your vanishing postcards project is focused on sort of the smaller, uh, heart, very heartfelt places in people in Texas now and perhaps, and perhaps hopefully someday elsewhere. [00:56:51] And as, as the culture changes in those places or for those dance halls, have you captured in any of the [00:57:00] episodes that you've done? That change taking place? Absolutely. [00:57:04] Evan Stern: Um, the, the very first place that I went to, um, was a bar called, uh, the, the dry Creek cafe. Um, it's been there for about 70 years. Um, it, when it first opened in the early 1950s, it really basically sat on the edge of the country. [00:57:22] Now, not only is it no longer country, um, it's now pretty much surrounded by mansion's. Um, it's now basically it's this ramshackle dilapidated dive that is surrounded by some of the priciest real estate in all of Texas. Um, but this bar has survived. Um, and I think it's one of the few places that you can go where you're reminded that, you know, before the tech, uh, millionaires invaded the Hills, the Hills were actually home to Cedar choppers, which was this, um, Appalachian subculture. [00:57:55] Um, and, uh, the, the very first person that I interviewed. [00:58:00] In, um, in Texas for the series was angel their bartender. Um, this was a tough day game, you know, raspy voice, you know, just changed smoker, you know, just, just fabulous, you know, just tough as nails, woman. Um, she was incredibly, um, reticent to, uh, to speak with me again, getting her to talk on the record and letting along to record her. [00:58:28] Um, just took every ounce of charm that I could possibly muster. But when she found out that I was okay with cussing, um, she opened right up. She let the F bombs fly. Um, we had a terrific time, um, and, uh, very sadly I think about, um, four months or so. Um, after I, I interviewed her, she died. Um, what was remarkable about angel is, um, as I said, the place opened in, um, I think it was 1950. [00:58:59] [00:59:00] Three. Um, she was only the third bartender to ever work there. Wow. Um, and so I'm incredibly grateful that I, you know, captured her, her voice and I have that record of her. Um, but you know, you have to ask, you know, when, when someone like that goes, you know, um, you know, what does that, how does that change a place? [00:59:22] You know, what does that do? I was actually just back in Austin last week. Um, and I went there to visit the place to, you know, just see if there was some additional footage I could get that would help bring the season two to a close, um, just to kind of see how that change had affected things. Um, and you know, so there, there are analogies, there, there are now like a few bartenders there who are like trading duties and whatnot. [00:59:48] Um, but I think what's kind of beautiful is that those who have filled in, you know, were all regulars, who, who knew and loved and cared about the bar. Um, [01:00:00] and, uh, you know, they dedicated a section of the bar to angel where they have, you know, her pictures and some things that she loved. Um, and, um, it was, it was just kind of interesting and reassuring to see, um, how, you know, yes, you know, when a beloved, you know, figured, uh, leaves, it's hard and it's challenging. [01:00:21] Um, but if the community is there. It will come. It will find a way to continue. At least for now. I'm grateful to see that, to know that the dry Creek is still there and that those who love it, um, are doing their part to, uh, to keep it going. [01:00:38] Izolda Trakhtenberg: I'm so glad to hear that story. That is wonderful. Evan. I want to thank you so much for taking the time to talk to me about this. [01:00:46] It's, it's such an important topic because it isn't one that, that we tend to focus on. So I'm really grateful that you took the time to tell me about vanishing postcards and to tell me about the culture and the people that you are, [01:01:00] uh, Capturing, if you will, for, for all of us, for all of us to enjoy. And I, and if you're listening to this, you need to go check out vanishing postcards. [01:01:08] I've listened to a few episodes and it's fabulous and amazing. Evan. If you wouldn't mind, I would love it. If you would give whatever social media. Uh, that you have so that if people want to find you, that they can. [01:01:22] Evan Stern: Absolutely. So the, um, you know, if you search, uh, vanishing postcards on Instagram, uh, you'll find it there. [01:01:29] Um, it also has a, a, a, a Facebook page, just search vanishing postcards. It should turn up. Um, you can also find me on Instagram as well. I'm at Evan stern NYC. Um, and, um, you know, I thank you so much and oh, and, but most important, most crucially, um, you know, please go find, listen to subscribe to vanishing postcards. [01:01:54] Um, since this is a podcast, uh, you know, whatever, you're listening to this on, I'm quite [01:02:00] confident that you'll find us there. We're on apple, we're on Spotify, we're on all the, uh, you know, whatever platform is out there. We're more than likely on, and I'd be most honored if you'd consider giving us a little. [01:02:12] Izolda Trakhtenberg: Awesome. And I will actually put all of that in the show notes so that if you're listening to this and you've seen the show notes, you'll be seeing the links to all of it. I just, people learn differently. So I like giving both the audio and the sort of, you can read it visual for it. Uh, Evan, again, I'm really grateful that you took the time to chat with me. [01:02:32] Me and I, I have one last question, if that's okay. Of course. It's a question I ask everybody who comes on the show and it's a silly question, but I find that it yields some profound results. Yeah. And the question is this, if you could sky write anything for the whole world to see what would you. [01:02:53] Evan Stern: What would I say for the whole world to see? [01:02:58] Oh my [01:03:00] goodness. Yeah. So I feel like I need to say something profound, like Buddha or something like that now, or Yoda. My goodness. [01:03:11] Izolda Trakhtenberg: I've had people say, eat your veggies. So it does not have to be, [01:03:16] Evan Stern: I mean, it is a cliche. Um, I've, I've heard it many times. Um, but I, I do believe that there is something to be said for the fact that if I were to write this in the sky, I would say luck is the result of preparation meeting opportunity. [01:03:34] I absolutely believe that to be true. Um, I always do my best to be, uh, you know, prepared and, uh, educate myself and, you know, and, and be ready so that, um, you know, when opportunity comes, you know, luck can, can happen. [01:03:53] Izolda Trakhtenberg: I love that. I think that's a great way to end this episode, Evan stern, you are fabulous, and I'm [01:04:00] so glad that you were here. [01:04:01] Thank you. This is the innovative mindset podcast. You have been listening to my wonderful conversation with Evan stern, who is the host of the vanishing postcards podcast, which of course, you know, you need to check out if you're liking what you're hearing, do me a favor, leave a review, let me know comment. [01:04:20] However you'd like to get in touch. I would appreciate it until next time. This is again, Izolda Trakhtenberg reminding you to listen, learn, laugh, and love a whole lot. [01:04:36] thanks so much for joining me today. I really appreciate you being here. Please subscribe to the podcast if you're new and if you like what you're hearing, please review it and rate it and let other people know. And if you'd like to be a sponsor of the show, I'd love to meet you on patrion.com/innovative mindset. [01:04:53] I also have lots of exclusive goodies to share just with the show supporters there today's episode was produced by [01:05:00] Izolda Trakhtenberg and his copyright 2021 as always, please remember, this is for educational and entertainment purposes. Only past performance does not guarantee future results, although we can always hope until next time, keep living in your innovative mindset. * I am a Brain.fm affiliate. If you purchase it through the above links and take the 20% off, I'll get a small commission. And please remember, I'll never recommend a product or service I don't absolutely love!
Mairi chats to Daniel Seton, Commissioning Editor at Pushkin Press about crime fiction in the UK and what we can learn from other cultures, particularly Japan, as well as Agatha Christie, what makes a good book, genre boundaries and books narrated by balloons. Mairi's novel, Self Help for Serial Killers: Let Your Creativity Bloom, is also part of the Capital Crime and Amazon New Voices Award, where the public can vote on their fave opening chapters of as yet unpublished authors. If you'd like to investigate and consider voting for Self Help for Serial Killers, there is more information here (you have to scroll a lot for this one). https://www.capitalcrime.org/new-voices-awards-entry/?fbclid=IwAR2F_Jqkr0zqrXCuUJyGQCpOFmSYnjurQPtcIb0g8bC3SgBi4W9BFePHucQ#:~:text=Capital%20Crime%20is%20running%20an%20exciting%20new%20competition%2C,crime%2C%20mystery%20or%20thriller%20novel%20to%20our%20system
This is my second podcast with IBDCoach. We try to make sense of all the IBD diets, supplements and medications out there which can be so confusing! We also have a detailed discussion regarding Andrew's use of Ksharsutra (Ayurvedic Seton) to treat his fistula. I am not officially endorsing or recommending this service or Ksharsutra. You must discuss using any adjunctive therapies with your gastroenterologist.Andrew Kornfeld (email@example.com) holds degrees in Neuroscience and Psychology from UC Santa Cruz and is an award-winning educator, organizer, and published author. He has Crohn's disease, and over the course of a decade and a half has developed a tailored and evidence-based protocol that allowed him to achieve robust, lasting clinical remission from his IBD. Andrew founded IBDCoach (www.ibd.coach) so others with Crohn's disease and ulcerative colitis could benefit from the strategic lessons and research he has conducted in his personal pursuit of health.Amy Loftus (firstname.lastname@example.org) holds a B.A. in Biological Anthropology and an M.A. in Education from the University of California, Berkeley. She works alongside Andrew to run the operations arm of IBDCoach. Amy combines her decade of classroom teaching experience, her work as a software engineer at a Silicon Valley health tech startup, and her years as an IBD spouse to empower IBDCoach members with the resources they need to achieve their remission goals.
The charity has launched a crowdfunding campaign to expand their supported accommodation for intellectually disabled Aussies. See omnystudio.com/listener for privacy information.
The Summer Session Interview Series continues with look back at a special game in SHU history! Former Pirates Tommy Brown, Dan Dunne and Danny Callandrillo join the show to discuss the epic OT win against the Houston Cougars on Dec 4, 1981! Follow the videos along on the LCP YouTube channel: https://youtube.com/playlist?list=PLwLXvx4gB_uYYXRtdpQ8K3henljO3kCKN
Intro: Writing personallyLet Me Run This By You: What would you say to your inner child?Interview: We talk to Ed Ryan about surviving two theatre schools, surviving 9/11, and interrupted grief.FULL TRANSCRIPT (UNEDITED):I'm Jen Bosworth from me this and I'm Gina Polizzi. We went to theater school together. We survived it, but we didn't quite understand it. 20 years later, we're digging deep talking to our guests about their experiences and trying to make sense of it all. We survived theater school and you will too. Are we famous yet? And I'm scared. Like, I think partially 1 00:00:34This is this, the main character is based on me. Like all our character. I think every writer writes about themselves. I don't care what you say, aspects of themselves. So I'm like, man, would I do this stuff? Would I, how far would I go to people please? Like that? That is what I'm wrestling with. That is what is, is, how far do we go? And how far would I go to people please? Now I don't think I'd go that far, but people do go far. 2 00:00:59People go far and feel like they're in a few state and feel like it wasn't them. That was making the choice. And, and I believe that I believe that that can happen. I also just think it's interesting in the lens of like, feeling, having felt for a long period of your life, that you weren't allowed to have certain emotions. It makes sense to me that you would be surprising yourself with where you can go in your imagination, but that would also lead to, you know, surprisingly like our, we had a conversation one time on here where I said, I don't feel like I've ever seen you angry. So, and you, you said you do get angry, but I just wonder if maybe there's just a lot of unexpressed anger and this is a great way to get it out. 1 00:01:42Totally. And I, and I think you're right. I think you're right on. And so, and I also think, and I wonder how, you know, how you feel about the idea that writing, right? Somebody, I wonder if people write and I don't know how you write, but if people read, I mean, I know a little how you write, but if peop, if people can ever write fully devoid from their own person, you know, like, like where they don't put themselves in their characters or their, if they're writing, I guess maybe if you're writing non-fiction I don't know. But when you write, do you agree that like each part of you and every, oh yeah, 100%. 2 00:02:24And I, I, in reading the Stephen King book about writing, you know, he, he realized like years after the fact about the way that he was writing himself in his stories, like, I guess famously and in misery, he is when he was at the height of drug addiction. And he, at the time he did not feel that he was writing the story about himself, but that's what it ended up being. Yeah. I mean, in part, just because like, how else would you do it? I mean, you only have your own as close as you can be to anybody else. What you really stuck with 24 7 is the ruminations in your own mind, the reactions to things, your worldview, your worldview is, is so people can recognize a lot of things about their worldview, but then there's all kinds of things about their own perspective that they would never think unless they had occasion to see it, contrast it with something else and say, oh, wow, I think about that really differently. 2 00:03:21So anyway, I think it's cool. I think it's great that you're going there and I'm excited to see where it goes. 1 00:03:32Let me run this by you. I started seeing, so I had a therapist that was this Orthodox Jewish man that I stopped seeing. It was just it. I always what I, you know, and it's so blatant at the time after, but during, during, I never see, like, I'm looking for like a father figure. And, and he started to say things that were, and it's all I'm on the phone, you know, but like he has six kids and he wanted to, he started saying things like, do you think that this is because you never had kids kind of like why my emotions? 2 00:04:13And I said, you know, 1 00:04:15I don't know it could be, but I, and you know, it was it's interesting. So I just had to say, you know what, I'm so-and-so, I think that I'm going to take a pause on this. I just don't feel that were, I was proud of myself. I said, I just don't feel like it's a good match right now for me, a good fit. I couldn't just say it's so funny. I have to qualify it. Like, I couldn't just say this isn't a good fit. I was like, not a fit right now for trying to soften that. Just ridiculous stuff, but that's how I did it. And yeah. And so I, I was like, okay, well, do I want to get another therapist? Or do I want to, so I do see like a coach, like, what do I want to do? 1 00:04:55So I started seeing, I had a first session with a coach outside in a park. Who's a, she coaches, she does a lot of career coaching, but I just, like, I've known her for a while. And I liked her and we got to some interesting stuff like, you know, and you've said some stuff about like inner child stuff. Like I never really felt like I could connect with the idea of making peace or taking care of my inner child. And I couldn't understand why. And I think I got to the point where the reason I I'm afraid to things that my inner child will hurt me or that I will hurt it. 2 00:05:35Her. Yeah. 1 00:05:37So, so I thought I'd tell you about that. 2 00:05:41Hurt you. Any idea what you mean by that? Like 1 00:05:44Sabotage, like my inner child is so angry at the way that my parents, and then I have been treating her that she will fuck things up. Hm. 2 00:05:54Yeah. By misbehaving. Yes. 1 00:05:57Misbehaving sabotaging. So there's not a trust there. There's not a trust. And I wouldn't have ever, whenever I, in the various forms of therapy and schooling that I've done in this area, I always felt really, it's not even that I bristled with when we did inner child work. It's like, I thought, well, I don't even know this is weird. I don't even know what this is. 2 00:06:23Yeah. I totally, I can totally relate. And I think I have had the same exact opinion, this very cynical sort of point of view. It all seems so I would just want to roll my eyes talking about inner child, but I think it's like that thing that I was telling you about when I did that thing on clubhouse and everybody was playing and I was just afraid of it. I think it's just that I think you learn to hide the parts of yourself that get you in trouble in the world for whatever reason. And then if there are parts of yourself that you first identify when you were very young, they're locked away. Good. They're locked away. Real good. And there's a real, I mean, just intense fear about going there. 2 00:07:07And I guess like the best signal that I have about that is that every time I start to think about it or talking about it, I start to cry, which, okay, well, there's obviously a lot there. I, I don't believe, see my thing about it is like for a long time I did therapy. I did. I've I'll total in total. I've probably done therapy. I'm going to say for like 10 years between different therapists. I, it's not that I think I'm done. It's not, you know, it's not that I don't want to be in therapy. I, there are reasons that I'm not in it right now, but I just very quickly be talking about my childhood became like, okay, but I talked about it and now I'm just complaining. 2 00:07:56Or, you know, now this is just, when are you going to get over? And that's the voice of like everybody in my family, like get over it. Everybody's everybody hurts. Like not even, not, not even everybody hurts, just like, get over it. You're your grownup. There's no time for that anymore. And I, that is the voice that I cannot quiet in my own head. So, whereas at one point in my life, I thought I had done all that. Cause I did 10 years of therapy. Now I realized I just never even approached it. I stuck with things that were more happening in my life now. Or like I would spend a lot of time like crying about my dad or whatever, but it wasn't like it's, you know, that was about him. 2 00:08:37It was about me talking about him. It wasn't really about me talking about me because I think when I started talking about myself, that's when all the walls and defenses went up and I was like, you know, and I, and I couldn't do it. And Aaron has said to me, a number of times, like you've never really dealt with this stuff and I, and I've just been so incredulous, like, of course I have, I've done, I've dealt with it a ton, but I really haven't. I haven't, I've done like layers of it, but I haven't, I haven't done all the layers. 1 00:09:06Yeah. And I, I could totally hear that and I can totally relate to not feeling, to feeling like I haven't really touched on it. And the reason I know that I haven't gotten to the core of sort of any inner child work is that yesterday when I was, when she had me doing an exercise outside in the park, like just trying to approach my inner child, the only way I could make contact with her was across a field with loud noise in the background with me yelling and her yelling back. So like not screaming at each other, but like there was, had to be a barrier. Like I couldn't the intimacy of approaching her straight on was too much. 1 00:09:46So I was like, Hey, I'm over here. And she said, hi, I'm over there. And she was like, really suspicious of me and stuff. But I knew like, oh, I'm really having, I have a lot of trepidation about approaching this part of myself. And so I have to have a separation, like a barrier. It has to be, it has to be moderated. It can't be like, I can't just walk up to her. There's no way in hell. There's no way. 2 00:10:13What's it. Like when you look at pictures of yourself, when you were really young, what did you think? 1 00:10:17I feel like I don't even know who that person is. Yeah. 2 00:10:21I have the same exact, whereas I know this just could be the difference between thinking about yourself and thinking about another person. When I look at even very, very young, young baby pictures of my kids, I think, oh yeah, their personality was there. You know, from the beginning, this is who they still are. And sometimes I'll share, I'll show them something and they'll say, you know, it seems like they kind of recognize. Yeah, that's me. Whereas I look at that person and I think, I mean, I've seen this picture before, but I, I have what, who is that per yeah, I've just have no idea. I think I, what I basically did, starting in theater school is just form a whole new set to start over. 2 00:11:05I just formed a whole new identity. I was just like, not to the point that some people get like my sister where they tell everybody that our parents are dead. But to the point of just, yeah, I'm this person now. And you know, and I'm, and I'm done with that other person, whoever she was, I hated her no matter what. And of course the realization realization I have recently is no, but I still hate myself. So I really haven't a changed divorce. And I, and there's a, you can't walk away from who you are, you have, you have to. 1 00:11:37Right. And, and, and I, I, my coach, Deanna, was like I said, I don't know who that person is. And she said, she's you, you just haven't integrated her yet. Like there it's you. And I was like, whole, I saw it as a separate sort of. So it's interesting. And she said, trauma, you know, we talked about neuroplasticity of the brain and trauma and, and how it's rewiring. Like, so, and she's like, I don't really believe in, well, I don't know if she said this, but I got, kind of got the feeling. She was like, she didn't really believe in mantras and all that, but she said, what happens? What do you start telling yourself when you are scared? 1 00:12:19Or when you have an audition, that's scary. I say, I'm going to screw this up. That's my mantra. I'm going to somehow screw this up. I'm going to, she's like, all right, we have to cut that off immediately. She's like, I don't care what you say, but you can't say that to yourself anymore. So I was like, okay, what can I believe? Like, what can I get stand behind? Because I'm not going to say, oh, I'm the greatest actor and everything. No, no, no. I don't believe that. I don't believe that at all. But what I do believe it, I do have evidence to show in my heart and in my bones that things have that everything is happening at the time it's supposed to be happening. I do believe that I do. I can stand behind that. I can't say it's good. I can't say it's awesome, but I can say, so she said, all right, we're just going to go with that. So now, like, you know, I think, oh, what if I get a call back for this role I really want, and I know I'm going to fuck it up. 1 00:13:04And I said, Nope, it's going to happen. If, if I do fuck it up, it's going to be, because it was the time to fuck it up. Like I have to believe in the timing of things, because I can't really believe in the goodness of things, is that, you know, 2 00:13:17Right. And sort of similar to that is how I'm always just thinking in my mind that I'm just starting over at that. I'm always just putting the other the past behind me. It's, that's not you that you can't really do that. And, and it's all, it's every failure in every experience you go through every part and every iteration of yourself is a part of whatever it is now. It's not. So what's what this is making me think about is when I was in private practice, I became sort of known for treating really severe trauma cases. And so almost all of them had did. 2 00:13:58And the technique for integration when a person has multiple selves and just for people who are listening, it's not like civil, civil, and bark, like a dog, whatever. It's really a lot more subtle than that. Now in severe cases, people have these few states where they go and they're just doing something else. I mean, I had, I had clients who would get themselves. They would go into a few state and then do terrible things that really dangerous, dangerous, terrible thing. But the technique is you have them all sit around a conference table. 2 00:14:38You have, what's amazing to me is if, if you're talking to a person who suffers with us and they've never heard this technique before, they never go conference table, they go, okay. Yeah. They're, I mean, they're just immediately, oh, that's a good idea. They can all come together because of they're in their experience. They feel or see. And they all have very often, they all have different names and different ages and they have different things and they fight with each other about what they're doing. So I say, let's just do the conference table thing. Let's have everybody meet together and we can work on the agenda. But like the underwriting overriding thing has to be we, whatever we do, we want to do it United. 2 00:15:20And what it gets tricky is when you're, you're not doing it United and everybody's, and that's the sabotage thing. That's what you get a lot of it. The sabotage thing is like this one is, and it's all because it was all a coping strategy for not being able to, you know, the parts of yourself that were rejected by whomever get shunned. They don't go away. They just get shunted off into another part of you. And it's funny because I really see a lot of my dysfunction feels splintered like that. Like I can say, I can click into a mode. That's happy, happy, and positive. And, but then if I'm not feeling happy and positive, then it's like, I'm not that person anymore. 2 00:16:03I'm just this other sad, depressed person. Or sometimes I'm, you know, we all have it to some degree and I feel it a little too. It doesn't feel like different parts of me that have different names, but it still feels like it needs a lot more integrating. 1 00:16:18Yes, I totally agree with that. And the other thing I worry about, and I think, and I, I don't know if you've ever worried. I worry that might the, that part of myself, the small, vulnerable, whatever, I would say five or six year old part of myself is going to disclose some, even more deep trauma happened. 2 00:16:38Okay. There you go. That's probably exactly right. 1 00:16:41And I don't want to, and I am like, I don't know if I can handle that. Like I, so she is the keeper of secrets of when I was young and who knows what the hell really went on. Like I could have been worse than I thought is the, is the, is the, is the overarching fear 2 00:16:59I can see why you would be afraid then. Yeah. Yeah. I wonder if I wonder if part of your way it is going to be instead of, or like in addition to fearing that is like, yeah, that's scary, but she needs help. She needs, yeah. 1 00:17:14Yeah. That's what, that's what Deanna said too. It was like, yeah. She needs to be seen and heard. Yeah. And that's your way to freedom. And I was like, what? Because whenever someone says the way to freedom, like that interests me because freedom from such self doubt, freedom from such self-loathing or fear, you know, self like freedom from that seems amazing. So if someone tells me, you want to get free from this, you know, as long as they're not telling me some wackadoo stuff, but you, you want freedom from this thing, then it's going to take a certain amount of work. I'm like that, that I'm curious if I will do that word, which is just to say 2 00:17:58To our listeners, that the experience of doing this podcast has people are always reporting to us. Oh, I've reconnected with people. I'm, I'm healing things and remembering things, but that's true for us too. And I have reconnected with people that I haven't spoken to in a number of years. And it's so gratifying. I mean, that, that's actually another piece of this disintegration thing is like the person I was when I was in theater school and the friends I had. And I just basically with the exception of you just moved on from that and never looked back and you know, these are people that I love that I loved then, and that, you know, as I'm reconnecting with them, I'm like, oh yeah, you're amazing. 2 00:18:48And I'm just so grateful that we're having the opportunity to do this. I, this is what college reunions are meant to do, but they don't because it's kinda like one, you know, it's just, it's all because you just get through one layer of like, well, what do you look like? And what are you doing? As, you know, as an and, and I guess social media has changed that for people, like they get a better sense, but, but that's even, that is not the same as actually talking to somebody who you haven't talked to. And then now I'm like texting with people and it's fun. It's and then the other thing, which I've mentioned to you at least once before, but I'm still thinking about a lot is the people who I don't remember, but who remember me to me, that means I have just been so self absorbed that w that to, to a great degree. 2 00:19:43When I think back about that time, I, I almost can only think about myself and how I felt about things and whether I was getting treated well, or, you know, instead of like the fact, I mean, I guess that's human, but I just feel like if there's somebody who remembers me, then there's a re then the reason that I don't remember them is not anything other than I was just paying only attention to myself. And I, and I have compassion for myself about it because I, you know, it was just doing the best I could, but I'm interested in going back and healing those riffs too, because I, I think that something happens that has happened to me over time is like, I was never the most popular or the least popular. 2 00:20:37I was always in the middle, which meant that I ended up looking down on the people who were less popular than me and, and looking up to and resenting the people. So it was, I was just seeing everything in terms of like status status. Yeah. That's what it is. I have been entirely status obsessed in a way that is a complete surprise to me. I had no idea that I was status obsessed and it makes sense because that's how my parents are. That's how everybody, I mean, that's how a lot of people are. Why would I be unique? Why would I be exempt from 1 00:21:10Them? Well, that's the thing. I mean, I think that we, that I get get, so I get so trapped in thinking I'm uniquely where I'm at, and that is garbage. I am a unique human because everyone is to a certain extent. And then we're all the freaking same. We're all worried about what we look like, what we sound like, who, what, what other people think of? What other people think of us and how we're coming off. And, you know, that's part of being human, but I think you're right. I think for me as well, when people remember things, I don't remember, people were like, yeah, we were friends and I'm thinking we were friends. And that is because I was too busy probably thinking about myself and what else I could do, or why it's, it's what they say in 12 step programs, really about self centered fear. 1 00:21:55It's like, I'm so self-centered, and, and 2 00:21:59She'll warm. I'm I'm shit, but I'm, but I'm 1 00:22:03Yeah, shit. Or I'm the special warm and a, not a worker among workers, you know, like it's, it's, it's an interesting thing. And we come by and see the thing that's really also interesting to me is that we come by it, honestly, that is the part that I have to remember. It's that the people come by the shit, honestly, including me, I'm not so special that I don't come by it, honestly, it's not right. You know? 2 00:22:26Yeah. I mean, right. Yeah. I think it is. It's completely amazing. I'm completely great. I, I'm an apropos of our conversation that we had a while ago about like constantly evaluating our progress. Like when I can get away from doing that, I'm just full of gratitude for, for, for what we're, what we've already done. Even if we never did it again after this, what we've already done has been so personally helpful. Yeah, 1 00:22:54Me too. And I do see it as a way also as, as we move forward as artists, as a way of building allyship with people that I once looked at as not nemesis, maybe, but like as adversaries or doing better than me or doing worse than me, or now it's, it just seems more they're equal. Like I feel more equal with people and I think that's a better way to go, because the other way is like, 2 00:23:20It's also just the truer way to go. Like, it's just a lie. We tell ourselves when we think we're so sped. It's like, okay. But I mean, among other things, it's simply a false, 1 00:23:31Which is why, like, things like the like organized, like army and stuff works because you all get put in basic training and no one is better than the, there were, you're all lower, lowest on totem pole. And I think that builds some kind of comradery. And yeah. So anyway, I just, I just, I don't know why I was thinking about that, but I liked that idea. 2 00:23:55I, I started to watch some of the showcase this year is DePaul theater school shows. I was just curious if you had seen any of them. I 1 00:24:07Have seen it. And you know, it's interesting. I, the, the way that they filmed it, for the most part, it's the same camera shots, right. Of each I'm like, okay, okay. I think that we could have been a little more original with that, but I think they were trying to be equal to everybody and not quote you. And, and also 2 00:24:30It's not a film school. I mean that, you know, I, I, for that reason, I give it a lot of credit because it's like, oh, wow. I wonder if somebody had been tasked doing that in our year. I'm, I'm not certain we would have gotten anywhere. It would've been 1 00:24:44In video camera shaking and like, yeah, yeah, 2 00:24:47Yeah. So it's cool. I'm happy for them that they have this. I mean, I'm happy for them that they have this access. It's probably has the same effect that it did when we did the in-person thing, which is like, not a lot, unless they're going to move to LA. But what I felt was interesting is looking at the acting and just remembering, like, talk about not being special. We all did bad acting in the same way, you know, which is to say not connected, not real, very, very self-monitoring of like, how is this coming across? You can see people thinking that, how is this coming across? Versus there was a few people who was like, oh no, they're in it. 2 00:25:29They're totally there. They're there. It's just ed. And I say, this was so much compassion because I think probably the entire time I was just looking, I was just observing myself. I'm sure I did a terrible job. Yeah. And 1 00:25:41I can see it too. And I, you, it sticks out when someone's really in it. And it is so hot. And we said this, and I, I think we've talked about this on the podcast. It's so hard to get there. It's hard to get, to stop the self-monitoring to be in the moment and just tell the story or be in the it's so hard. So what it happens and you see it, you're like, oh, that's gold, that's gold. And it's not to say that, you know, we all get there at different times and we have different moments of it, but yeah. 2 00:26:09Yeah. What's hard to account for, I mean, you know, to a certain degree, there is only so much teaching that somebody can do of actors, because what you really need also is just these life experiences that either do, or don't lead you in the direction of really understanding yourself. And if you're a person who is not interested in understanding yourself, you're probably pretty limited as an actor or, or like, or maybe even very successful, but just that one, you know? Yeah. Right, 1 00:26:39Right. You might, you might make a million dollars, but as we talked about it, that not equal being in the moment and being it truly like for me in an experience, just because you made a million dollars doing it does not. I, I is a recent, recent, recent discovery that worth and money are not necessarily the same. Oh my God. Oh my God. 2 00:27:04Me too, girl. Me too. I'm just like, yeah, because actually there are other, I've heard the phrase. It's not always about money, but I really have never lived it. I have always been like, no, no, no. It's always 0 00:27:26Today on the podcast, we're talking with Edward Ryan, Edward is someone who went to the theater school at DePaul university and then left and then went on to have many adventures and different incarnations as an artist and is still on that adventure. And he's thoughtful and kind. So please enjoy our conversation with Edward Ryan. 3 00:27:47I was, I was a year below you guys. Okay. Okay. Okay. Edward, 2 00:27:52Ryan, congratulations. You survived theater school. I did twice. Twice. Yeah, because you just went back a few years ago to get your degree. So tell us about 4 00:28:03That. That was a very different, yeah. So you know what I did do some local theater, like a while ago I met a costumer and his name was Frank and he wound up teaching at a really small private school in Springfield, Massachusetts. And he's basically started a theater program there that's called American international college. And he said to me one day, like, how come you never finished your degree? He was like, give me your transcripts. And I, I, I got my transcripts. And he was like, you could be done in like a year and a half or two years and have a decree. 4 00:28:47Well, I didn't know I was going to be so, you know, affected by, was it, it's a school that serves a lot of sort of underserved communities. So there's a lot of first-generation Americans, a lot of first-generation college students. And in contrast to a place like DePaul, although we complained about the building on north Kenmore, the facility, there's nothing. I mean, they have nothing, these kids and, but their like passion and their drive is really what you know is so inspirational, you know? And they're like, we can make theater out of anything, you know, out of nothing. And it was kind of a strange situation because Frank and I were very good friends, you know? So all of a sudden he was like my professor and I mostly had to do academic classes to graduate there. 4 00:29:33You know, they took all my credits and I re I did a history of theater. I was like for like the third time, like all of, you know, this time I wasn't able to cheat. As I remember 2 00:29:46Cheating, I did cheat, oh 4 00:29:48My God. Anaconda make us, had every test that doc, whatever his name was, Jack O'Malley gave us. Oh, hilarious. And I've always been really studious, but like second year I was like, oh yeah. You know, give them up. 2 00:30:05That's funny because I don't actually remember the cheating thing, but when Dave was on, he, he referenced that, I guess it was widespread. I mean, you know, in a way, I'm sure they were like, oh, these kids they're so dumb. Just something easy. 4 00:30:20Get the same test every year, year after year after year. And luckily I lived, I lived with second years. So it was like, and you know, and she had them all, like, she was a stage manager, dramaturgy, Jenna, all a file. I just had to go in every week and pull it out. Yeah. 2 00:30:35I mean, are you the, one of the people who just got a brochure from DePaul and that's how you went 4 00:30:40With, yeah. With this gesture on the front, I never went to visit the school. I auditioned in New York and it was, you know, I had applied to NYU and I had an audition set up, but their auditions for summer, I didn't audition at the same time. And it was like really late. And I applied to Providence college. That was, if I wanted to like go the more academic route, dammit. And I remember going for my audition and I, I like heard really quickly that I got into DePaul and I just decided I never even went on my audition for NYU. 4 00:31:21I, I thought that the city would probably be a little too, you know, I was, I lived near the city. So it was like always my grandfather lived in the city and I thought that's going to be too much of a distraction, you know? And I really wanted to, you know, get an education. So I went to Chicago and I flew out and my parents drove all my stuff out. 2 00:31:42What, like, what did you make of it? Day one. What was, where was your head at with it? 4 00:31:47I was like, Chicago is so clean compared to New York. Yeah, it really is. I lived in Seton hall and I lived on the fourth floor in the corner room that was like ginormous with Cedric was Cedric steins was my roommate. And we had this other third roommate that we never liked. And then he got kicked out of the dorms, like halfway through the year. So we had this great big room and it was right above. I felt like the blues brothers, cause he looked at our window and they're like the El tracks by, but it was really close to taco burrito palace. Oh 2 00:32:24My God. I forgot all about TVP. Okay. Well they have many, you know, there's like 1, 2, 3, 4, 5, 6. I think that one is actually still there. 4 00:32:39That place like on a Friday or Saturday night was like, you couldn't get near it. And Rose's Tavern is like hole that the Mesopotamian woman who was like, let anybody drink. Okay. If you could walk, you choose giving 2 00:32:53Toddlers shots of you guys 4 00:32:56You'd be surprised. And there was some sort of characters in that joint. I mean, I remember like winding up at some apartment and being like, I shouldn't be here. What am I doing? 2 00:33:10So, but you left, you left after your second year. Okay. And it was rough. You said you had a rough, 4 00:33:16It was, I was, I was planning on living there. So I was living there for the summer. I was living with Cedric again and then Noel wrath. Yeah. And we were living like sort of west of everything, like up Armitage. It was like desolate. It was like this really weird apartment where I had the closet as my room. And I just remember like taking out the garbage, had to go out the back doors to this garage. And there was like this Harley biker who was always hanging out in there. I don't know if I was just like, this is where children get molested. I can't, you know, it was odd and Cedric left and he went to Africa, there was a trip to like Africa. 4 00:33:56And I remember Susan Lee was on that trip because he was like, he called us and he was like, oh, I met Susan Lee and wait, 2 00:34:07Susan Lee was just randomly in Africa with this girl. Don't you remember? That's when she came back and said to Erica, oh, I've got to teach you African dance. Okay. 4 00:34:18But, you know, I really, I really want, I was like, you know, I was kind of shocked about it and you know, I think it was a lot for me to go there. You know, I'm the youngest of five. And then my mother had remarried and I have four step kids. So my parents had like nine kids under the age of like 30. And you know, financially that no matter how much money you make, I think it's, it's a burden. And I was really committed to like the theater school. And I didn't have a warning that was sort of, you know, productive. I remember going to Rick Murphy's office and not having any morning, my first year of going in and sitting down him being like, you're fine. 4 00:34:59Get out of here. You know? And then my second year he was like, what the fuck is going on with you? You know? And he's like, what's up a tree Kessler. And I was like, I don't know if she hates me. And he was like, get your shit together or something like that, you know? But there was no like sort of actionable steps. And then when I left and asked back, I was like, wow. And you were talking about mushrooms. So for the first time I ate flushes and I wandered around Chicago and I found all these incredible places. I was like, oh my God, like a Paul said and all that. I was like input. And like I realized, I was like, in my own backyard, I thought I was lost. But I, you know, I have like some journal entries about Sundays are the best day in the world. 4 00:35:40Everybody does what they want. Even God rested on Sunday. And it was so much fun. Yeah. All by myself, just wandering around the city. But you know, people were like, oh right. Speaking of that, I remember I was dying during Eric Slater's interview because we got a phone call at like 6:00 AM, one day at apartment two downstairs. And it was Eric and he was, he had been arrested. And it must've been when you guys were doing Andrew CLIs and the lion, because he was like walking home. It was really late. He was walking home from our house, I guess. And the cops stopped him and arrested him. 4 00:36:21And we were like, he had to be like at the Merle reskin theater for this purport, like that morning. And I think we wound up calling John Bridges and it turns out they had just taken and he looked like a shady character. 3 00:36:38I don't know. But I wanted to ask 2 00:36:43Total digression, but I always thought in lineups, they got other criminal, like people that they know, they know and they can just random. Yeah. They get rent. I don't know about now. But you used to do this random ass people for lineups. Yeah. But the way you get them there is by arresting them. Well, I think you can, apparently in Chicago, 4 00:37:05I think he was drunk. He was probably stumbling. Maybe he was like, had a few beers and they were just like, oh yeah, public drunkenness let's go. But that was like one of the funniest. And it was like the day that my mother called me late, it was like crisis. You know, we went into crisis mode and it was like, she got out her clipboard and like gave us all the assignments. And then my mother called me that morning and she was like, is everything all right? And I always thought, I was like, you know, my mom just says that like intuition, you know? And I was like, everything's fine. You know? Like, and I remember saying to her, I'm like, I think your psychic should always, so you're, you're saying, so 2 00:37:47You didn't, it was, there was no, I mean, there was a warning without any information in it or 4 00:37:55Yeah, there wasn't really anything specific, you know? And like I had truly Kessler my second year for voice and speech. And I had had Ruth's Rupert who you, she was there for a really short period of time. And then she left, she came back and she was like, oh, I got a contract. I'll be here next year. And then she came back like the next week and was like, I'm leaving. And she got a job at Yale and she went off to teach at Yale and she taught Christian Linklaters work. And then Trudy, our second year. And I was sort of excited to, I guess, first she taught LSAC and other things and was doing Linklater again. 4 00:38:37So it was sort of like the same class again in a row. And I think Ruth was a really great Linklater teacher. And I don't know if I don't know Trudy and I just had something. I still tell, I, I S I'm still in contact with Ruth. She's my Alexander technique teacher now. And there was a 13 year gap in our relationship, but she'll always say like, oh, I'm going to this conference, Judy. I said, hi. You know, cause when I got my letter, it said that I had three absences from voice and speech. 4 00:39:18And to this day I say, no, I didn't, I would have never done that. Like I was pretty committed. She, I had a full freedom, so I was born like tongue tie and she was like, I want you to go. I never had any speech issues, but she's like, I want you to go see this doctor. So I went to see this Dr. Bastion. And he was an ear nose and throat guy that worked with actors in Chicago. And he was like, oh my God, let me clip it. And he's like, I've never gotten to do it. And I was like, so it's a little thing underneath your tongue. So it's, it actually tells your tongue behind your bottom teeth. Like everybody's develops that way when you're pouring it recedes. 4 00:40:00If you're not, they usually just clip it when you were born, but they never discovered mine. And so I wound up letting this doctor like do it. And then I had rehearsal for like my intro with Trudy. And I just remember meeting her in her office and her being like sticking her thumb in my mouth and being like, oh yeah, you have a significant overbite. Like, and just saying like, you know, you don't have a speech issue, but maybe if you got your tongue released, it would change your speech. You know, it's, I would love to see what it does. You know, I just felt like I was pretty committed to it. And David was my acting teacher second year. 4 00:40:40And in David's class it was like, I could do no wrong. You know what I mean? I remember like almost hating it, like him being like some like, okay, you know, you critique each other's like scenes or improv or whatever you were doing. And he would say, so who saw what ed was doing? And somebody was critiquing it. And they were like, what are you? He was like, you know, what are you talking about? Like, he was like, he was fine. Like, he was like, my opinion is the only one that matters. So, you know, and just being like, okay, so now they hate, 3 00:41:14I have to say I'm shocked that, you 2 00:41:16Know, usually the story is that the second year acting teacher hates your guts and then you get cut. Like, that was my experience. Cause I was cut and then asked back crazy, crazy. But, but it's interesting that David, that thought you could do no wrong in your, as your acting teacher? 4 00:41:39Well, it was really weird because I had David and first quarter I was in David's intro and he gave me a better grade in my intro. Then he did an acting class and I remember him saying to me, do you know why I did that? And me being like, yeah, like, and really having no clue. But I remember, I remember getting into a fight with him in that rehearsal for that intro and him saying something to being able to like, okay, well what, what, what do you want? And he was like, I don't know what, you know, just, you better try something else. Cause that's not working. Like he yelled at me and everybody was like, oh, and David and I used to take these, walks around the block at the theater school and have these little chats. And he was like, you know, he, he, he gave me every indication that he thought I was talented. 4 00:42:22And then I remember my second year of him saying to me, do you really want to be here for another two years? And I was like, well, yeah, you know, I really want a degree. And he was like, what are you going to get out of us Shakespeare classes? And I remember, and I was like, oh. And then I remember telling him about my issues with Trudy and him being like, you know, Trudy he's like, I'm the head of the voice and speech, which I didn't even didn't really even know at the time, you know, it was odd to me that he was, and, and then, but then he gave me, but then he gave me a bad grade, like enacting class. And so it was sort of like this. I was like, what the fuck? 4 00:43:02Like what, you know? And I just, you know, and then in my intros I was always like a middle-aged alcoholic. Like every single one, you know, or that I was like the alcoholic vicar in that horrible, a farce that thought it'll coat did where my, like I walked in the room in my pants, you know? And Corpus, yeah. It was like, first of all, farce is tough. You know, it's a tough, and for some reason they thought, you know, I heard this a lot about our class. Like, oh, these guys could do it. Like they could graph it. Well, guess what we couldn't and it fucking sucked. It was just like Riddick. 4 00:43:43I was like, Betty Hill, is that what I'm doing? Like, it was just like, it, it, 2 00:43:50It, it's hard to be funny care, but like the experience it makes you funny 4 00:43:59Is that I remember seeing David's like intro second quarter. It was like bomb and Gilliad. And I was like, why don't I get to play one of these like transvestite hookers? Like I can do that. And then it just wasn't, it, it was like the autumn garden, my last one. And again, it was like, I mean, Eric Yancey, I drink so much peach tea my second year of, cause the dining room was my first one. And it was like all of these like waspy, you know, I played like one little boy, that's the scene. We, we, we sorta had a yelling match about, but it was so I don't know. I mean, I was, I was, I remember Noel being like I got in and you didn't. 4 00:44:43I was just like, I didn't really, the thing was, I thought they stopped going to New York for the, I didn't ever have a desire to be on television or in the movies I wanted to be in the theater. And I went to the theater school and I sort of saw that transitioning transition happening. It was kind of like, I have no desire to live in LA. I just think it's like the new years and fake foods. Like, that's all I could think of when I'm thinking of LA. Like it was a desert, everything there is artificial. Like every, every blade of grass is like planted. I don't know. And I thought I was okay with it for a while. Cause when I moved home and my stepfather died kind of suddenly like that summer and you know, it was one of those things like, okay, everything happens for a reason, you know, it's really hard. 4 00:45:34Yeah. My mom, my father had passed away, but he was sick for a really long time. And so I think she was like prepared for that and she wasn't really prepared for my stepfather dying. And so I was okay with it for a long time, but I really, till recently we realized like, I think it really, you know, I remember somebody calling me and asking me to do it a play and not wanting to do it because I had to a lot of musical theater. And I was like, when I did the first play, I was like, wow, musical series is so hard. I'm like, why am I doing this? Like, you know, I sang a lot, but I was like, I hate singing. 4 00:46:14You know, I really don't even like it. And I just, so I, you know, I never saw myself as any Shakespeare characters. Like I was like, you know, I had to read every male part in high school and English class. I read every like male part while the teacher read every female part. And I was like, I hate Shakespeare. Maybe this isn't the place for me. What was disappointing about it is that I wanted it to agree, you know? And I was a good student and I think that my circumstance, this is just sort of allowed me to sort of flounder a bit and not really have a, a footing, not really have any direction, you know? 4 00:47:01So I had some great mentors and I did do some more things and, but very little. And then I moved to New York and it was really not about that. You know, it was about just see what else was out there. I just excited. I was like, okay, I'm moving to New York. And I had worked for J crew for a couple of years and I had left and I called them up. It was like a move to the city. I needed a job and they gave me a job and I started going out in the city. Somebody took me to a nightclub and it was like the first time ever. I was like, you know, we would go see, I, I saw the last grateful dead show in Chicago. 4 00:47:45Like we went to fish, meaner Bana when we were out there. And when I went into this like sort of world of these nightclubs and sort of saw all of these like characters that were present, I sort of became one. You know, I was, it was like my job to go out and, and have fun in sort of a clown. And it was, it was an interesting time in my life. I like to call it the turn of the last century, but it was like from, so I guess I, I moved to the city from like 98 till 2000, or I guess it was 99 till 2003 is when I moved here. 4 00:48:37So I was there for about four years, you know, I worked at the world trade center that was, you know, and I think that compounded things. And I think it sort of made me realize that I was having a lot of fun in New York. You know, I had this, I had great roommates. We had a great loft in Brooklyn, these crazy parties that were like before Brooklyn was cool. I say like, we've priced ourselves out of it. You know, we made it cool. And then, but it was nothing I could sustain or really even monetize. 4 00:49:20You know, there was always like the job that I had to maintain to with, I really had no desire to do theater and I didn't for about another 10 years till I moved here. And, and I was okay with that, you know, I was sort of working in retail and I realized, you know, later that the whole going out and becoming this like character, which I didn't really think I was doing at the time, but I really was, you know, doing things that I'd never done before, or, you know, even these parties were like insane. 4 00:50:02We would like wear like Russian military uniforms and have 200 people in a Japanese go-go band at our house and fill up, we would like fill up kiddie pools with water. We had a great space. And so we did, and I lived with a caricature artist and all these kids from Vassar and it was just, you know, we'd get like a sitar player and, and have like an opium den. And I just 2 00:50:40Have a question I have to go back to, what was your character like? What was your, your nightclub character? Sure. 4 00:50:48So I always joke that I looked like, like huckleberry Finn, you know, I was working for J crew, but I was, I was just myself, you know, I, I would, I had my baseball cap and I had this baseball cap that said ack, which is actually the three letter code for new work airport. And I'm sorry for Nantucket airport. My initials are the Newark airport and people. And so ack people. And I would like, have my pants rolled up different, you know, I worked for J crew. So I was like a walking, like, you know, the J crew like twist that, how it used to be pants rolled up at different lengths and like maybe, or I'd wear like a crusher hat or something. 4 00:51:29And I'd get in line with these people who were like going to bang, bang, and buying their like, you know, tight leather pants and stuff. And it just became like this. I was, you know, I was kind of like a quirky, you know, I dressed, I danced a little funny. I, I attribute movement to music to that. You know, I sort of just followed these impulses that had me sort of stomping my feet a lot. And I danced with my face a lot and I would show up with like a big bunch of gerbera daisies and a couple inflatable sunshines. 4 00:52:08And, you know, I had one friend Franco, who's the only person that I ever went out with. I could always go out by myself and, you know, leave by myself. And I would just, you know, do these fun things. Like, you know, I wrote like a Valentine to the world and like, you know, we put on red paper and pass it out to everybody. Or we would, we'd bring junior mints to junior, was the DJ and pass them out to everybody. Yeah. And people, you know, I was talking about the hat. People would say like, like, what does ack stand for? What does ack stand for? And I got, you know, and that goes to the three letter code for Newark airport. 4 00:52:52And I got so sick of it. I started this thing, like the hairball remover that Cass asked for by name, you know, like, and I didn't really, I never, you know, I still sort of felt like I didn't belong there. You know, it was kind of like this secret thing, but you know, you cold places all the time. And then people start, you know, recognizing you and, you know, you start like getting in for free or, you know, and I found these places where it just seemed, I was appreciated, you know, people would, and I met a lot of such interesting people. I mean, everybody from people who were, you know, Sharman to, there was some pretty, you know, crazy shenanigans that went on, you know, at the time. 4 00:53:44And some people that, I mean, everyone from Tonya Harding and then it comes out and she was interesting to me, but that's like the funniest story I ever time, I let her Newport cigarette for her. Like I do the Catholics, I would see it. Evan am, you know? Okay. 2 00:54:01So I'm just, there's like a theme here, which is that you went to the theater school for two years, and then all of a sudden you had to leave while you might have otherwise been processing your grief about that. You had to go all of a sudden process with your mom because she lost her second husband. And then you moved to New York to get that life going. And then nine 11 happened and you were working at the world trade center. So you have had major Griffis interruptus. 4 00:54:36It's true. Yeah. I, I think, and, and, and I've recognized in my life that I have a hard time, like getting things done that are in my normal routine. Like say, like getting my car inspected, you know, it's like once a year and it's like, whoa, you know, so when things like that happen, it takes me a long time to regroup. And you know, I'm not gonna, you know, sit here and say that I'm, that it, you know, these things like ruined my life in any way, shape or form, you know, I I'm, I'm so lucky that I, you know, I've been in the circumstances that I've been in and that I have a great family and that, you know, I always had a bit of a safety net. 4 00:55:25Not like some people, like, I didn't really have a safety net. Like I felt like in New York, I couldn't do theater because I wasn't independently wealthy. And I, and there was just no place to, you know, you really, it just doesn't exist anymore. You know, if you notice people who go to New York and become directors and, you know, actors are either, you know, inherit that position. I have 2 00:55:52Another way of making money, even though even this Celia Keenan Bolger's of the world. I mean, it is, you cannot, you cannot make a living, even if you're on Broadway. 4 00:56:04Right. It's true. You know, and it's, and it just became, I just became disenchanted with it. You know, I was like, I mean, I still love the theater, you know? And I was, like I said, I was really lucky. I had, you guys were talking about those monologue books, know like Jocelyn Baird is the woman who edited all of those books, which I didn't know, but she was someone who I did theater with when I was like in high school, she's who she picked my audition monologues. And she, you know, I'm still in contact with her. She's a playwright. And she went to Yale. She coaches kids on how to get into programs now, stuff that I was like, what is my brand, that kind of thing. 4 00:56:54But it's like, I, commercial theater I guess, was exciting to me in a certain way, but it was, you know, it was other theater that I liked too. And I don't think it was just theater. I think it was just art, you know? And I think it was like art in life is what I've discovered. You know, like everything is art, you can make anything artistic. And I think that's kind of what I do. I just haven't shaped it in a way, like, I need to write a book. 2 00:57:28You haven't been able to shape it because you've had suspend a lot of time in reaction mode, you know, to various losses 4 00:57:35That, yeah, like the whole nine 11 thing. I, you know, I remember, I didn't tell anyone that for years, you know, it was just something that, I mean, my friends knew there was, there was an Edward Ryan who died that day, who was from Westchester and star. And so there were people like my old boss, Alyssa, who was a harpist and a composer who I worked for as a personal assistant. And, you know, she just heard like names bred off. She knew that's where I worked. You know, we didn't have very few people had cell phones. I ran into one of her three sons and he was like, we got to call my mother. 4 00:58:16I was like, she literally was, she was afraid to call my mom. She was like, that was the only contact number I had for you is your house phone. And I didn't want to upset her. And I was like, oh my God. I just thought I was Ted. I, I will, could been, you know, it was, yeah, it was, it was a rough, it was a rough day, you know, I've had better. And it was my first day back after like 10 days of vacation. And we opened, there was a mall in the building six where the big divot down to the path, trains wound up, you know, the, the second tower that fell. 4 00:58:58And luckily, you know, we were really lucky. We, I, we locked ourselves in at first. I mean, we didn't have any sort of clue what was going on, you know, when you were sort of in it, even it wasn't until we got to the Seaport that we realized that there was planes being flown into the building. You know, I was like, we heard the second plane and we crossed the street and we saw the second building on fire. But at that point we thought somebody was like dropping bombs or shooting missile. You know, we couldn't, you know, come up with the, the idea of someone flying planes into the building. And, and I was like, you know, what do I, what do we do? 4 00:59:41You know, I was like, we're dead. And I was all right with it actually, you know, it was a, it was a strange feeling, but I was like, I'm okay with that. Like, I'm not going to spend my last moments here, screaming, yelling, running, like, you know, there's like this peacefulness about it. And I remember my nephew had been born, my sister's second son who lives here and I had never met him. And so that was the only like little thing I thought about as a regret. And then luckily we were okay, you know, and it was a long, you know, process of sort of also from my loft, I could see this, you know, smoke stack for the next, you know, three weeks. 4 01:00:29And I, even that day, I didn't really process anything until I got to a friend's house. And I, I, they were all there watching the news and I laid down behind them. They were like sitting in my futon and I like fell asleep. My adrenaline like finally ran out and then I woke up and I went home to my loft and the two girls that lived there, Lily and Rebecca were there and they just like grabbed me. And I don't think I stopped crying for like two days. Like I didn't leave the house. I didn't do anything. You know, I talked to my mother, but it was sort of like I was at work. 4 01:01:09So it was like, you know, and I was responsible for other people. And I, I felt like I also have to advocate for those people in the moment, you know, where they were like, oh, you know, well, you can come work at, you know, fifth avenue that day. And I was like, yeah, they're not going to work anywhere today. You know? And it was so I didn't tell anybody because people's reactions were so strong and I didn't want to like tell the story all the time, you know? And so I just didn't tell anybody for a long time. And I realized when I did that, it was actually helpful, you know, to talk about it and to talk about the, the impact of it. 4 01:01:54And I think that it, you know, made me a little more, maybe maybe careless or in a living, but also really living like really living, you know, in the moment, you know, and knowing what that meant, nothing like a little, you know, little flying a plane into your buildings to wake you up. Yeah. Yeah. So that was 2 01:02:22Yet the third or the fourth thing, which is that you graduated from school three years ago. I don't know if you were what you were planning to do when you left, but then the pandemic happened. 4 01:02:34Oh yeah. Not even three years ago. It was a year ago. Oh, that's when you were done was a year ago. Yeah, it was may. I went back to school in 2000, I guess it was 2019. I went for, so I got a bachelor's degree, but I went to Nepal for two years and I went there for a year and a half. So I somehow finished a four year degree in three and a half years, but yeah, I had enough credits. So I was like, bye. And yeah, I was stage managing for them a production. They were doing a little shop of horrors, which was really interesting stage managing and just sort of doing everything for them, for these kids. And I felt so terrible for them. 4 01:03:14And I mean, everything is still there. Like all the props we made, everything is just, I keep thinking of the Titanic it's frozen in time because they decided that even in spring, they were going to be fully remote because they didn't, they didn't think it was fair to leave it to the last minute to decide they wanted people to be able to kiss those sort of ducks in a row and, and know what to expect. Cause I think that was really one of the hardest things on any students or kids during the whole pandemic was like every, you know, the, from month to month, they didn't know what was coming next. You know? 2 01:03:49I mean, I kind of feel like that's how I had spent sort of the stopping and starting of Edward Ryan you've sort of stopped and started and stopped and started. And, and now you, you, you started school, you finished school and you were, and so the kids too, but also you stopping and starting. Yeah. 4 01:04:07Yeah. I mean, I think, I think that, you know, I have a little more, I have some more skills to deal with it. You know, I have a little more, it's like my work at school, you know, just cultivating creativity with this class that really affected me and sort of made me realize that I was more than just a theater artist probably. And do you remember those photographs in the like nineties of like different, like the Beastie boys are run DMC and they were on the rooftops of buildings. So this guy, John Nardell was that photographer. He worked for all these different it's, he's not the person you would expect to be taking photographs, but he was a teacher at the school and he taught this class and this class is so annoying. 4 01:04:55Like it's going to really drive me crazy. And all the kids were really like, he railed against like every assignment does a lot of work and we weren't allowed to buy anything. We had to make everything. And, you know, he gave us a lot of art supplies, but we had to like build vessels to like carry them in and incorporate every handout somehow creatively into this, into this book. And I mean, it was a lot of work and I would, I stay up till three o'clock in the morning, like, you know, making these things and doing the stuff. And he was like, you know, your work is like, incredible it's so it's, it's so much beyond, you know, what were some of the kids are doing here? 4 01:05:36And I was like, well, it shouldn't be, you know, like I have a little, few more resources than they have in their dorm and, you know, but, but the kids too, they were sometimes inspired in that to, you know, these kids to inspire them was like such a, a great thing because they were, so some of them were so disenchanted. And by the end of this class, you could just see that they had all found like what they were good at, like what sort of creative, artistic thing that they really connected with and that they loved and that they were just excelling in. And it was so exciting. Like it was really a, it was a great class. 4 01:06:18I 2 01:06:18Love that it was called cultivating creativity. 4 01:06:21Yeah. Good class. And I mean, you know, we either studied artists or, or, or techniques from Zen, Zen, Zen doodle, or 2 01:06:35Zen doodle. Yeah. There's 4 01:06:36Dan tangles. Yeah. Like he was a Venn tangle instructor. So, you know, we started with that. We did, like, we studied like in Stein and like, it is like sort of pop flags. And we each took a, a country. We were assigned to country and their flag and we, you know, created, you know, work from that. It was a really a great class, but hard, you know, these kids were not used to being asked to do to actually like work. I mean, the school itself knows who their students are. I think a lot of them have, you know, different accommodations and different, you know, struggles or opportunities. 4 01:07:18And, you know, they come from, like I said, an underserved communities and places, and it's like one of those places where, you know, if like Frank, the guy who ran the program was like, I couldn't let, just kidnapped graduate, you know, you know, like there's no way. And you know, whether it's paying his tuition bill or, you know, or raising money, whatever needs to happen. And, and, you know, he got me ready and Frank got me writing again. I directed, I took a directing class, which was a great read life, you know, so great books. 4 01:08:01And it was fun. You know, I really sort of was inspired to just be creative. And I looked at some MFA programs and I auditioned at Yale and I, I think I realized I did not get in, but I realized before that, that I, and Ruth was like, do you really want to go there? And I was like, you know, it's yeah. You know, and she's like, Hmm. And when I went there, I realized what she meant it, like, first of all, it's a shithole about bad facilities, you know, while you're waiting in an old computer lab with like broken computers, stacked in the corner, going this girl from West Virginia, she was a young girls high. And from what I was like, oh, this is what you thought. Yeah. You know, and I sort of felt like they had given the keys, you know, it was like the opposite of the theater school. 4 01:08:48It was like the kids were running that place. I mean, they held all the power and I think it's, it's sort of the way things are going these days, you know, with the me too movement teachers are one of the teachers at Yale said we are the only teachers that have to teach our students naked sometimes. Wait, wait, wait, wait, wait, what? We are the only teachers that have to teach their students naked. Sometimes 2 01:09:15The students are naked or the teachers are the students. What for, for zoom? I mean, on zoom, they're naked. 4 01:09:21No. I mean just different productions where, you know, they are directing a student who is nude and that's why there's intimacy coaches and all of that now, you know, to protect them. Because I mean, you can obviously see working in close proximity with a naked student that could open you up to problems, say like at the school, like what did Kat call it a spontaneous sex of study naps. I mean, there was a loud groping and touching going on that was like, you know, probably, you know, innocent, but you know, could certainly have been a trigger for some people. Sure. You know, like Trudy shoving her thumb in my mouth. 4 01:10:03Yeah. Not good. Not good. Yeah. So that was the day I had three, sorry, three absences. And I was, and I, myself use was damaged by habitual use was the other thing on my letter when I got cut from the theater school, self use was debt is damaged by habitual. You understand what that means? Well, neither did I. I mean, but as I think at that age, I just thought, well, I'm damaged. 2 01:10:31I also can tell you that Rick Murphy, when we were doing set, a very similar thing that David said to you, so I'm doing space work. Rick comes up to me, whispers in my ear. What are you doing? Drop out and go see the world. 4 01:10:48Yeah. 2 01:10:49And I'm like, I'm like doing work first year, second year. I don't remember. He whispered in my ear, why are you here? Go, go see the world or something. And I was like, what is happening? 4 01:11:02You know, I loved Rick Murphy. I mean, he was just like magic, right? I mean, this is not a pipe dream was like, so in captivity it was called freewill and one lust back then. And that was the other thing I wanted to tell you 2 01:11:20That it changed names. Oh no, no, no
The Myles Powell v. Seton Hall University lawsuit rocked the fan base this week. We speak to JP Pelzman regarding the timeline, the reaction and much more.
The Summer Session Interview Series continues as the newest addition to the Seton Hall Men's coaching staff stops by. Former St Anthony's and SHU favorite Donald Copeland joins the podcast and talks about his return to South Orange, recruiting players in today's NCAA and much, much more.
The Summer Session Interview Series returns as we welcome Seton Hall University AD Bryan Felt back to the show! We talk about the success SHU sports experienced this past year, how the teams dealt with Covid-19, the SHU/Rutgers game and much, much more.
“One Step At A Time captures the story of brothers Kyle and Tom as they portaged canoes, over 200km and 20 days, in the Himalayan Mountains to raise money for KOSHISH Nepal. 100% of the money raised has gone directly to support KOSHISH Nepal in building a Women's mental health Transit Centre in Kathmandu, Nepal.”Learn all about this film and cause at https://www.theweightwecarry.com/ and/or go to their Facebook page at https://www.facebook.com/TheWeightWeCarry/Directed by younger brother, Seton Roberts, who also joins in the podcast conversation with Kyle Roberts & Tom Schellenberg to chat about their journey making this film. Playing at the SPORTS DOCUMENTARY Festival this upcoming Thursday all day for FREE. Go to the exclusive link HERE. Follow WILDsound Podcasts on all social media channels: @wildsoundpodSubmit to the festival anytime via FilmFreeway: https://filmfreeway.com/WILDsoundFilmandWritingFestivalSubscribe via Twitter: https://twitter.com/wildsoundfest
On this segment of Faith in Action, co-hosts Jim Ganley and Brigid Ayer are joined by Anita Siccardi EdD APRN FMGNA, Dean Emeritus Marian University and Patricia Partridge, Seton Healthcare Advocate to talk about Seton Parish Health & Wellness Ministry and its role in serving the community. For more information: https://www.setoncarmel.org/health-wellness/
Seton Hall's Kevin Willard sits in with the Coaches this week, as they throw around a variety of subjects that include how he got started, his coaching upbringing, and his solution to the way the NCAA pays players. The Coaches are loving the Wizards' pace, Tap shares his journey to the Knicks front office and a breakdown of the not-so-great 97 NBA Draft.
The Summer Session Interview Series Looks to the future and brings in a legit left coast Pirate!! Ribet Academy star and incoming freshmen Tyler Powell joins the podcast! We talk about his high school accomplishments, why he chose Seton Hall and much, much more!
The Summer Sessions Interview Series starts with our recruiting special and what better way to do that than to have The Front Office join the podcast! Pat Lawless and CJ Nobile join us to discuss the upcoming freshmen class, the transfers joining the team and much, much more!
To learn more about Scott Chesney '92: Website: www.scottchesney.comFacebook: https://www.facebook.com/scott.chesney.14/Twitter: https://twitter.com/scottchesneyInstagram: https://www.instagram.com/chesney12/YouTube: https://www.youtube.com/channel/UCNtWMQU2H9rOIY8FqDv8hxQLinkedIn: https://www.linkedin.com/in/scottchesney/Ride the Wave Documentary: www.watch.ridethewavemovie.comSeton Hall Alumni Engagement and Philanthropy Information: Join thousands of Pirates in demonstrating the strength of our one Seton Hall community on April 20-21. Visit www.shu.edu/givingday to make your gift and become an advocate. Follow us: @SetonHallAlumni Check out upcoming virtual engagement opportunities and past event recordings, including our event featuring Scott:www.shu.edu/HallHub
The season's over and we take a deep dive look into how the Seton Hall Pirates did! We put on our Blue Tinted Glasses to celebrate the successes and gripe about sour grapes! Also, we take a special look back at the "interesting" ways some media members pronounced Sandro's name!
The Seton Hall Pirates season came to an abrupt end this week! We review their performance in the Big East Tournament, analyze Sandro Mamukelashvili's tri-Big East Player of the Year award and much more!
The Seton Hall Pirates had another rough week, going 0-2 and closed out the Big East Regular season on the wrong foot. We recap the losses to UConn and @ St John's and take a look at their chances in the upcoming Big East Tournament! Also, former Pirate Levell Sanders comes back on the podcast and we talk about his new position as HC of the Binghamton Bearcats!
The season for the Seton Hall Pirates comes down to the final week! We go Behind Enemy Lines with Hartford Courant sports writer Dom Amore to get the scoop on the UConn Huskies! We also preview the season finale against St. John's!
It's episode 100!!! The tough times continue as the Seton Hall Pirates drop their only game last week to the Butler Bulldogs. We review the game, explore some Deep Thoughts with Kevin Willard, play some Bubble breakdown and much more!
This week the gals explore the story of the Seton family, who had their lives turned upside down after bringing home a gruesome memento from their trip to Egypt.Join us every week for a new story, and maybe even submit your own by emailing us at email@example.com. Also make sure to like our Facebook page www.facebook.com/SpookyGals, and follow us on Twitter @spookygalspod & Instagram @spookygalspodcast, for regular updates. If you want to support us further then you can become a patron by going to www.patreon.com/spookygals, and from as little as $2 a month you gain access to bonus episodes and other awesome content that we have planned for the future. Stay spooky! Music: https://www.purple-planet.com, Cahit AsovaSupport the show (https://www.patreon.com/spookygals)
I'm currently assigned to St. Elizabeth Ann Seton in Naples, FL. She was the first native-born American to be canonized by the Roman Catholic Church. Seton was beatified by Pope John XXIII on March 17, 1963. She was a remarkable woman.
The Seton Hall Pirates earned a split this week to go 1-1. We review the win against DePaul and the loss at Georgetown. We briefly preview the upcoming game at Butler and we take an early peek at the Pirates NCAA Tourney chances!
The Seton Hall Pirates went 1-0 with an ugly win over Marquette. We review the victory, go Behind Enemy Lines with Washington Post reporter Kareem Copeland to preview the upcoming game against Georgetown and also take a look at the DePaul Blue Demons! Additionally, we visit with all-time Pirate fave Quincy McKnight!
The Seton Hall Pirates had a huge bounce back week, going 2-0! We review the big wins at Providence and at UConn. We also preview their next game with the Golden Eagles of Marquette!
Seton Hall enters a pivotal week with a trip to New England. We go Behind Enemy Lines with Providence Journal reporter Bill Koch to preview the rematch with the Friars in Rhode Island. We also preview our encounter with the UConn Huskies in Storrs.
It was a tough week for the Seton Hall Pirates as they went 0-2. We review the losses to both Creighton and Villanova. Additionally, we have a special interview with 2019-20 Big East Defensive Player of the Year/Most Improved Player of the Year Romaro Gill!
The Seton Hall Pirates put up a valiant fight but ended up losing a heartbreaker this week to the Villanova Wildcats. We breakdown the game, litigate the ending and preview the upcoming week's games, which include a rematch with the Wildcats at the Rock! Additionally, Omaha World Herald reporter Jon Nyatawa takes us Behind Enemy Lines in preparation for the rematch with Creighton!
Dr. Julia Seton (Sears), the founder of the Church and School of the New Civilization, was an important figure in the development of the New Thought movement from the esoteric- metaphysical point of view, and exercised a considerable influence over Fenwicke and Ernest Holmes, founder of the Religious Science movement. Julia Seton was born in 1862 in Decatur, Illinois. She trained to be a medical doctor in Boston, and returned to Colorado to practice medicine. (She had visited Colorado as a sickly child and was healed of tuberculosis.) She was a dynamic attraction at the San Francisco World Fair. She set up several New Civilization Centers all over the world. For twelve years between 1902 and 1914 she was married to Franklin Warren Sears whom she instructed in New Thought philosophy. He later branched out as a New Thought teacher and writer in his own right after which the couple divorced and went their separate ways. In 1937 she started the New Civilization Center in Ocala, Florida. Seton was actively creating a New Civilization City Foundation, a non-profit association for all humanity. Dr. Seton twice lectured her way around the world, speaking in America, England, Australia, New Zealand and other English-speaking countries or communities. Julia Seton wrote a number of book including Freedom Talks (1906); The Science of Success (1914); Destiny, a New Thought Novel (1917); Fundamental Principles of the New Civilization (1914), The Key to Health, Wealth and Love (1917); Songs for the New Day (1953). Seton died in Ocala, Florida on April 25, 1950. This book originally title Race Problem: Money talks about money as a form of conscousness and all aspects of it in relation to the humanity. BUY MY BOOK! https://www.amazon.com/Reality-Revolution-Mind-Blowing-Movement-Hack/dp/154450618X/ Listen my book on audible https://www.audible.com/pd/The-Reality-Revolution-Audiobook/B087LV1R5V Music By MettaverseSolsticeInner Worlds ➤ Listen on Soundcloud: http://bit.ly/2KjGlLI➤ Follow them on Instagram: http://bit.ly/2JW8BU2➤ Join them on Facebook: http://bit.ly/2G1j7G6➤ Subscribe to their channel here: https://www.youtube.com/channel/UCyvj... For coaching – https://www.advancedsuccessinstitute.com For all episodes of the Reality Revolution – https://www.therealityrevolution.com All my Interviews - https://www.youtube.com/playlist?list=PLKv1KCSKwOo_Y78_zt_zv9TI1AGx-WimT All my guided meditations in one place https://www.youtube.com/playlist?list=PLKv1KCSKwOo_BfNnb5vLcwouInskcEhqL All my short meditations (you have 10 minutes) - https://www.youtube.com/playlist?list=PLKv1KCSKwOo-Mc0SiXK8Ef0opJeahwgfM For all episodes of the Reality Revolution – https://www.therealityrevolution.com Like us on Facebook https://www.facebook.com/The-Reality-Revolution-Podcast-Hosted-By-Brian-Scott-102555575116999 Join our facebook group The Reality Revolution https://www.facebook.com/groups/523814491927119 Subscribe to my Youtube channel https://www.youtube.com/channel/UCOgX... Contact us at firstname.lastname@example.org #money #juliaseton #newthought #consciousness
The Seton Hall Pirates Women's starting backcourt made a special stop here at the podcast this past weekend! PG Lauren Park-Lane and SG Mya Jackson join us to talk about their experiences in this strange season, why they chose to come to South Orange and much, much more!
Seton Hall's Kevin Willard has the Pirates hitting their stride as they get set for a huge matchup against Villanova. How mental health is playing a key role in this season. Developing chemistry with out a traditional preseason. Figuring out the best ways to utilize his players. Why he loves their balance but knows they need to tighten up their defensive play. And why he believes seeding the NCAA tournament should be based on more than just the metrics this year. Plus, Virginia with a statement win. Is Iowa underrated nationally? And why Gonzaga and Baylor are separating from the pack.
COVID postponed the Seton Hall Pirates game this past week, but we still have reasons to be excited: IT'S NOVA WEEK! We go Behind Enemy Lines with Philadelphia Inquirer reporter Joe Juliano to get the scoop about the Villanova Wildcats! We also take a look at the upcoming rematch at Butler, how the pandemic is STILL affecting the season and much, much more!
The Seton Hall Pirates will take the court at Walsh Gymnasium against the Xavier Musketeers. We go Behind Enemy Lines with Adam Baum of the Cincinnati Enquirer to see what the Pirates can expect in this rematch.
The Seton Hall Pirates earned a split this week! We review the loss in Omaha to the Creighton Bluejays, the bounce back win in Chicago against the DePaul Blue Demons and much, much more!