Podcasts about sneetches

Chris Wilson in conversation with David Eastaugh guitarist and multi-instrumentalist, most known for his role as the lead singer of the San Francisco band the Flamin' Groovies, having replaced original singer Roy Loney in 1971. With Wilson on lead vocals, the band released their influential 1976 album Shake Some Action. His song "Shake Some Action", co-written with Cyril Jordan, appeared in the 1995 movie Clueless. He was also a long-term member of The Barracudas and in 1993 he released the mini-album Pop backed by The Sneetches and the debut solo album Random Centuries.

SQUEAMISH TRIGGER WARNING: Some moments in this episode get a little gross - even by Sam's standards. It's Part 2 of 3! Sam and Bec finish watching the final episode of season 4 of Emily in Paris: All Roads Lead To Rome, and have A LOT to get off their chests. Expect tales of medical dramas, Sneetches, and five - FIVE - power-house women ah-ah-ah! Help Sam and Bec justify the amount of time and effort it takes to bring you this show by becoming a Hatereon supporter today! You'll not only get an Emily-level sense of smugness, but access to bonus content! http://patreon.com/EnemyinParis And if things are tight, you can still help by spreading the hate via word-of-mouth, social media (@enemyinparis), or a 5-star review! Don't forget to follow/subscribe and (if it's an option) hit the notification button so you're alerted when each episode is released. Find us on... https://www.reddit.com/r/EnemyInParis http://instagram.com/enemyinparis http://facebook.com/enemyinparis Sam Kieffer can be found as @mostfunsam across most platforms. Bec Hill is @bechillcomedian. The theme tune is by Frankie Lowe. (The full version can be found on the Enemy in Paris Instagram and Facebook page - and where ever you get your music!)

Megan and Michelle celebrate Pride Month, naked bike rides, marching up hills, astronomical chances, Reminder Day Pickets, magic, the “right” clothing, and Sneetches. GLAADThe Trevor ProjectPFLAGHuman Rights CampaignSociety for Human RightsWant to support Prosecco Theory?Become a Patreon subscriber and earn swag!Check out our merch, available on teepublic.com!Follow/Subscribe wherever you listen!Rate, review, and tell your friends!Follow us on Instagram!****************Ever thought about starting your own podcast? From day one, Buzzsprout gave us all the tools we needed get Prosecco Theory off the ground. What are you waiting for? Follow this link to get started. Cheers!!

IT'S TIME TO WATCH THE MUPPETS! This week we watched The Great Muppet Caper. Distracted rants include but are not limited to trolls, Sneetches, MissingNo., The Flintstones, Amanda's, Jim Henson Idea Man, and much more!"The Muppets present their own touching rendition of Charles Dickens' classic tale."Follow us:Twitter.com/ittwtmInstagram.com/ittwtm

Today, to show the depth of my “OLDIES” folder full of songs, I'm presenting another three hours of “100% Random Access Play Selection – Focus On OLDIES!”  This is the second hour…unless you count yesterday's show, which was the same, then its hour FIVE!  The Music Authority Podcast...listen, like, comment, download, share, repeat…heard daily on Podchaser, Deezer, Amazon Music, Audible, Listen Notes, Mixcloud, Player FM, Tune In, Podcast Addict, Cast Box, Radio Public, Pocket Cast, APPLE iTunes, and direct for the source distribution site: *Podcast - https://themusicauthority.transistor.fm/   The Music Authority Podcast!  Special Recorded Network Shows, too!  Different than my daily show! *Radio Candy Radio Monday Wednesday, & Friday 7PM ET, 4PM PT*Rockin' The KOR Tuesday, Wednesday, and Thursday at 7PM UK time, 2PM ET, 11AM PT  www.koradio.rocks*Pop Radio UK Friday, Saturday, & Sunday 6PM UK, 1PM ET, 10AM PT!  *The Sole Of Indie  https://soleofindie.rocks/  Monday Through Friday 6-7PM EST!March 15, 2024, Friday, aisle two…Hilly Michaels Music - Devolution [Calling All Girls]Pezband - Please Be Somewhere TonightAimee Mann - I Can't Help You Anymore [The Forgotten Arm]@The Cryers - Midnight Run [Midnight Run]Curt Florczak Music - 04 Worry Stone [Scraping By On The Hope Of Redemption] (Rum Bar Records)Paul Collins Beat - I Don't Fit In@The Mirrors - If [IPO Vol 9]The Kinks - Situation Vacant [Something Else By The Kinks]Dwight Twilley Band - You're My LoverRuby Bones - 05 Don't Lose Your Head [Laser Tooth Tiger]@Eddie Floyd - 58 Knock On Wood@Starr Saunders - Don't Let Me Get Away@Twenty Cent Crush - Lost All of Our Sundays [IPO Vol 7]Cheap Trick - She's Tight@The Raves - 16 - Chastity [Past Perfect Tense Remastered] (koolkatmusik.com)The Sneetches - 13 It's Looking Like Me@Riff Doctors - 02 - FallingLou Reed - Rock And Roll Heart@Bruce Springsteen - Pink Cadillac

In which we meet a bunch of the gang. Infighting. Curses. Lying. And Crying. Queen Margaret is a BADASS and the rest of those fools should listen up. How do the Brady Bunch and The Sneetches relate to Richard III? You'll just have to have a listen. --- Support this podcast: https://podcasters.spotify.com/pod/show/fckshakespeare/support

“The Unspeakable Milo Binder” Milo Binder put out one brilliant album in 1991 and then, that was that. He was gone. Alias Records was an indie rock label that had folks like Too Much Joy and The Sneetches and when they put out Milo's album was a huge departure from their roster. A eleven song folk album, Binder's self-titled release was one of those rare instances where the artist arrived fully formed with no need to take three or four albums to find their musical footing or narrative voice. Songs like "Donald Thorn" and "A Boy And His Career" were wise and observational and his guitar playing was rich and assured, his delivery confident and brimming with belief. He called into my college radio show Bedtime With Alex on KSMC and he was gracious enough to play two songs while his girlfriend held the phone for him—Donald Thorn from the first album and the song you just heard Skywriters, which would be from the second. But the second one never came until now, 32 years later it's about to arrive. Titled The Unspeakable Milo Binder, the two tracks you'll hear in full on today's episode demonstrate that Binder not only still has the magic, he's never sounded better. And he's been deeply missed. I can't think of an an artist with as much musical dexterity, poetic exactitude and narrative finesse. Sit back and join in me as I welcome back Milo Binder. Follow Milo Binder on Facebook: https://www.facebook.com/p/Milo-Binder-100063524654721/ www.bombshellradio.com www.embersarts.com www.stereoembersmagazine.com www.alexgreenonline.com Stereo Embers: Twitter: @emberseditor IG: @emberspodcast Email: editor@stereoembersmagazine.com

Watch live @ shoalcreek.churchonline.org   Watch more @ vimeo.com/shoalcreek   Follow us on Facebook   Twitter @shoalcreek   Blog Posts www.roymoran.com

The Star-belly Sneetches are up in arms as Mon-El discovers repressing 1,000 years of bad memories is probably not a good thing. Show your thanks to Major Spoilers for this episode by becoming a Major Spoilers Patron. It will help ensure The Major Spoilers Podcast continues far into the future! Join our Discord server and chat with fellow Spoilerites! (https://discord.gg/jWF9BbF) [caption id="attachment_733166" align="alignright" width="228"] You can purchase this issue via our Amazon affiliate link.[/caption] TALES OF THE LEGION OF SUPER-HEROES #318 "Shadows Of The Future Past" December 1984 w: Paul Levitz a: Terry Shoemaker The strongest Legionnaire faces the one foe he can't punch… his own mind! [caption id="attachment_733167" align="alignright" width="230"] You can purchase this issue via our Amazon affiliate link[/caption] TALES OF THE LEGION OF SUPER-HEROES #319 "If Memory Should Fail" January 1985 w: Paul Levitz a: Terry Shoemaker Mon-El's memories have driven him mad and set him against his own team!

The Star-belly Sneetches are up in arms as Mon-El discovers repressing 1,000 years of bad memories is probably not a good thing. Show your thanks to Major Spoilers for this episode by becoming a Major Spoilers Patron. It will help ensure The Major Spoilers Podcast continues far into the future! Join our Discord server and chat with fellow Spoilerites! (https://discord.gg/jWF9BbF) [caption id="attachment_733166" align="alignright" width="228"] You can purchase this issue via our Amazon affiliate link.[/caption] TALES OF THE LEGION OF SUPER-HEROES #318 "Shadows Of The Future Past" December 1984 w: Paul Levitz a: Terry Shoemaker The strongest Legionnaire faces the one foe he can't punch… his own mind! [caption id="attachment_733167" align="alignright" width="230"] You can purchase this issue via our Amazon affiliate link[/caption] TALES OF THE LEGION OF SUPER-HEROES #319 "If Memory Should Fail" January 1985 w: Paul Levitz a: Terry Shoemaker Mon-El's memories have driven him mad and set him against his own team!

There's no question that the biosphere is in crisis right now thanks to human-driven global warming, our hostile takeover of most of Earth's land area, and our pollution and overfishing of the seas. Slowing down—never mind outright stopping—the collapse of the Earth's ecosystems and the mass extinction currently gaining pace calls for aggressively protecting the environment, or possibly even giving half of the Earth's land surface back to nature in a process known as rewilding. But how will we manage to share the Earth with the rest of the biosphere when history shows that we're pretty terrible at sharing it with each other, with some states even going so far as to have used the preservation of wilderness as a tool of genocide and white supremacy? There are still those who would use environmental protection as an excuse to block immigrants, reject refugees, and expel “undesirable” people from the land. What will it take to value human and non-human life and the land all equally, without using one as an excuse to persecute the other?Getting urgently-needed environmental protection and rewilding right requires facing the evils that have been historically committed in the name of conservation, so that we don't repeat those grave mistakes, even with the best of intentions. As solarpunks, we need to learn from the past in order to shape futures that are intentionally better than our pasts and presents.And that's a wrap for season 2! Season 3 will be coming along in the last week of June for Patreon supporters, and to the public in the first week of July. Until then, keep dreaming, and keep up the good work!LinksReframing Narratives with Ecocriticism, with Dr Jenny Kerber Against the Ecofascist Creep webzine teaching resource and explainerRead about the 100-Mile Diet book and phenomenon on WikipediaRead about the locavore movement on WikipediaA great article on philosophical questions with The Sneetches from the Prindle Institute for EthicsSome articles on food forestsThe Half-Earth Project Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

This week we dive into the world of Dr. Seuss for a Stoic lesson. --- Support this podcast: https://podcasters.spotify.com/pod/show/thestoiclawyer/support

This episode is brought to you by tomato sauce, Sneetches, and the color blue.

We discuss Instagram's new policy for blue checkmarks, more incredible stories from “The Road”, then Sean dives into the tank and pitches his genius idea for a startup which is amazingly passed on by investors Tony and Josh. And as always a bunch of news sprinkled in. CONSUME AT YOUR LEISURE!   Help grow the show! Review us on Spotify/Apple and subscribe on YouTube.   Follow Tony Casillas: https://www.instagram.com/comediantonycasillas/ https://twitter.com/comediantonyc   Follow Sean Reilly: https://www.instagram.com/seanreillycomedy/ https://twitter.com/seandoesjokes   

It's MLK Day, and we're going to talk about racism. Because Jesus.

Jasmin and Janet discuss an interview with high-risk New Yorker Jacki Esposito about the lack of current COVID protections, a reading of Dr. Seuss's The Sneetches being interrupted by an official when a child makes a connection to racism, the recent coup attempt and its aftermath in Brazil, and some words on Martin Luther King Jr's legacy on what would have been his 94th birthday.

We discuss a New York Times investigation about how the rich, famous, and powerful get special treatment in the emergency room. Read more here: https://www.nytimes.com/2022/12/22/health/nyu-langone-emergency-room-vip.html

Plain-bellied Sneetches and Star-bellied Sneetches battle it out for the title of "best Sneetches on the beaches". Is there really a superior kind of Sneetch? What important discovery will they make?

Anciently, when you invited someone to break bread with you, it signified admitting someone into your family and life.  Join Mandy as she shares a store of her Shabbat in Jerusalem and a little bit of wisdom about how we can be open up and share our commonalities with others.  

Election Follies, Musks’s Twitter, blue checks and the Sneetches. The SQRPT Group is on MeWe. You can also find us at: https://thesquirrelreport.locals.com https://t.me/sqrpt https://rumble.com/c/c-530873 https://www.youtube.com/channel/UCuVK0SVwpl9QCg-o-_A3ObQ It’s The Squirrel Report – 467 If you want a SQRPT sticker talk to Breda … Continue reading →

The Story of the empty tomb is not the end of the Christian story, but just the beginning. The book of Acts records what happens in the weeks, months and years following Jesus' resurrection as He ascended to the Father and the church began on the earth. From these historical accounts, we can learn the true purposes behind the church and our mission today as Christ followers. Learn about this program's sponsors: www.shepherds.edu https://murdaughmurderspodcast.com/ www.tateglobalmedia.com www.equinoxglobalmissions.org --- Send in a voice message: https://anchor.fm/parkinglotpastor/message

Got alot packed into this episode! Lots of true crime talk, we discuss how creepy Dirty Dancing is, we find out Isaiah is still butthurt about the whole "Sneetches" thing

On this episode we had a discussion about a Dr. Seuss story and turns out we were mixing up 2 different stories! First episode back in the Toke Signals studio in awhile! So, get some smoke, pull up a seat and we hope you enjoy episode! And as always: THIS POTCAST IS MEANT TO BE ENJOYED UNDER HEAVY INFLUENCE OF THC! ☁️

In 1953, it was not popular to speak out against segregation, racism, and treating others badly because they are part of an out-of-favor group. But Dr. Seuss did just that in The Sneetches. In this year, Senator Joseph McCarthy was at the height of his powers and Arthur Miller was attempting to speak against him … Continue reading "39 – The Sneetches" The post 39 – The Sneetches first appeared on The Children's Literature Podcast.

Life is a beach! Well, in a manner of speaking. THe beach is a cool spot. The sun, the surf, the sand, Uncle John hanging out with a few Sneetches. No shortage of things to see. So why not end the Summer with us as we rate a few beach-related things on this week's episode of the cast!

In this episode, Cheddy and Michelle discuss: How we assign the responsibility for our happiness to things outside of us. We have more control over our emotions than we realize, acknowledge, or admit. Consumerism relies on us believing the “I'll be happy when…” lie. Key takeaways: Michelle explains how Dr. Seuss' book The Sneetches illustrates the “I'll be happy when…” lie and how it can playout in our lives. The, “I'll be happy when…” lie, keeps us dissatisfied and always looking for the thing that will make us happy.. Oftentimes the thing we thought would make us happy only provides a feeling of happiness for a short period of time.  We are responsible for our happiness, regardless of the circumstances. We are meaning-making machines.   “I am responsible for my own happiness!” - Michelle Wickman   Website: www.WinningInside.io  Twitter: @winning_inside  Facebook: @WinningInside LinkedIn: www.linkedin.com/company/winninginside  YouTube: https://www.youtube.com/channel/UCoF6Rtked9jTNVdaVmARl6g 

Phil & Jake are back to rank John Carpenter's 1986 film Big Trouble in Little China, the musical subgenre known as Bro-Country, and Baby Yoda on the List of Every Damn Thing.If you have something to add to the list, email it to list@everydamnthing.net (or get at us on Twitter, Instagram and Facebook).SHOW NOTES: The kid in Madonna's Open Your Heart video isn't Leo Dicaprio, he's Felix Howard, who is now an A&R guy. Actors that we talk about include Kurt Russell, Kim Cattrall, Dennis Dun, Victor Wong, James Hong, Danny Trejo, He Huy Quan, Al Leong (here's his wedding announcement), Dennis Quaid, Harrison Ford, Jason Mantzoukas, Tom Cruise, Jackie Chan and Rodney Dangerfield. Other movies discussed include Everything Everywhere All at Once, Indiana Jones and the Temple of Doom, Overboard (which Phil thinks is really indefensible because Kurt Russell's character brainwashes Goldie Hawn's; “it's a Rapemantic comedy”), Minority Report, Dreamscape (filmed in Stockton, CA), Innerspace, Guardians of the Galaxy, The Golden Child, Friday, Caddyshack, The Matrix, Trading Places, Ferris Bueller's Day Off, Flashdance, The Truman Show, The Wizard of Oz, Howard the Duck and Spider-Man: Into the Spider-Verse. Jack Burton is a very influential protagonist, maybe even more so than Snake Plissken. He's sort of John Wayne as a buffoon. Bruce Willis' persona owes something to Jack Burton. If you want to hear an even more in-depth discussion of Big Trouble in Little China, check out this episode of the Blank Check podcast. Dwayne "The Rock" Johnson owns the remake rights to Big Trouble in Little China and makes noises about a remake from time to time. John Carpenter's soundtrack (and especially the theme song) are a must-listen. Here's the New York Magazine article in which Jody Rosen first coined the term “Bro-Country.” Here's a history of the Country laundry-list song. Dr. Suess' pants with no one inside them are from the last story in the Sneetches book. “Cruise” by Florida Georgia Line is maybe the ur-text of Bro-Country. Or– going further back– in could be either “Honky Tonkin'” or “Jambalaya” by Hank Williams. Other songs discussed by include “Big Green Tractor” and “Dirt Road Anthem” by Jason Aldean, “Sand in My Boots” by Morgan Wallen, “Jack & Diane” by John Mellencamp, “Honky Tonk Badonkadonk” by Trace Adkins, “Dilemma” by Nelly w/ Kelly Rowland, “If That Ain't Country” by David Allan Coe, “That's My Kind of Night” by Luke Brian, “Friday” by Rebecca Black, “All My Rowdy Friends Are Coming Over Tonight” by Hank Williams Jr., “If You've Got the Money, I've Got the Time” by Lefty Frizzell, “Friends In Low Places” by Garth Brooks, “Tulsa Time” by Don Williams, “Boys Round Here” by Blake Shelton, “New Truck” by Dylan Scott, “Beer With My Friends” by Shy Carter, “Beer” and “Turned Up On the Weekend” by Branchez & Big Wet, “American Pie” by Don McLean, “Do You Know the Way to San Jose” by Dionne Warwick, and “Santa Baby” by Eartha Kitt. ALSO DISCUSSED IN THIS EPISODE:angiograms * perimyocarditis * Chinatown in San Francisco * Sam Raimi's New York City * Star Wars * Margaret Cho * Bruce Springsteen * Rappin' Rodney * Ke$ha * The Beach Boys * Insane Clown Posse * Bon Jovi * Aerosmith * Garfield * Grogu * The Mandalorian * Muppet Babies * Baby Groot * the X-Babies * Double Stuf Oreos * Miss Piggy * Hulk Hogan * Reese's Ultimate Peanut Butter Lover's Cup * seedless watermelon * peanut butter ice cream * Old Man Logan * Trouble * Sorry! * radio editsBelow are the Top Ten and Bottom Top items on List of Every Damn Thing as of this episode (for the complete up-to-date list, go here).TOP TEN: Dolly Parton - person interspecies animal friends - idea sex - idea bicycles - tool coffee - beverage Clement Street in San Francisco - location Prince - person It's-It - food Doctor Doom - fictional character Cher - person BOTTOM TEN:294. cops - people295. British Royal Family - institution296. Steven Seagal - person297. McRib - food298. Hoarders - TV show299. death - idea300. war - idea301. cigarettes - drug302. QAnon - idea303. transphobia - ideaTheme song by Jade Puget. Graphic design by Jason Mann. This episode was produced & edited by Jake MacLachlan. Show notes by Jake MacLachlan & Phil Green.Our website is everydamnthing.net and we're also on Twitter, Instagram and Facebook.Email us at list@everydamnthing.net. 

If you want to feel more fulfilled motivated and inspired whether you're leading a household, classroom, team, small business, or fortune 500 company, then do we have the show for you.   Today we'll be talking with Simon Sinek, the undisputed King of the Why, though he may never have been called that before, but he's the global best-selling author of one of the most Inspiring Books on Leadership, Success and Business Out there, Start with Why.   We'll be talking about the “why”, what it is, why it's so important, how to incorporate it into our lives, and who in the world is using it for success? Plus we'll talk about inspiration vs. manipulation, Ferrari's vs. minivans, why there's 32 flavors of toothpaste, why Sneetches have stars and what in the world Hot pants, and go-go suits, have to do with air travel.   Questions and Topics Include: What happened with Simon as a 4th year entrepreneur How his passion and optimism was gone. How Simon Sinek began to learn how our lives (and even businesses) function on the same three levels. How Simon Sinek began his search to find his why and to find his balance again. What is nature's balance? Wright Brothers vs. The story of the race for flight Why people and companies ‘fail' Why the clearer the cause the more maniacal we become to succeed What is a why? How did Apple Computers exemplify the why? Why you can't have price, speed, and technology. What Simon talked about in his Ted Talk, and what does it mean to have Why, How, What? What is the Golden Circle and why do we have things inside out? Why people don't buy what you do, they buy why you do. Why you want to be honest and true and do things that reflect my beliefs, and why those who believe what I believe will be attracted to me What Dr. Seuss's Sneetches have to do with us What Ben Cohen, a runner with cerebral palsy, can teach us about ourselves. How do we become more like Ben Why we're drawn to people who only compete with themselves What requires tremendous courage Why you need to go for it, and take care of those around you, even if you're putting yourself at risk Why it's important to risk yourself to help others What it means to be called a leader Why Martin Luther King gave the ‘I have a dream' speech, not the ‘I have a plan' speech, but why politicians today all give 12 point plans to solve a problem Why a common vision is needed first What does it mean to start at the values level, and why is it so important. How do we bring out our why? How can we start to do this right away (to find your why)? How do you cultivate your why? What do you do once you find your why? How do you use your why once you find it? How the why works What's the Celery test? What does 32 flavors of toothpaste have to do with anything? Why there's only two ways to influence people (manipulation or inspiration) Why it's so important to take care of each other Why we truly help ourselves by helping each other   Visit: https://simonsinek.com/   To find out more visit: https://amzn.to/3qULECz - Order Michael Sandler's book, "AWE, the Automatic Writing Experience" www.automaticwriting.com  https://inspirenationshow.com/ ……. Follow Michael and Jessica's exciting journey and get even more great tools, tips, and behind-the-scenes access. Go to https://www.patreon.com/inspirenation   For free meditations, weekly tips, stories, and similar shows visit: https://inspirenationshow.com/   We've got NEW Merch! - https://teespring.com/stores/inspire-nation-store   Follow Inspire Nation, and the lives of Michael and Jessica, on Instagram - https://www.instagram.com/InspireNationLive/   Find us on TikTok - https://www.tiktok.com/@inspirenationshow 

An analysis of Dr. Seuss' The Sneetches & Other Stories. Summary, conversation topics, symbolism. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/sierralyn-cadima/support

Dale F. Williams, Ph.D., CCC-SLP, BRS-FD is Professor and Chair of the Department of Communication Sciences and Disorders at Florida Atlantic University. A board-certified specialist in fluency, Dr. Williams served as Chair of the Specialty Board on Fluency Disorders for 2 years. He has coordinated the Boca Raton chapter of the National Stuttering Association since 1996. His stuttering-related publications include three textbooks, a workbook, and a recently-released children's book entitled The Can't-Be-Seen Who Couldn't Squawk.   00:00-02:45 - Intro 02:46-6:15 "The Sneetches" parallel to Dale William's children's book 6:16-10:08 Dale William's story 10:09-14:17 Turning point 1 14:18-18:01 Journey from "stutter" to "stuttering therapist" and professor of speech-language pathology 18.02-20:29 Pushback in career choice 21:00-23:34 Classroom engagement 23:35-36:38 "The Can't-Be-Seen Who Couldn't Squawk" book discussion 36:39-42:50 "Stuttering Power Over It" book discussion 42:51-44:42 Tips for dealing with microaggressions 44:43-50:08 "Stuttering Power Over It" book discussion part 2 50:09-55:47 Feedback from Dale's books 55:48-01:02:56 Insight into the creative process (ideation to publishing) 01:02:57-01:05:28 Just start writing/talking 01:05:29- 01:08:40 Turning point 2 01:08:41-01:13:19 What would you tell your younger self? 01:13:20-01:16:31 General wrap-up and contact info   Can't-Be-Seens: https://hearsayresources.com/product/the-cant-be-seen-who-couldnt-squawk-2/ or https://www.amazon.com/Cant-Be-Seen-Who-Couldnt-Squawk-Stuttering/dp/0987347691/ref=sr_1_1?keywords=williams%20brown%20can%27t-be-seen&qid=1638904306&s=books&sr=1-1&fbclid=IwAR0zbsTiqfQiQnpARvdJdgOJeGb-UL1jfiRzeEat42I7DsX9vC_9t3qwvOk   Workbook: https://hearsayresources.com/product/stuttering-power-over-it-a-liberating-and-empowering-self-help-program/ or https://www.amazon.com/Stuttering-Liberating-Inspiring-Self-Help-Program/dp/0987347659/ref=sr_1_5?qid=1639692394&refinements=p_27%3ADale+F+Williams&s=books&sr=1-5&text=Dale+F+Williams   Textbook: https://thebrainary.com/shining-a-light-on-stuttering-hardback/ or https://www.amazon.com/Shining-Light-Stuttering-Impairment-Applause/dp/0987347624/ref=tmm_hrd_swatch_0?_encoding=UTF8&qid=&sr=   Other textbook: https://www.routledge.com/Stuttering-Recovery-Personal-and-Empirical-Perspectives/Williams/p/book/9780805847710 or https://www.amazon.com/Stuttering-Recovery-Personal-Empirical-Perspectives-dp-0805857346/dp/0805857346/ref=mt_other?_encoding=UTF8&me=&qid=   Dieudonne Nsabimana:   Uri Schneider, M.A. CCC -SLP is co-founder and leader at Schneider Speech; creator and host of Transcending Stuttering; and faculty at the University of California, Riverside School of Medicine.     Episode Notes: See more on our blog http://www.schneiderspeech.com/ourblog and http://www.transcendingx.com/podcast

Intro: teenage hackersLet Me Run This By You: setting limits with KanyeInterview: We talk to Josh Sobel about Cal Arts, Travis Preston, Yale School of Drama, Robert Brustein, Fig and the Wasp, Oberlin College, The O'Neill Theater Center, Michael Cadman, Royal Shakespeare Company, Chicago ensemble theatre, Strawdog Theatre Company, Ianesco's Rhinoceros, Rochester NY, Brighton High School, A Chorus Line, Cabaret, horizontal hierarchies, The Wooster Group, change talk vs. change action, Chris Ackerlind, Light in the Piazza, Paula Vogel's Indecent, Samantha Behr, Haven Chicago, The Den Theater, Rochester Philharmonic, Lorenzo Palomo, Ian Martin, Hal Prince, Dr. Seuss' The Sneetches, John de Lancie, Rochester Academy of Medicine, radiation oncology, The Xylophone West by Alex Lubischer, Isaac Gomez's The Displaced, Center Theatre Group, Jeremy O'Harris' Slave Play, Rashaad Hall, Chris Jones' review of Ms. Blakk for President.FULL TRANSCRIPT (unedited):3 (10s):And I'm Gina Pulice.1 (11s):We went to theater school together. We survived it, but we didn't quite understand it.3 (15s):20 years later, we're digging deep talking to our guests about their experiences and trying to make sense of it all.1 (21s):We survived theater school and you will too. Are we famous yet?2 (32s):I think, I think my son has fig he's gotten into sort of like the hacking side of things and he always wants to get around all of the restrictions we put on him. Like we have content restrictions, we have time limits. And I think he's just made it his mission. I mean, this is like the theme of his life. He has made it his mission to subvert the paradigm as my husband would say. And it's exhausting because all I can do is try to be like 10 steps behind them and learn like what's a VPN. That's what I, I think what he did. I think he installed a VPN to bypass the internet control that I have.2 (1m 20s):Oh1 (1m 20s):My God.2 (1m 22s):And it somehow how that relates to, I can watch, I couldn't tell you. I can tell you that if I turn off the wifi, I can watch it on my cellular data.4 (1m 33s):It's insane.2 (1m 35s):Yeah. It's, it's beyond insane. I, and you know, I like, I'm always on this thing where I'm vacillating between letting it go and just trying harder to, you know, impose the limit. I mean, you, I wouldn't, before I had kids, I would not have imagined it was this hard to impose limits on people, you know, because you don't want them to not have what they want. Right.4 (2m 6s):Right.2 (2m 7s):And, and it's a real battle to like, make myself, give myself and my children limits. It's really hard.4 (2m 17s):My God. Yeah. Yeah. And the other thing I'm stuck on, it's like maybe there was okay. I think I'm like trying to figure out the thing, which is like, I know what I think I know what happened. So you have restrictions on content. Like, and I think a genius, the Kanye trilogy, like completely has all those triggers in it. Like all the things are in it. There's sex, suicide. There's, there's, it's all the things you, I wouldn't want a susceptible teenager to watch. Right. Like just for various reasons, not, not for anything other than triggers. Right. So like my nieces and nephew, the same thing, so, okay.4 (2m 57s):So then you set that right? And you're like, no, no, but then the kid or anyone can get a VPN, which then resets, I think the con, but I think you're still on the, you're still, you're still on the content warning site, which is blocking genius. You from watching genius. That is fucking, I mean, it's kind of genius in a way, but it's also so infuriating. It's like, come on, dude. I'm just trying to watch my fucking Kanye west bullshit.2 (3m 26s):It's literally just this race of like today I'm on top. And then the next day it's like, oh my God, they, they, they run the show. I'll never forget. There was a scene in the first season of the Sopranos where Tony and Carmel are having a problem with Anthony, or maybe it was with the daughter, a meadow and they're in their bedroom. And he goes, if she finds out, we have no power. We're screwed. And I laughed. It was the time I had watched it after I had teenagers. Yeah. Like that's what it is. We actually have no power. And yet the, the, the con that we're forced to do is pretend like we have all the power.2 (4m 12s):It's4 (4m 13s):Like2 (4m 13s):Covering4 (4m 14s):A metaphor also for life about like my mom's friend sent me something that said, you know, I forget it was like her friend had passed away and it's not fair and it's not fair. And I, and it isn't, and that's the thing. Like it, the truth is not fair. Like it sucks. But like, and, and we pretend that things are fair because if we don't, it's absolute chaos. Like if we didn't pretend really that red means stop and green means go, we'd have a real fucking problem. If we all rebelled and said, you know what, fuck you, green means go. And red means stop. And we all sent a mass media thing around.4 (4m 56s):There would be chaos. It would be2 (5m 13s):The bus. And I guess that's just the headline right there. That's like the headline in the story. Like you took the bus from LA to San Fran, Fran, because gas is so expensive.4 (5m 22s):Well, many things. Okay. So driving, it's really a grind on the five coming home, especially it's like, so rough, like, it can be a nine hour instead of five, six hours situation. It's crazy. Cause the five sucks. So, so that was the first like, and then gas. So I wasn't gonna drive cause I did the drive Thanksgiving and it was like, oh God. And then, so I was like, okay, well I'll, I'll just, I I'll fly. But then I'm afraid to fly. Even though the flight is literally 45 minutes. And then I was like, okay, but then because of gas, I said, okay, I'm going to just get my balls into it. I'm going to build up my balls and I'm going to fly. But then because of gas, you know, does jets use gas fuel though?4 (6m 6s):The flights really went up six San Francisco. You shouldn't even get a flight for a hundred bucks on Southwest round trip, like 120. No, no, two 20. So I'm like, oh no. So then I say, okay, well I'll take my Amtrak. Of course, which is actually what I, what I looked at first. But the track of it, it's a beautiful ride. It takes forever, but it goes up the coast and it's gorgeous. And you can like bid to get a fancy room,2 (6m 28s):Right? Yeah.4 (6m 29s):Well, okay. Well the tracks being repaired, so then you'd have to take a Greyhound. I'm not taking a Greyhound. So then I was like, okay, what would it take a fancy bus? And it's a flick2 (6m 38s):Of a fancy4 (6m 39s):Flex bus flicks. And Flix is big in Europe and they're charter buses and they have bathrooms and it's like assigned seating. And I bought two seats because I was like, fuck you. And it's so inexpensive, but still listen. I just, you know, and I worked, my dad was an addict. I have food addict issues. I get addicts. So don't come. People don't come at me for saying this. But the bus is a place where heroin, heroin, addicts thrive. Like that2 (7m 9s):Is the heroin addict doing on the4 (7m 11s):Bus nodding out. So there's two, there was a couple and I was like, oh, these are heroin addicts. They just looked so like, their luggage was all fucked up. They couldn't barely get on the bus. They were fighting young people, LA style tattoos. Fine. I am tattoos. It's not that they, but it was like this very specific look thin bedraggled, but not, not, not a curated look like more like, I'm just fucked up inappropriate clothing for the weather. Like big. Although in San Francisco is cold. Maybe they need something. I didn't know. They had like heavy coats on it's like 90 degree, all their shit. Right? Like they're, you know, I've got one little carrier. They've got like bags, like big things.4 (7m 52s):Okay. And that you can check, but you have to pay more for it. And their suitcases are falling apart. Okay. Fine. But they have cell phones, which is so, but a lot of people have cell phones. I mean, I I'm always shocked when people have cell phones that look like they shouldn't, I'm like, what? How do you maintain that? But anyway, so they get on an immediate, they sit in the, they got the seats in the way back, which is like a little bigger, but also your brother bathroom's gross, but they just not out immediately. They get on and like midfoot, mid fighting. They just like pass out and I'm like, oh my God. Like not out like out. And then don't wake up until we get there. Like literally it's an eight hour ride.4 (8m 32s):They don't get up at all.2 (8m 35s):Wow. They'd probably been awake. Yeah. Or I guess maybe not4 (8m 41s):How2 (8m 42s):It works with the4 (8m 42s):Heroin. Well, it depends like, I mean,2 (8m 44s):Not the heroin.4 (8m 46s):That's my new band name. That's our new band name. The heroin's got mics on two levels.2 (8m 51s):Yeah,4 (8m 53s):That was good. Gina. Okay. So no for me and my, my, my clients were a lot of them on heroin. And what would happen is like, you can't always get heroin. Right. Because it's expensive. And because I mean, it's cheaper than whatever, but it's expensive. And then, so you go without it and you start to detox and then you're up, you can't sleep. You're a mess. And then when you finally score again or whatever, get your heroin, then you just feel great for about half an hour. Then you pass out. It's just so it's such a waste, but okay. It's a process.2 (9m 25s):You know, although I would never want to be a heroin addict. I will say something like what's occurring to me. As you're talking about this couple is like, you know how with addicts, their life is very focused around just scoring or whatever. So to be able to have your life goals in these little chunks is really appealing to me.4 (9m 47s):Yeah. Well, it's a very, very, very specified job2 (9m 52s):World. Right? You make, I think when you're a heroin addict, you must have a really small world and your objectives are like, get score. That's at a place to4 (10m 1s):Sleep and don't get arrested and don't2 (10m 3s):Get, don't get arrested. Like there's something and I, I'm sorry to be cheeky about it. Cause people have really suffered with heroin addiction. I, I'm not suggesting that people, anybody should be an addict. I'm just saying like the idea4 (10m 14s):Yeah. To you. It's like, yeah, me too.2 (10m 17s):Actually even just the other day I was thinking I was watching somebody who had, what I imagined was probably a minimum wage job. And I don't remember what the job was now, but I just, I was looking at the person doing their tasks and I was thinking, yeah, maybe I should get a job like that. You know? And then 30 seconds in, I'm really trying to imagine myself. And I'm like, what am I talking about? Oh, people don't love working at McDonald's. Don't love, you know, whatever the4 (10m 47s):Jobs. And I will in, in adulthood in 30 dumb, in 40 dumb, like the last one I had at that fucking donut shop, I was like, oh, this seemed quaint. The chef was a jerk. I got in like a fight with the chef was so rude. Like here I am 42, right. Or 43 or something. And I was working at this place in Rogers park for like cash only under the table owned by these two young SIRS. They, whatever their business was working. But like the fucking chef was like talking shit about me. Like,2 (11m 23s):Is that a doughnut chef? No,4 (11m 28s):I should have said that. No, they also serve sandwiches. That's brilliant. That's brilliant. I was2 (11m 33s):Just thinking to myself, like, do you have to be a chef?4 (11m 36s):No, that's hilarious. But she was like, or they were, they were talking shit about me. And I was like, oh no, no, no. And I was basically volunteering there. I was so outraged. I was like This person that2 (11m 51s):To read an essay about that, you've got, write an essay about your donut shop stint.4 (11m 55s):Oh, I will. And I want to name names. They were fucking assholes. And also they, like, when I went to confront the PR, like I was like, I like when you walk behind someone you're supposed to stay behind. Right. But if you've never worked in the restaurant industry that does not come naturally. And also I'm really fast moving. So like I just met, she goes, you have to stay behind. And I was like, oh my God, I'm gonna fucking kill you. And then she would under her breath talk shit to me about to the other people. And so, and so I finally, you get them, you get them every time, this way. So I pulled the owner aside and I was really upset, like crying because she was treating me like shit. And I said, listen, what the fuck is this? And then the next, the person wanted to then that the owner was like, look, this lady is doing as a favor by working here basically because we have no one and she's working on under the table.4 (12m 42s):So then the, the, the person wanted to talk to me, the chef and I talked to her, I'm like what? She goes, I'm sorry. If I come off a little, I go, oh no, no, you don't come off. You are. And I said, I don't know what's happening here. I'm like, just try to do my job and go the fuck home and make my money to pay my cell phone bill, bitch. Like I wrote that and then I just quit. I was like, fuck all. Y'all. So, no, it sounds really quaint, which is why I fucking get those jobs. And then you get in there and you're like, oh, this is how on earth.2 (13m 11s):Oh God, I am sure it was, I4 (13m 15s):Don't do2 (13m 15s):It. Yeah, no, no, I won't. I will not do it. It just, it just periodically, it just occurred to me4 (13m 20s):Because there's a set skill set set of tasks that no one eat you ma I imagine that no one is like on their high horse. No, no. People are still on their fucking high horse in minimum wage jobs. There's a hierarchy of fucking assholes anywhere you've.2 (13m 37s):But then I did get to watch the third episode of the Kanye documentary and then, okay, well, I didn't finish it though. I'm only like 20 minutes into it. It's so sad. Right? It's going to go on. It's going to turn4 (13m 50s):It. It does. But in also in an unexpected way, what I will say, I think we should talk about the third episode next time. Okay.2 (13m 58s):But4 (13m 59s):The first two, for me, fucking amazing in the storytelling, whether, regardless of how I feel about Kanye west, which I don't feel any kind of way other than, I mean, I just, I I'm talking about the, since we're about to make a documentary, right? Like I'm looking at, I love the first two. I love cooties filmmaking. And the first two episodes, it then takes a turn on the third, but like the first two are so packed with information and visuals and, and storytelling.4 (14m 39s):Like, I loved it. You and you also get a S he such a great job of like showing a slice of time, you know, and, and, and all the characters in it and real life people we know and get glimpses of. And I just thought, and for me, the most moving part of it, I mean, I have real lot of feelings about Donda and Connie's relationship and Donda herself. I have a lot of diagnoses for both of them, but I'm not, you know, like, I feel like she's got bipolar. Like, I think there's a whole thing going on there, but what I found, I have never, I have never been so moved for, for the hustle and the perseverance of a human being and the just sort of neutral and unwavering.4 (15m 32s):We know it's not really true, but like they're like, but the unwavered, what I saw was an unwavering unshakable, almost naive belief in oneself.2 (15m 42s):This is what I wanted to talk to you about. This is what I wanted to run by you. Cause the, the connection between talking about that, me working on the documentary and, and this a, I agree with you, Cody is an amazing documentarian. And we could totally learn a lot from the way that he weaved his own personal story into that, his relationship with this, you know, mega personality. But yeah, you know, the scene where he's talking to a bunch of kids and he's, he's talking about self-compassion, I mean, he, he has a point, you know, what, what should you, you created an amazing piece of art and somebody compliments you on it and you you're supposed to pretend like you're dumb.2 (16m 29s):You all, you don't agree that it's, that it's amazing. You know, like there's something to be said for that. And there's something to be said for what you're just describing the unshakable confidence, but I want to hear what your thoughts are about their relationship.4 (16m 45s):It was interesting to watch the process of what I would call a simultaneous process of infantilizing him as well as idolizing him as well as parental defying him, as well as believing in him. It's a combo platter. And I believe from watching her and watching what I noticed in her mannerisms and his that I think they both had a mania thing going on, like in her eyeballs. So I have become really good at looking at people's eyeballs.4 (17m 26s):And I notice in the documentary, as it goes along when Kanye is manic, his voice goes up in pitch and his eyeballs looked different and she had this eyeball situation, which is this sort of darty, Desperate eyeballs. And I noticed it in my clients all the time and I'd be like, oh, they're manic, they're manic. It's not an, and it's like, hypomania, it's not for her. But like, I saw that in her. And I was like, oh, like, what's happening? Where am I going? What's happening? Who can I okay. And, and covered with a bit of like, you know, self-help, you can do it this and perseverance, but it's, it's all a combo platter, but that was my take.4 (18m 15s):What was on their relationship was like a, I need you, you need me, what's happening. I'm worried about you, but I'm going to then hope that by, by really pumping you up, that I'm going to pump up the mental illness away.2 (18m 31s):. Yeah. Well, I, I agree with what you say about the, their relationship, their dynamic, and it makes sense that yeah, maybe she had a touch of the bipolar too. What I was thinking about it is, and like I say, I haven't gotten through the third episode, but what I was thinking is it's so evident how meaningful their relationship was to both of them, but in this case for, for him and that he could just maybe spend the rest of his life, chasing that relationship, chasing a woman who will fall over him, the way that she did.2 (19m 14s):I mean, really what it seems like, what he needs is a person who kind of use it as their sole purpose in life to, to, to support his genius, which is why he probably makes a terrible partner, But that the, she gave him like this, like she was mainlining love to.4 (19m 35s):Yeah.2 (19m 37s):And you know, he's unlikely to find that any place else. Right,4 (19m 41s):Right.2 (19m 41s):But he's still looking, I think, Well,4 (19m 46s):And then it's really interesting. So like Cody gave up his whole life to, to follow him and it wasn't enough. Like it, it becomes not enough. And then when the person literally is removed by death, then what do you do is what we're seeing in the documentary. But like the it's, it's a it's, it's so fucked up because I, I feel like from watching from the outside, she must've felt like she was his only hope. Right. Which is which, okay. Which I'm sure is it's2 (20m 18s):Hard to me was her only hope.4 (20m 19s):No, she was, she's like, I'm my son's only advocate. Right? My old, his only hope for love and happiness comes from me ultimately. And whatever went down in his childhood, I have to make up for what other, all of them, with the other, all the mothers stuff happens. Right. I can imagine. And then it's like, yeah, it sets him up to be, like you said, chasing that the rest of his entire life. And she's not going to be around forever. And she did the best she could. And she did so much compared to what a lot of people do. And he's, it's just, it, you throw in mega stardom in there and it is a recipe for absolute meltdown.2 (21m 6s):It actually, it really relates to the thing we were talking about when we started talking today, which is about limits and limit setting. And I think I mentioned to you that I'm also reading this book about Sandy hook conspiracy and the straight line between Sandy hook conspiracy and the January 6th instruction. But in the part of the book where they're talking about Adam Lanza and his mother, I hadn't heard this before that, you know, he, he he'd been flagged in the psychiatric system, you know, going back since he was a young boy and I don't know why she opted out of treatment for him. But what I do know from this book is that what she strove to do was keep meeting his needs wherever they were.2 (21m 53s):But because he was so mentally ill, his needs were things like w w when he had his, the intake at Yale, the clinician noted that he said to his mother, you need to stand with no part of your body touching the wall and that she just did it. And that at home, it had gotten too, there were things he couldn't have cooking odors, curtains, door knobs.4 (22m 23s):Yeah.2 (22m 24s):And she just kept meeting the need. And this was something that I really relate to. Hopefully I have not going off the rails like that, but when your child is suffering and what they're telling you is I want this thing, the decision to say, I know better than you. You think you want this thing, but that is not the right thing for you and for that child to be screaming in your face or not. But, you know, with all of their energy, all of their conviction, they're coming to you saying no, this with my kids, it's the screens.2 (23m 4s):No, I need my screen time. And I'm going. Yeah. But you, you can't know what I know, which is that you, it's not good for you. It's simply not good. And it's just so hard to tolerate when your child is enraged or hurt by you4 (23m 22s):Suffering the suffering.2 (23m 24s):So nobody said any limits for Kanye, and he's now floating like a balloon in the ether, right?4 (23m 32s):Yeah. It's, it's really bad. He's now he's now has restraining orders. And now he's got the Grammy said he can't perform there. So now the limits are being imposed that are huge. And I don't know what's going to, and I also, from working in Hollywood, what I noticed was it is so easy when you have money and power yeah. To, to develop a team that will, will do what you're saying. That, that Adam Lanza's Mrs. Or miss Lanza did. It's so easy to have that bought and built in.2 (24m 15s):And I will tell you this, my, one of my very most successful treatments that I did when I was at private practice therapist is I treated somebody with very, very severe borderline personality disorder. And it was a kind of situation where the client would quit all of the time, you know, quit, quit therapy. And then, and then you would do this dance of like, they, you know, they don't really mean it. So you don't, you don't give up their appointment time because they're going to show up. Sometimes they're going to show up and act like nothing happened. Like they never said they were going to quit. So with this one person that I've been working with for a really long time, and we had a good relationship, which, which is to say yes, she was very, very sick.2 (25m 4s):And she was very, very difficult, but also she had so many great qualities that it kept me. Like, it kept me really invested in her, but the 50th time or whatever it was that she quit after I, she was also in this group that I was running and she like got violent Sharna in the group and left and whatever. Anyway, this time around, when she quit treatment, I said, okay, we're done now. And then she showed up for her next appointment. And I said, no, we're, we're done now. And that precipitated a year long hospitalization for her, but this person is now doing amazing, honestly.2 (25m 49s):And I knew in her family dynamic, her parents were afraid to set limits with that because she was a very, very strong personality, but it was only through the limit setting anything. It had to go all the way to the end, right. For her and, and to, to reject and decry and be victimized and blah, blah, blah, for then her to like follow her dream College. She, she, I can't say what it is obviously, but she has a job that was the job of her dreams and that she learned, she only discovered was the job of her dreams in treatment and that she could have only gotten to do after having really had to contend with actually living with the limit.0 (26m 42s):Well,3 (26m 55s):Today on the podcast, we are talking to Josh . Josh is graduating this year with his MFA in directing from Cal arts. And he formerly had a whole career in Chicago as artistic director of the Haven in Chicago. And he has a lot of interesting insights about his experience of being in school again, after having well launched into his career. So please enjoy our conversation with Josh Sobel.2 (27m 36s):So Josh was just explaining the Cal arts is, I was saying, is it a conservatory? And he was saying, it's an art school in the truest sense. So go ahead and repeat what you're saying.6 (27m 44s):Yeah. So like Travis, who's an alum of like Yale back from the Robert Brustein days of Yale. He he's like, look, Yale school of drama is always considered like, Ooh, Yale school of drama, but he's like, if you think about it within the larger Yale structure, you've also got like the business school and like, you've got the journal, you've got the medical school, you've got all these things. So like within the theater universe, it's huge, but within the structure of the university, it Yale, you know, and so the beauty of Cal arts in a way is that it exists outside of that larger sort of academic structure. It isn't part of a university. It is an art school with a theater department.6 (28m 27s):And there's something that, that is really freeing honestly about that. And the Cal arts in particular sort of leaned into in terms of its sort of generative and, and experimental sort of Ben it's, it's been an interesting experience. Yeah, please.2 (28m 45s):Gina Bridget went there. Yes. Yeah. That's what I'm saying. I think she's the another co Cal arts alum we have.6 (28m 51s):Well, and it's funny, cause you mentioned they were an acting alum and the acting program I have to say is in particular fascinating and unique. And I love it because unlike a lot of programs I've encountered and I've like taught in academia a little bit before I went in, before I started as a student in it, it's like very few programs encouraged teach and want their actors to be generative artists in their own. Right. And bring that to the table in the room. And honestly, as a director, I'm like, it's a gift. It is such a goddamn gift in terms of the collaborative process. Like I, I can sometimes when I'm hitting my own moment, like really feel comfortable being like, I need like a physical gesture representing a panic attack in slow motion that moves across the stage this way, take third, take 30 minutes.6 (29m 44s):Here's some music and an object.4 (29m 46s):Oh God, that sounds like the greatest thing I've ever heard.6 (29m 51s):I did something similar with a particular actor in my thesis show thesis show, quote unquote. And like she killed it. Oh my God. Avalon Greenberg call. She's about to graduate from the BFA program and she's, or a couple of years. And she's incredible. But like she ran with it and these actors are sort of prepared to take that and like, just make shit and be like, is this what it is? What does it need? And then I can sit there and like sculpt, we can then like work together to be like, Ooh, let's expand that moment out. Let's tighten that bit. And we're then working collaboratively on this other thing.4 (30m 25s):So amazing Josh, like, like I, I, I do this every time we talked to someone that I really like, and I like their vibe and I like how they're talking about their education. I'm like, oh, I'm going to apply there. And then I remember that I did apply to Cal arts for undergrad and I got a call back, which was like the greatest thing, because I was a terrible actor. And I like in the truest sense, like what you're talking about, I would have been like, so, so I am, so I am so glad to talk to you because I, when you say things like that, about how you direct as well, and I'm not a director, Gina directs, I don't direct, but like I want to work with someone who says shit like that.6 (31m 7s):Well, I, I really, I don't know. It's funny. I, you know, outside of like grad school, when I was in undergrad, I went to undergrad at Oberlin college, which is really sort of a diamond in the rough school for theater. It's like, and it's a lot of OBS do well out there. And it's weird because it's like, it's not known, but it's really good. But while I was there, I also did a semester at the O'Neill and I don't know if you're familiar, the national theater Institute. Yeah. So I, I did fall 2007 and like, I really lucked out my partner and I were a year apart actually, before we ever met weird small world, but we both walked out because we've got there right at the time as this particular artistic director was there, Michael Cadman, who was a, an alum himself of the Royal Shakespeare company.6 (31m 52s):And like he understood ensemble. It's funny. Cause I always like, what am I, I love Chicago and I miss Chicago so much, but one of my like little gripes with Chicago is that the word ensemble gets thrown out a4 (32m 6s):Lot.6 (32m 7s):And I, I have a very particular opinion about that because it's like, I think ensemble sometimes it's just meant to mean or thought to mean like a collection of actors, you know, or the company members, you know, the, the Steppenwolf ensemble or the straw dog or whatever. And I'm like ensemble is a value. I think ensemble is, is some it's about how one sits in the middle of a collaborative process. It's about how the threads are drawn. Not even just in the actors, it's about the threads are drawn outside to stage management, to producing, to designers, to everything. Like, and we're all coming together to sort of generate something together, right?6 (32m 49s):Like that's ensemble and Michael understood more than anyone I've ever met in my life. Like how to nurture, how to build, how to find the ensemble impulse in people. And he would just build semesters of the young students and sort of demonstrate that for for four months. And yeah, that's sort of been a foundational thing from that point forward. So I'm, I'm always ready to like chill for the O'Neil. Like, I love the, I love being,2 (33m 16s):Yeah. I actually live kind of near there. I live in Connecticut. Yeah. Oh, that's6 (33m 21s):Brilliant.2 (33m 21s):So you just made me think about something. Has any group of theater artists ever called the ensemble? Also the, the whole entire staff, like everybody on crew, because it is such a group effort. And we as act, this is one of the big things about, you know, going through an acting program, you just, and maybe it was just me, but you just think like, it's all about this. It's all about the actors and you just think everybody else is there supporting what you're doing.4 (33m 55s):Well,6 (33m 56s):It treats it like a technical term, right? It's like, it's a category. And rather than like, no, it's actually about an energy. It's about a trust. It's about something else. And I will say to answer your question like that w when I was a strong dog ensemble member, that that was one of the things I loved most about being on the straw dog ensemble was you had designers, you had managers, you had people like from every aspect of the creative process, sort of understood as part of the ensemble. It was all framed that way.4 (34m 24s):It's interesting. Like, I feel like what happens maybe is like, so take Steppenwolf because everyone talks about Steppenwolf as the original ensemble, which really you're right. A side note tends to mean in Chicago. And I can say this because I'm from there means that nobody is prettier or more famous than, than other actors. Like, that's what they mean by ensemble. Like that's how people talk about that. They're like, no, this is an ensemble piece. Meaning that even though you're really pretty, you're not going to be the star, like to someone, they never say that to me. You know what I mean? Okay. But anyway, side note, but ensembles. So when it's interesting, because it's like when a theater gets bigger, meaning a broader audience, more money, I feel like there becomes a really strong, clear delineation between technical staff and the actors.4 (35m 15s):And it comes, becomes compartmentalized probably because they have to run a freaking business with a multimillion dollar budget as we're like straw, dog. Like you can kind of stay it's like that storefront. It kind of, you can really get in there, which is how stepping will start it. So I think what we're talking about is the capitalization of the,6 (35m 33s):Oh, always, I mean, honestly, always all the time,4 (35m 37s):But yeah, but I'm, I'm curious about she and Gina, did you say2 (35m 42s):I did and I'm so sorry. I forgot to say Josh Sobell congratulations. Your surviving theater school. You're almost done4 (35m 49s):Art school theater school, you know, it's all the thing, but yeah. So I wanted to ask, I guess, take it back before I get on the runaway train of like, did you start out as a direct, like where you would act what's what was your path to the school of Cal arts? I guess6 (36m 7s):I've, I've been a director most of the time. I of course did a little bit of actually got rather late. Like I'm not one of those people who was like really involved in a lot of things when I was really, really little, but I had sort of a formative experience in high school as an audience member. My school was really remarkable. I, I unfortunately should catch up with them and see what they're doing in their theater department. But at the time, like we were a high school that was doing like Ian ESCO and Tom Stoppard and shit. Like, it was pretty cool. I assistant directed rhinoceros my senior year of high school, like Steve Rochester, New York, right in high school, shout out to Steve angle, Mr. Angle.6 (36m 47s):He was incredible. He also was the AP lit teacher and ran an incredible AP lit class. Like, oh my God, we, we read and watched just incredible stuff. And so actually his show, but he was one of the other directors there did chorus line and they did like an unedited chorus line in high school, which I also very much admired. And Paul's monologue hit me like eight when I don't know how familiar you are with, with the show. But like, you know, it's a classic Broadway, 1970s. It was sort of groundbreaking at the time because it was all real interviews of people who were all fighting chorus.6 (37m 27s):Of course, Paul Paul's monologue when he sort of finally breaks down and tells the story about his, his parents meeting him at the drag show in the back of, I lost it. Like I was a weeping mess. I don't know. And I had not had that particular experience before. And I walked out, I remember going home nerdy, like misfit fucking high school student hadn't found themselves yet and was like, I feel different. I don't know how I don't, I can't quantify it, but I feel like I am moving through the world differently than I was before I had that experience.6 (38m 8s):Wow. I want to do that. And that was, that was the moment. And so I started auditioning a little bit, but I always got interested in directing because I, it was the idea of like creating that holistic experience for an audience member, the way it was created for me. And so we also had, I think it was like an official partnership, like you could license with the 24 hour plays in New York. So my high did the 24 hour plays every year. And so I would stay overnight at the fucking school and, and do and direct. And that was sort of my first directing configuration. I was terrible. God. And my first few shows like first few shows at Oberlin were terrible.6 (38m 55s):Why, why? Oh my God, too, in my own head, I'm still too in my own head. It's the main thing I'm working on. I'm a very cerebral artist and that's not necessarily a bad thing. I just am seeking balance. That's part of the reason I went to Cal arts and Kellogg's was actually really the right choice for that in a lot of reasons to sort of break down some of my more cerebral and rigid habits. But I just didn't like, I, I was in my own way. It was that classic. Like it, my insecurity, I was second guessing. I was, it was actually Michael Cadman. It was the O'Neil. That was the turning point of that as well. So like I, anyways, I went through high school, got into it, went to Oberlin, was sort of jumping between theater and film got focused in theater because I liked the linearity of the process.6 (39m 40s):It just fit my brain better. You can really build the Dominos in order and watch them fall. And I love that from a process standpoint, joy. And so I went to the O'Neill and I was still like, I was overthinking and I was over like complicating and convoluting and Michael Cadman who I'm the final day of the program. I was like, you asshole, you couldn't have said this to me like weeks ago. I'm the final day of the program was like, you're very, very smart stop trying so hard to prove it.7 (40m 19s):Ah,6 (40m 20s):And that was, that was another game changing moment for me. And I, I started sort of stepping back and letting myself have more fun with it and just found myself sort of like what were my passion projects? What were the things that made me feel the way I did it, chorus line in a way. And my first show back in undergrad was a cabaret. And that was, that was a really huge, huge show for me. And I was very proud of that show and still have, like, I watched the video sometimes I was like, oh God, those transitions fucking suck. But, but yeah, directing, directing has always been sort of my thing because of that idea of like, I get to sort of, I don't know.6 (41m 4s):I, I, it's funny because so many people think about directing in this very hierarchical standpoint, right? Like they like the sort of like top-down, they get to sit at the head of the thing and create their vision. I challenged that constantly. And it's funny because people think by challenging that you give up the sort of directorial authority I call bullshit. I I'm interested in what I like to refer to as horizontal hierarchy. I say, I refer to it. I didn't invent the phrase, but like I've sort of taken it and I really love applying it to collaboration. I like the idea that as the director, I'm sort of sitting in the middle, I'm the same plane as everyone else surrounded by all of these brilliant fucking artists.6 (41m 48s):And I get to be like, Ooh, yes, it's a bit of that. It's not quite that. Can we bring it over there? I, yes, let's bring that in and pulling all of it towards the middle. And I still get to, by virtue of being in the center of a doll, just make decisions I get to make, be the arbiter of the quote, unquote vision or whatever you want to call it. But it's not that it breaks down the hierarchy in a way I'm not above anyone else that doesn't have to be my idea. It has to be the coolest idea. And so by sitting in the middle of it, I just get to sort of help tie the threads together in a way that feels like the audience experience we're going for. Like, that's my job to God.4 (42m 30s):Interesting. So it's so, oh yes. And I'm so curious as to why more directors don't do a horror. Is that, is it just an ego thing? A horizontal.6 (42m 47s):Yeah. Yeah. I think there's a lot of fear. There's a lot of like, I'm not even going to call it insecurity. Cause I actually think that doesn't do it justice and I think it's too easily dismissible. I think it's fear. I think there's a lot of fear. I mean, if I'm really Frank, I'm confronting it in certain areas of my program right now.4 (43m 25s):Okay. Wait, so you're saying that I just want to reiterate for my own brain because this happens all the time in all organizations across the board. So I'm really, and we're like, we were talking about it yesterday sort of. So, so you, you, you, there is an atmosphere of like, we want to make change, right.6 (43m 43s):Faded a stated goal,4 (43m 46s):Right? Not an atmosphere. Okay. So a stated goal, which a lot of theaters that I am familiar with and institutions are making these statements right now that the statement on paper or on the web or wherever it is saying, we want to take your feedback and make change. And it usually revolves around the word change. Like we're open to change. And if we're always, if we're honest, nobody's fucking open to change. We fucking,6 (44m 14s):And that's what we're talking about. It's the same fear to me. It's the same fear that you find in directing. It's a fear of some, some kind of loss of authority. It's a fear of some kind of loss of control. It's the fear of, I don't know. And it's so funny, like all of the ways you encounter it, because then yeah, you go and you actually say, here's the thing. And like I did this recently and I got yelled at, I got, and again, I've been, I've been working in Chicago theater for a decade before this. I don't give a shit. I was an artistic director, right. Like I was artistic director of Haven, Chicago. I don't like, this is, I don't need your ego. So I think it was actually kind of fun.6 (44m 56s):I think whether it's directing, whether it's artistic directors and institutional leadership, whether it's corporate leadership, whether it's, it's all of this, it's, it's, it's a full each year that, that somehow you're going to lose your Control.4 (45m 10s):This is so classic in, in terms of, so Gina and I were both therapists for years and look, and obviously we were children of parents. So I would go to my mom and say, this is the exact same thing. I would go to her and say, Hey mom, you're pretty abusive verbally. And she would say, but I'm the best mom. I know how to be. And at least you're not being beaten. Like I was beaten. And I'm like, okay. Yes, true. That all that is true. I, and you're still abusive to me. You're hurting me and sh and whether or not you want to make changes. That's the thing.4 (45m 50s):So we, we are literally reenacting parent child relationships in every walk of life. Like this sounds like a conversation a kid might have with their father where the father is like, well, I provide, we we're great.6 (46m 8s):And it's not about perfection. Like, it's not about like everyone and just like, we're all human beings. Right? Like I, I never wanted to feel like, and that's sometimes my problem with like, like I'm, I'm as left to center as you can get in a lot of ways, but it's like my one problem with sometimes a lot of left wing stuff is w where it's like, I think there is a purism that sometimes get, gets into it. And it's like, no, like we're all fucking human beings, right? If we believe in the ability to change and restorative justice and all of these things, then we have to actually believe that people can improve and get better. But it's like, there needs to be that honest interest in improving and getting better. There needs to be that genuine interest in it. And it's like, it's one of the things I was really proud of that we built it at Haven in Chicago with4 (46m 47s):Such a great theater. Gina Pavan is amazing. We're going to be there in the summer. So maybe we'll check it.6 (46m 53s):Ian Martin, like it's so funny. Cause it was such a, it was also a gift to really be able to do a transition process with Ian, you know, cause we really tried to be in, I've been part of some really unintentional transition processes. So like there were a lot of reasons where I really felt like Ian was exactly like, not, it wasn't even about sustaining what Haven had been doing. It was about how do we build and evolve on what Haven had been doing. And so Ian was sort of perfect. And we built the structure that you don't see very often where I, he was, yeah, he was my art, my associate artistic director for half the final season. And then we switched and he became artistic director and I was his associate artistic director for the other half of the season.6 (47m 36s):So he could have the responsibility and be in the decision-making position, but have the institutional memory sort of right at hand. And then it's like, and then I step away. So like I bring that up because there was an intentionality that we tried to bring to, like, we're going to be a theater company, let's be a theater company. Like you mentioned the business. Like let's, let's try to be a business, but let's try to be a next generation business.2 (48m 2s):And by the way, statements statements are to change as you know, sex is to relationships. Like it's a good start, but like you have to do more6 (48m 12s):Exact than just exactly.4 (48m 13s):So I guess the question is, what is it for me for me anyway? What is it in you, Josh? That is the kind of person because what is it? And there's a reckoning, obviously that I talk about a lot in, in terms of American theater and theater in general and the movie industry, the reckoning that's coming or in is, is that part of your drive right now to do this? Or it sounds like you've always been this sort of way, but why the fight? What, what, what about the fight?6 (48m 43s):Yeah, I think, I think, I think it's got it. That's such an interesting question because it's making me think in a chicken egg way, like is my ethics and my politics, like in here, like I don't know, the weirdest thing just came to mind and I'm going to follow that impulse.4 (48m 58s):Great.6 (48m 59s):Do it. And forgive me if I get a little bit emotional right now, it's it's my dad. If I'm really being honest, my dad is actually, he's not in the arts, but he's very artistic. He's a cellist. He's a musician. His odd actually, if you go to the Dem theater in Chicago, where Haven is the space that Haven exists in is the Bookspan theater specifically, the Janet Bookspan theater. Janet Bookspan is my aunt, his sister who was a major opera director, vocal coach, teacher, performer, actor assisted how prince back in the day, like holy4 (49m 40s):Shit.6 (49m 41s):Yeah. So like, and I have it on my mom's side as well, but my mom actually is an artist. She's a painter, but my dad, my dad is a radiation oncologist. He's a cancer physician, but music and art has always been a very big part of his life. His family, my life, he actually sidebar. Cause this is just a fun thing. And I hope this gets included. Cause I love bragging about this. My dad talk about politics and, and art colliding and art ed creative ethics. My dad has always been a big fan of Dr. Seuss's the snitches, this exists. You can go online. It's amazing. I'm so inspired by this. He was part of the Rochester academy of medicine and they have this amazing old building that has a roof.6 (50m 23s):That was basically, it's like a mansion that was donated and it's got this that was built for chamber music. And he developed relationships with the Rochester Philharmonic re developed friendships with musicians and created basically a chamber trio to play at the Rochester academy of medicine. And through this met a composer as Spanish composer, living in Berlin, named the Lorenzo. Palomo, who's pretty bright. His music is pretty outstanding and ended up commissioning a piece of music for this trio. And one thing led to another. And we found out that since my dad was young, he had believed that Dr.6 (51m 6s):Seuss is the snitches one. It was one of the most impactful, universal and effective lessons about acceptance and like anti-racism that you could find. And it was always his dream to have a piece of music, Allah, Peter, and the Wolf that was composed to be performed in tandem with a narration of Dr. Seuss's the snitches. So you can license this now on music theater international, because he did it. He commissioned Lorenzo to compose a piece of music for Dr. Seuss's the snitches. And we also by hooker by crooked premiered at my Alma mater at Oberlin and has since played around the country actually.6 (51m 52s):And I believe internationally. And, and it was all because he wanted to spread the message. It was because he wanted to use art to create an anti-racist piece of art. And the other cool thing is through a connection with his niece who ran the department of cultural affairs in Miami Dade county. She had a connection to John Delancey, who you might know as Q from star Trek, the next generation who did the original narration, the premiere. And so actually it's all on YouTube. You can hear John Delancey doing the speeches. And so like that's an aspect of my dad right there.6 (52m 33s):Another aspect was that I'll never forget this story. He actually built, he in Clifton Springs, New York built the cancer center, finger lakes, radiation oncology, because there, you know, there was a large elderly in particular community out there if I recall. And so, you know, as people are getting later in life, you know, biology happens and access to cancer treatment was non-existent except like 45 minutes or more at least minimum drive out of the way, if not hours out of the way. And especially as you're getting older, that becomes less and less sustainable for radiation treatments, for chemo treatments for all of these things.6 (53m 15s):So he found funding and worked his ass off as I, in some of my youngest days and built this cancer center from the ground up. And there was a day that I remember very distinctly hearing this story where as we've all been in any doctor's office, they were just running like, you know, three, four hours behind and sorry, I get emotional tug this story. It's so funny because it's like, that's, that's my true north in a way. You know, he, he sent his technicians out. This was back in the day when like Rent-A-Center was still a thing and blockbuster and shit, and like went out to get like sent them out to get like a television, sent them out to get a bunch of movies, sent them out to get like a sandwich platter and just showed up and basically were like, Hey, we're sorry.6 (54m 11s):We're we know we're running behind. We just want you to know, we haven't forgotten that you're here. You know? And like when does that happen at a doctor's office? Like when has that ever actually happened? Right. That's my,2 (54m 27s):Not for nothing, but my dad sold x-ray equipment. I've met a lot of radiation oncologists, and it's very unusual. Like there tends to be kind of a personality type with people who go into radar and it, it's not that what you're describing. So your dad must be a really remarkable person,6 (54m 45s):But yeah, no. And so I think it was a values thing. If we really want to talk about it, it's a values thing. It's, it's, it's a sense of how can we make this better? Like how can we be people first? How can we like again, we talk about Haven, right? One of the things I used to say, and I, and I would try, I tried to work hard to embody was like, oh, sorry, this does plug into our original conversations to bring it back perfectly on topic. One of my first shows I did in Chicago, I did a production of a play called xylophone west by Alex who's becoming a leg. Yeah. Alex is great. He's he's rising really well.6 (55m 26s):And like, we, he was actually, when I was the associate director of the summer Oneal program, he was a playwriting student when I was associate director. And that was our first. So it's cool. Just like, as we've sort of grown together, it's been amazing. And we did a reading of it and I, we have very strong opinions, especially because of the O'Neil being sort of a hub of new play development about what new play development is. There's a lot of bad, new play development. There's a lot of bad talk-backs, there's, there's a lot. And really it comes down to the difference between responsive feedback versus prescriptive feedback and how to cultivate that and understanding the difference.6 (56m 6s):And these, this artistic director did not understand this. And well, similar to what we're talking about, we were like, Hey, can we structure the talk back this way? Can we, this would really help Alex, Alex would say, this would really help me, like understand my play better. And artistic director's response was, I'll never forget this. Just remember who's the employer and who's the employee.4 (56m 34s):Right, right,6 (56m 35s):Right,4 (56m 35s):Right.6 (56m 36s):Case in point to everything we're talking about. And so like, I, it's sort of, when I think about like the sort of challenge to, sorry, I completely lost my train of thought.4 (56m 49s):No, no. What we're talking about is no, no, it's fine. It's when we're talking about a lot of things.6 (56m 53s):So4 (56m 54s):That's okay. What we're talking about is like this whole idea of like that your mentor wasn't your mentor anymore and why people don't want to change and the message versus what is actually happening in.6 (57m 6s):Yeah. Yeah. I'm trying to remember why I specifically brought up xylophone west, but it was like this idea of, I don't know. I think about this, this, I owe my, my dad my values. Yeah. Value system. That's right. Thank you. I just needed to hear about, yeah. Yeah. It's a value system thing. It's like, that tells me what that person's value system is. Right. That tells me sort of the culture that they built. And for me as at Haven, sort of taking a note from my dad, right? Hey guys, that you're here. We see that you're here. The way I would phrase that as an artistic director was like, yes, you are our employees. Let's be like, it's not that, that isn't real. Like we are, you were signing a contract to work for us.6 (57m 49s):We have expectations based on their contract. You are also a guest in our home. And that is our responsibility. Like as leadership as a company, as an institution, as a director, like you are, you are a guest in our home. This is our home. We are responsible. Especially if we want to talk about mentorship in academia, some of us are paying $50,000 a year,4 (58m 14s):Right.6 (58m 15s):Be in your home. Like you have all of the control of this space. You can, you can make this, whatever you want it to be, and we're paying you to exist inside of it. And, and it becomes a question for me of how do you take that responsibility? Like what if, whether it's an academic responsibility of like, we are literally paying for the privilege of this, or in a professional standpoint where it's like, it's, it's a little bit in the reverse either way. It's like you are in the position of power. You are in the position where you can like build culture that I use, that I find that word comes up a lot. When I rant about this, which I rant about4 (58m 53s):Culture, building culture,6 (58m 54s):Building culture, whether it's academic, whether it's professional, like that's the responsibility. And if you don't take that as the responsibility it's so,4 (59m 3s):Okay. The, the, the other thing that I was going to say is you had a moment where, so I have these moments where I say to myself, usually not out loud, but you kind of almost said it out loud, but you didn't either. Which is I say, my mama did not come to this country as an and work her ass off for this shit. And your moment was, my dad did not build a fucking radiology oncology center and then get Rent-A-Center furniture and sandwiches for me to be doing this shit like that is that moment. Well, I think, well, that's what I heard there. Everyone has a line and a true north of like, wait, wait, my legacy is not going to be, this is not going to be not saying anything to you.6 (59m 47s):And legacy is, is something I think about sometimes, but it's like, it's not even about that per se. It's like, I see what it means to people. Right? And like, if, if we believe in our own bullshit, like, especially as artists, you know, because artists are, are at the forefront of talking a lot of shit about like empathy, right. About community, about humanity, about seeing each other about uplifting each other about making the world a better place. And it's like, well, that's all well and good. But like, are you like how? And it's not even just like, again, like there's so many ways to do it, but I think sometimes we take for granted the small ways of doing it.6 (1h 0m 29s):I think sometimes we take for granted the like, what if we just buy everyone dinner? What if we like make a concerted effort to pay people a little bit better? Like, what if we, what if we show our work in that? Like, what if we actually believe in the transparency that we add? Like so much, like we talk about transparency so much in our industry, like, or rather not in our industry, I should say like artists talk about transparency in the world, right? Like we want corporate transparency. We want more governmental transparency. What are some of the least transparent motherfuckers?2 (1h 1m 4s):Yeah. I feel like I know why that happens in theater too. It's because there's no money. So everybody goes into it with all of their, like very theoretical and ideological approaches. And when you get very cerebral, very theoretical, you forget about things like, oh yeah, people don't want to do 10 out of twelves anymore because it's, it's, it's too fatiguing. And it actually works against the thing that they're there to do, which is create a new each performance, like being able to offer something fresh each time. So it, it, that is actually an area in which it's helpful to think about theater as a business.2 (1h 1m 47s):Because if this, if you were running a seven 11 and you had an employee, you'd have to have a bathroom, like it's, you know, you just think about the pragmatic things more when you're thinking about it as a business.6 (1h 1m 57s):Right. And, and it's like, I, and for me, it's like a lot of these things are considered mutually exclusive for some, or they're treated as mutually exclusive, but like, you have to, it's like the business and the sort of like cultural, ethical side, somehow don't mix. And I just don't agree. I don't agree for a lot of reasons. I don't agree in part through the Haven experiment. You know, I it's like, look, we, we're still not making money. And we, we, I want to say we were very privileged to have particular financial support. I don't want to take that for granted that we were not starting in the same place as a lot of other people. And I, and I don't take that for granted. It's not a brag. It's like a, like the bootstrap Smith. Like I want to make sure that it's not like, you know, taken for granted, but it's also like, there's still this idea that people won't show up sometimes like that, like literally I've had other artistic directors talk to me about Haven work in Chicago being like, what are you sure there's an audience here.6 (1h 2m 53s):I'm like motherfuckers. We just sent like 15 people away at the door for Isaac Gomez, horror play. But no one else would produce like, like why, what are we it, and those decisions are made because of business, right? Because, because how are we going to sell it to Chris Jones? Because like, how are we going to, and I, I, we found time and time again, that there is an audience for this work that we were able to at times even make money on, like compared to what we, what our show to show budget work. We were able to make money back, like, and we were paying people, you know, it still stipends, you know, not what they're worth. I don't want to pretend we were ever able to pay people what they worth.6 (1h 3m 35s):But we were able to pay people, usually double the typical storefront stipend it's like, and, and still keep ourselves on a typical like budget that I was used to for other storefronts. So it's like, it's this question of like, why are these things treated as mutually exclusive on a bigger scale? Look at center theater group right now, an article just got written. I got to see slave play out here, which amazing production also Chicago, shout out. I got to see cause he's under studying. And I got to see him perform that night. Rashad hall. Brilliant, brilliant. And his2 (1h 4m 11s):Shot6 (1h 4m 11s):Is brilliant. Oh my God, his Phillip just broke my goddamn heart. Oh my God. He was so good. That's a show that is deeply controversial, deeply challenging queer by PAC sexual BDSM oriented, racist, racist, racist, or in terms of its its topic matter like racism in the United States. And historically, and today it's it's and they gave away like 5,000 or more like free and discounted tickets. And they still made money.2 (1h 4m 48s):Jeremy DOE he recently just put something up on social about this that he made. He made accessibility like the most important feature of his, you know, this play being produced and it worked and it worked better still made money on this scarcity model, which is, I mean, that's a lot of this just comes from the scarcity model, influencing how everybody feels. So constantly afraid of losing the one little sliver of the pie that they have that, you know, all they can think about is how to make that tiny little sliver. How to divvy it up instead of saying no, how can we get more pie people? We want more pie. We want to just keep getting our tiny little slivers we want, we, we want to add.2 (1h 5m 28s):So I'm mindful of the time because I know we're about 50 and we're going to be having to wrap up and I want to hear about it's your last semester and you're working on a project and you're going to have spring break next week. What is your, is it a thesis? Is that, is that,6 (1h 5m 43s):That, that was actually last semester. That last semester. Yeah. That's so that's done. I've I've kept myself a little bit busy. I don't know. I, I found myself strangely in spite of the pandemic lab, maybe because of the pandemic last year and now being back in in person and, and all of that. I just, and also I think because of like big was amazing and like my designers were incredible. The students here are unbelievable, but it was also because of some of the things I shared, like an exhausting process, excuse me. And so I sort of took a break and then got into the semester and for some reason just was like, I want to make shit. I want to be involved in making shit.6 (1h 6m 24s):I want to, I want to be involved in my own shit. I want to get involved in other people's shit. I just want to make shit. And so I'm like, I just finished up working on a collaboration with a doctoral student in the music school where we created a, I worked with a lighting designer and we worked collaboratively to create a light based sort of design journey, like a sort of light experience in conversation with the music called busking style in real time, as part of his doctoral thesis.2 (1h 6m 60s):Wait, you're saying it was busking like that the project was6 (1h 7m 4s):The, the style of, of calling the lighting. Was it wasn't like, it was sort of like, Yeah, it was a, yeah. So it was board op up in the booth watching and listening for particular moments. And the music was also highly improv. The reason is because the composition had moments of high improvisation. So there were moments where it was literally like just listening for certain things to shift the lighting responsibly to the music as it was happening. And it was just something I had never done before. So I'm like, let's try this out. And then I'm, I'm drama turking and assistant directing a play that an acting MFA student who's a dear, dear friend has written in his performing it.6 (1h 7m 48s):So I can be sort of the outside eye while she's on the inside of it. And then I might have another project cooking for right before graduation. I'm I'm figuring that out right now. And then I've also got things outside. I'm thrilled to say my partner is actually going to be going to USC for film school next year. So she and I are actually working collaboratively on a couple of things with another acting alum from, from Cal arts, actually a which I'll be able to share a little bit more, actually there's some stuff online with little like BTS stuff it's called goon and I'm actually really pumped about it. Yeah. I'm really, it's, it's, it's super fun, super quirky.6 (1h 8m 30s):We found a great cinematographer. Right. We shed who's just has an inspired eye. And so, yeah, just, I don't know, just finding myself in that moment of like, I think also out of frustration, maybe with Cal arts at times, like I just want to get with the students here and make some shifts. Let's just make some,2 (1h 8m 47s):I think your thing is you want to helm your own ship, always. You want to kind of be in charge of your own destiny and which is a very good, I mean, I see you're making a face about it, but I just, from my prime saying that's a very good quality to have. And it actually leads me to another question I was going to ask you, which is, are you, age-wise about there with your peers in this MFA6 (1h 9m 9s):And that's been interesting. Yeah. Older, older. Yeah. I'm in my mid thirties. And that has been a, an interesting difference of experience at times. Yeah.2 (1h 9m 19s):Yeah. Well, we've talked to a lot of MFA's who, because they were in their thirties, we're able to see the whole thing about school in a m

Welcome to OTTplay Sizzling Samachar of the day, I'm your host NikhilSamachar first up,Netflix announces new Dr. Seuss sets for for Preschool SlateNetflix has announced that they are extending their partnership with Dr. Seuss Enterprises for five new animated shows and specials for preschool. Horton Hears a Who, Wacky Wednesday, The Sneetches, and One Fish, Two Fish, Red Fish Blue Fish are among the works to be adapted based on Dr. Seuss children's stories. Netflix National Parks Docuseries to be narrated by former US President Barack ObamaFormer US President Barack Obama is set to narrate a docuseries for Netflix titled, Our Great National Parks. The series will explore some of the most popular national parks in the US, Chile, Indonesia, and Kenya. The docu series will debut on April 13 on Netflix.  Upcoming adult comedy film Strays adds Isla Fisher to its castBarb and Star Go to Vista Del Mar director Josh Greenbaum's upcoming film Strays has added Hollywood star Isla Fisher to its cast. The adult comedy featuring talking dogs has already cast Will Ferrell, Jamie Foxx, and Randall Park in lead roles. The film is set to be a live-action/CGI hybrid and the story will focus on an abandoned dog who befriends a stray.Oppenheimer adds Vikings Gustaf Skarsgard to its castChrisopher Nolan's upcoming potential blockbuster, Oppenheimer, has added yet another high profile actor to its ever-growing ensemble. Star of the hit period drama TV series Vikings, Gustaf Skarsgard, has joined the star studded cast of the biopic on J. Robert Oppenheimer, who is regarded as the brains behind the invention of the atom bomb. Set for a 2023 release, the cast includes Cillian Murphy, Matt Damon, Emily Blunt,  Robert Downey Jr, Florence Pugh, Rami Malek, Josh Hartnett, Dane DeHaan, Jack Quaid, Alden Ehrenreich, Kenneth Branagh, David Dastmalchian, and Jason Clarke. Film Exhibitor's United Organization of Kerala bans all future Dulquer Salmaan filmsMalayalam film star Dulquer Salmaan has been sanctioned by the Film Exhibitor's United Organisation of Kerala. The organization has banned any future theatrical releases featuring or produced by the actor. It is in retaliation to what they believe as a breach of contract, when it was decided that Salmaan's upcoming film, Salute, directed by Roashan Andrrews, will be released on OTT platforms.  Asif Ali to play lead in Innale VareDirector Jis Joy's upcoming Malayalam film, Innale Vare, has added Asif Ali to its cast. The Malayalam star will play the role of movie star in the film. Antony Varghese and Nimisha Sajayan will play supporting roles, and the film is set to be a thriller - a departure from Jis Joy's signature genre of family-comedies.Well that's the Sizzling news for the day from the world of movies and entertainment, until the next podcast, it's your host Nikhil signing out.Aaj kya dekhoge OTTplay se poocho

Hear from a once-upon a time 'Vaccination Fence Sitter' about this whole Vaccination picture about how it feels to be caught up in the washing machine of Aotearoa's big debate, and the approach they think will work for helping the Fence Sitters make their decision. It's a bit different form the Govt mandates, Super-Salesy-Saturday, the anti-vaxxers (a seperate group not to be mistaken with Fence Sitters) and the resulting diatribe which has accumulatively created what Kiwi's refer to as the Great Divide. We've almost become a nation like Dr Seuss's book 'The Sneetches on the Beaches' - those who have the stars on their belly and the Sneetches without - those with vaccination can work, go to bars and clubs and events, and those without... can't. Hear from Te Omeka about his journey and perhaps this will resonate with you or your friends and family who may also be Fence Sitters and need to work through your thinking before making a decision, just as T' did. Here is a sample already indicating a high interest in his approach: https://bit.ly/31eMsKp #YarnLive #TalanoaLive #Vaccination

In this episode, Hank and Nate kick things off with the James Webb Telescope, and how it might expand our view of the universe! then they get into a little alien talk, tech progress, The Sneetches, and the Amish! It's all over the place. We'd love to hear from you! All questions, comments, and ideas are welcome. Send us an email at casualcognitioncast@gmail.com Or send us a voice message instead Rate us 5 stars on Apple Podcasts Support us on Patreon Follow us on Instagram Follow us on Twitter Thank you so much for your support!

The Zax by Dr Seuss A story from the book The Sneetches and Other Stories features The Zax from the Dr. Seuss book. They are stubborn and arguable and have messy hair and hairy bodies. They live in the Prairie of Prax. Varieties of Zax include a North-Going Zax and a South-Going-Zax. Due to their stubbornness, they refuse to go in any direction other than their assigned directions. If a south-going Zax encounters a north-going Zax, they cannot solve their issue and the world progresses without them as years pass by, such as a highway being built over them and a city nearby while still standing grumpily at each other. https://seuss.fandom.com/wiki/The_Zax

The Sneetches by Dr Seuss | kids story book read aloud The Sneetches is Dr. Seuss's story about prejudice: the arbitrary features we focus on in trying to justify treating people differently. There are two kinds of Sneetches: Star-Belly and Plain-Belly Sneetches. The only difference is stars on some of their bellies. And yet they Star-Belly Sneetches think they are superior to Plain-Belly Sneetches. They don't allow each other to get along. Along comes a man who sells them stars and star-removals. This causes quite a mess; no one can remember who had stars and who didn't. In the end, the Sneetches learn that they are all the same. https://www.prindleinstitute.org/books/the-sneetches/

Some of the Sneetches have bellies with stars, but the plain-bellied ones have none upon thars! Our first Dr. Seuss book episode... we hope you enjoy it! Theo and Matt. --- Send in a voice message: https://anchor.fm/theoandmatt/message

“The Sneetches”

If you got up your hopes for some Dr. Seuss notes, let me stop you right there that's a whole lot of nopes. I can't do meter and I can't do rhymes, and there's no reason this will be unlike other times. We'll talk about race and putting stars every place, but if you're looking for insights there won't be a trace.   Content: https://www.youtube.com/watch?v=dZYRR6vCUcY   Editing by Luisa Lyons, check out her amazing podcast Filmed Live Musicals: http://www.filmedlivemusicals.com/   Support us at Patreon: https://www.patreon.com/0G   Follow us on Twitter: https://twitter.com/0gPhilosophy   Join our Facebook discussion group (make sure to answer the questions to join): https://www.facebook.com/groups/985828008244018/   Email us at: philosophersinspace@gmail.com   If you have time, please write us a review on iTunes. It really really helps. Please and thank you!   Sibling shows:   Serious Inquiries Only: https://seriouspod.com/   Opening Arguments: https://openargs.com/   Embrace the Void: https://voidpod.com/   Recent appearances: Aaron was on Decoding the Gurus talking about the conspiracy theorist Michael O'Fallon and how he's influencing the anti-woke movement through James Lindsay. https://decoding-the-gurus.captivate.fm/episode/michael-ofallon-the-jacobins-are-back-to-reset-everything-dun-dun-daah   Content Preview: WandaVision and the Grief of Theseus

The Sneetches were divided into two groups. There were those who had green stars on their belly and those who did not. Those with stars strutted about feeling superior to those who lacked stars. These yellow bird-like creatures were proud of their mark or ashamed of their lack. But when Sylvester McMonkey McBean arrived with his Star-on machine it seemed that the answer arrived. All those who lacked stars could receive one for $3. When everyone had a star on the original group the star on Sneetches was disappointed. How could they now display that they were superior? Sylvester McMonkey McBean had the answer. For $10 they could use his Star-off machine. And so all the star-on's had their stars taken off and all the star-off's had their stars put on. However, neither were satisfied with this arrangement. Back to McBean's machines they went. Paying to have their stars put on and taken off until no one could tell who had originally been in which group. Most likely you read about Dr. Seuss's Sneetches growing up. You laughed at their childish desire to distinguish themselves from each other. You understood that McBean's machines did not help but only left the Sneetches poorer. However, we still fall victim to the Sneetches' folly. For we desire to be seen as distinguished. We desire to have a mark that shows the world that we are right and good. It is a universal desire to be found righteous. We want to be accepted by family, friends, and the community. This desire may be what drove the Galatians toward circumcision. The false teachers were offering a mark, a sign, of righteousness. It was an outward physical display that they were members of Abraham's family. However, Paul argues that circumcision counts for nothing before God. That it is not outward marks that make a person right with God, but only faith in Jesus Christ. To come prepared for the sermon take time this week to read and to meditate upon Galatians 5:1-6, Romans 8:25, 1 Corinthians 7:17-20, Galatians 6:15, and the Sneetches.

The Sneetches were divided into two groups. There were those who had green stars on their belly and those who did not. Those with stars strutted about feeling superior to those who lacked stars. These yellow bird-like creatures were proud of their mark or ashamed of their lack. But when Sylvester McMonkey McBean arrived with his Star-on machine it seemed that the answer arrived. All those who lacked stars could receive one for $3. When everyone had a star on the original group the star on Sneetches was disappointed. How could they now display that they were superior? Sylvester McMonkey McBean had the answer. For $10 they could use his Star-off machine. And so all the star-on's had their stars taken off and all the star-off's had their stars put on. However, neither were satisfied with this arrangement. Back to McBean's machines they went. Paying to have their stars put on and taken off until no one could tell who had originally been in which group. Most likely you read about Dr. Seuss's Sneetches growing up. You laughed at their childish desire to distinguish themselves from each other. You understood that McBean's machines did not help but only left the Sneetches poorer. However, we still fall victim to the Sneetches' folly. For we desire to be seen as distinguished. We desire to have a mark that shows the world that we are right and good. It is a universal desire to be found righteous. We want to be accepted by family, friends, and the community. This desire may be what drove the Galatians toward circumcision. The false teachers were offering a mark, a sign, of righteousness. It was an outward physical display that they were members of Abraham's family. However, Paul argues that circumcision counts for nothing before God. That it is not outward marks that make a person right with God, but only faith in Jesus Christ. To come prepared for the sermon take time this week to read and to meditate upon Galatians 5:1-6, Romans 8:25, 1 Corinthians 7:17-20, Galatians 6:15, and the Sneetches.

Sermon by The Rev. Dale Trunk on Acts 10:44-48 and John 15:9-17, recorded for virtual worship on Sunday, May 9, 2021.

Woketopia, Ted Sees The Light, Sneetches

In this 70th in a series of live discussions with Bret Weinstein and Heather Heying (both PhDs in Biology), we discuss the state of the world through an evolutionary lens. Our book, A Hunter-Gatherer’s Guide to the 21st Century, is now available for pre-sale at amazon. Publication date: 9-14-21: https://www.amazon.com/dp/0593086880/ref=cm_sw_r_tw_dp_5BDTABYFKRJKZBT5GSQADarkHorse merchandise now available at: store.darkhorsepodcast.org Find more from us on Bret’s website (https://bretweinstein.net) or Heather’s website (http://heatherheying.com). Become a member of the DarkHorse LiveStreams, and get access to an additional Q&A livestream every month. Join at Heather's Patreon. Like this content? Subscribe to the channel, like this video, follow us on twitter (@BretWeinstein, @HeatherEHeying), and consider helping us out by contributing to either of our Patreons or Bret’s Paypal. Looking for clips from #DarkHorseLivestreams? Here are some, updated frequently: @DarkHorse Podcast Clips Theme Music: Thank you to Martin Molin of Wintergatan for providing us the rights to use their excellent music. Q&A Link: https://youtu.be/avqYqLCDRFQ Mentioned in this episode:These Seuss books: The Zax, Green Eggs and Ham, The Butter Battle Book, I Had Trouble in Getting to Solla Sollew, The Sneetches, The Shape of Me and Other Stuff, Oh the Places You’ll Go!, The Lorax, Horton Hears a Who!, McElligot’s Pool, And To Think That I Saw it on Mulberry Street, The Cat in the Hat, One Fish Two Fish Red Fish Blue FishCNN says: “6 Dr. Seuss books won't be published anymore because they portray people in 'hurtful and wrong' ways”: https://www.cnn.com/2021/03/02/us/dr-seuss-books-cease-publication-trnd/index.html“Learning for Justice” says “It's Time to Talk About Dr. Seuss”: https://www.learningforjustice.org/magazine/its-time-to-talk-about-dr-seussThis 2019 paper says “The Cat is Out of the Bag: Orientalism, Anti-Blackness, and White Supremacy in Dr. Seuss's Children's Books”: https://sophia.stkate.edu/rdyl/vol1/iss2/4/On Being A Fish: https://inference-review.com/article/on-being-a-fishSupport the show (https://www.patreon.com/bretweinstein)

Capitol Police prepare for another possible assault on the Capitol. AOC pushes back against Conservative Dems' effort to limit stimulus eligibility. The House of Representatives passes the For the People Act. Progressives attempt to lower the voting age. Jesse Waters blames victims of sexual harassment for not “slapping” their harassers. Tucker Carlson claims banning Dr. Seuss is racist. Anthony FIsher joins to discuss how zero-tolerance school policies are being adapted to the “zoom” era.Co-Host: Adrienne LawrenceGuest: Anthony L. Fisher See acast.com/privacy for privacy and opt-out information.

Daddy reads Dr. Seuss's The Sneetches.

This week, we continue the sermon series, "The Gospel According to Dr. Seuss." We are joined by Pastor Janet Mulroy from Polson, MT FUMC this week for the message based on, "The Sneetches."

We start by encouraging Amy on her final classes in Yoga Teacher Training over the next few weeks and discussing the feeling of knowing what we're doing versus learning more over time. Then we discuss our responsibility as teachers and workshop leaders for making sure our clients don't get hurt. Responsibility is a hard thing to carry. We have to trust our clients know how to work through things and handle their own bodies and the work they are doing. We just help create the healing space and give direction, but we have to trust you know what to do with your body as you work through the healing work.Then we dive into discussing Fact and Opinion, especially around the current pandemic and wearing masks and trying to keep ourselves and others around us safe. Where is the guidance and leadership to actually lead the way? Many people are arguing their own opinions as truth. And this ties to Responsibility, too! We are Responsible for ourselves and for those around us - so how do you move in this world in a caring, compassionate, smart manner?We argue that the people who are choosing to not wear a mask right now need to really look at their reasons - who are they really angry at? What is the point of yelling at or mocking others for taking care of themselves? Heather shares a moment from the grocery store where someone laughed at her while wearing a mask. (Heather does not care, Heather grew up in theatre.) But it still hit - why did this person choose to laugh? Amy shares her fears of interactions like these. Neither of us understand why others won't take the safety of others seriously.Does this point to a bigger conversation, a bigger gap, a bigger divide between people? We hope not. We hope that this is just part of the conversation that people will have and that science and facts will take a stronger lead. We do chat about Faith and Facts for a bit as well. History has shown us that there are risks if we don't listen to science. Listening to each other needs to be part of the conversation, too. We believe that we are stronger in community and when we focus on taking care of others and the earth. We acknowledge it's hard, but that it's also the responsibility of taking care of the planet and others in our lives. Compassion is stronger than fear. Leadership needs to be better guide and help remind us to do no harm and to help our neighbors. We acknowledge it's hard, to go face our fears and be aware of being out with others right now. Amy references Dr. Seuss' Star Bellied Sneeches when it comes to masks. (https://en.wikipedia.org/wiki/The_Sneetches_and_Other_Stories) Heather reminds us that we don't know what others are going through, and that we need to pay attention and be helpful to others.How do we mitigate our own risks for ourselves and take care of those working hard right now? Yes, we get ranty about people who are being loud and obnoxious about health and safety. Amy talks about being brave and venturing out for a few errands. Her awareness of the people around her and taking care of her and her families' Mental Health and Physical Health does take so much energy right now. Amy offers mini-meditations, used in Yoga to transtion from pose to pose, now used to transition from location to location. These moments of re-centering and breathing means we have to check in more often and can't run on auto-pilot, but it takes more energy to navigate the world this way. It's baby steps to be in the world in a safe way again.Winging It The Podcast is going to take a break for a couple of weeks to take care of some of our own family and home needs, and we'll start recording and scheduling new episodes again soon. Until then, take care of your Mental Health and be aware that many people around you may need help taking care of theirs as well. Be kind to yourselves, and remember that the responsibility is up to us all. We'll chat again soon.

Notes on National Identity in America. Commentator David Brooks describes Donald Trump as a "blood and soil nationalist," intending a pejorative connotation. But might this actually count as a compliment? Did Harvard philosopher Samuel Huntington predict our current political moment -- a "clash of civilizations" conjoined with a muddled sense of "who we are" as Americans? We gauge the divide between untethered globalist elites and the more anchored citizenry of Western civilization. Is America truly a disembodied "propositional" nation -- or should there be a rightful place for existing patterns of language, culture, religion and identity? If our conservative creeds have become too abstract, to what extent is America still a "sustainable" experiment? Could the lack of "national spirit" in America be contributing to our cultural disintegration? We survey the pessimistic outlook of French intellectual Michel Houellebecq, who compares the nations of Europe to hopeless "zombies," as does Italian philosopher Giacomo Leopardi. Also, we consider the phenomenon of "tattoos" in our common culture with homage to Sylvester McMonkey McBean and the Dr. Seuss classic, The Sneetches. Coda: Our stirring defense of candidate Trump. With Listener Calls and Music via Maren Morris, Pavement, Kylie Minogue and R.E.M.See omnystudio.com/listener for privacy information.