Podcasts about Solo performance

What does it take to keep your voice—and your purpose—strong through every season of life? In this episode of Unstoppable Mindset, I sit down with my friend Bill Ratner, one of Hollywood's most recognized voice actors, best known as Flint from GI Joe. Bill's voice has carried him through radio, animation, and narration, but what stands out most is how he's used that same voice to serve others through storytelling, teaching, and grief counseling. Together, we explore the heart behind his work—from bringing animated heroes to life to standing on The Moth stage and helping people find healing through poetry. Bill shares lessons from his own journey, including losing both parents early, finding family in unexpected places, and discovering how creative expression can rebuild what life breaks down. We also reflect on 9/11, preparedness, and the quiet confidence that comes from trusting your training—whether you're a first responder, a performer, or just navigating the unknown. This conversation isn't just about performance; it's about presence. It's about using your story, your craft, and your compassion to keep moving forward—unstoppable, one voice at a time. Highlights: 00:31 – Hear the Flint voice and what it takes to bring animated characters to life. 06:57 – Learn why an uneven college path still led to a lifelong acting career. 11:50 – Understand how GI Joe became a team and a toy phenomenon that shaped culture. 15:58 – See how comics and cartoons boosted classroom literacy when used well. 17:06 – Pick up simple ways parents can spark reading through shared stories. 19:29 – Discover how early, honest conversations about death can model resilience. 24:09 – Learn to critique ads and media like a pro to sharpen your own performance. 36:19 – Follow the pivot from radio to voiceover and why specialization pays. 47:48 – Hear practical editing approaches and accessible tools that keep shows tight. 49:38 – Learn how The Moth builds storytelling chops through timed, judged practice. 55:21 – See how poetry—and poetry therapy—support grief work with students. 59:39 – Take notes on memoir writing, emotional management, and one-person shows. About the Guest: Bill Ratner is one of America's best known voice actors and author of poetry collections Lamenting While Doing Laps in the Lake (Slow Lightning Lit 2024,) Fear of Fish (Alien Buddha Press 2021,) To Decorate a Casket (Finishing Line Press 2021,) and the non-fiction book Parenting For The Digital Age: The Truth Behind Media's Effect On Children and What To Do About It (Familius Books 2014.) He is a 9-time winner of the Moth StorySLAM, 2-time winner of Best of The Hollywood Fringe Extension Award for Solo Performance, Best of the Net Poetry Nominee 2023 (Lascaux Review,) and New Millennium "America One Year From Now" Writing Award Finalist. His writing appears in Best Small Fictions 2021 (Sonder Press,) Missouri Review (audio,) Baltimore Review, Chiron Review, Feminine Collective, and other journals. He is the voice of "Flint" in the TV cartoon G.I. Joe, "Donnell Udina" in the computer game Mass Effect, the voice of Air Disasters on Smithsonian Channel, NewsNation, and network TV affiliates across the country. He is a committee chair for his union, SAG-AFTRA, teaches Voiceovers for SAG-AFTRA Foundation, Media Awareness for Los Angeles Unified School District, and is a trained grief counsellor. Member: Actors Equity Association, Screen Actors Guild-AFTRA, National Storytelling Network • https://billratner.com • @billratner Ways to connect with Bill: https://soundcloud.com/bill-ratner https://www.instagram.com/billratner/ https://twitter.com/billratner https://www.threads.net/@billratner https://billratner.tumblr.com https://www.youtube.com/@billratner/videos https://www.facebook.com/billratner.voiceover.author https://bsky.app/profile/bilorat.bsky.social About the Host: Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog. Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards. https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/ accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/ Thanks for listening! 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Transcription Notes: Michael Hingson ** 00:00 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us.   Michael Hingson ** 01:21 Well on a gracious hello to you, wherever you may be, I am your host. Mike hingson, and you are listening to unstoppable mindset. Today, we get to have a voice actor, person, Bill Ratner, who you want to know who Bill Radnor is, go back and watch the old GI Joe cartoons and listen to the voice of Flint.   Bill Ratner ** 01:42 All right. Lady Jay, you better get your battle gear on, because Cobra is on their way. And I can't bring up the Lacher threat weapon system. We got to get out of here. Yo, Joe,   Michael Hingson ** 01:52 there you go. I rest my case Well, Bill, welcome to unstoppable mindset.   Bill Ratner ** 02:00 We can't rest now. Michael, we've just begun. No, we've just begun.   Michael Hingson ** 02:04 We got to keep going here. Well, I'm really glad that you're here. Bill is another person who we inveigled to get on unstoppable mindset with the help of Walden Hughes. And so that means we can talk about Walden all we want today. Bill just saying, oh goodness. And I got a lot to say. Let me tell you perfect, perfect. Bring it on. So we are really grateful to Walden, although I hope he's not listening. We don't want to give him a big head. But no, seriously, we're really grateful. Ah, good point.   Bill Ratner ** 02:38 But his posture, oddly enough, is perfect.   Michael Hingson ** 02:40 Well, there you go. What do you do? He practiced. Well, anyway, we're glad you're here. Tell us about the early bill, growing up and all that stuff. It's always fun to start a good beginning.   Bill Ratner ** 02:54 Well, I was a very lucky little boy. I was born in Des Moines, Iowa in 1947 to two lovely people, professionals, both with master's degree out at University of Chicago. My mother was a social worker. My father had an MBA in business. He was managing editor of Better Homes and Gardens magazine. So I had the joy of living in a better home and living in a garden.   Michael Hingson ** 03:21 My mother. How long were you in Des Moines?   Bill Ratner ** 03:24 Five and a half years left before my sixth birthday. My dad got a fancy job at an ad agency in Minneapolis, and had a big brother named Pete and big handsome, curly haired boy with green eyes. And moved to Minneapolis, Minnesota, and was was brought up there.   Michael Hingson ** 03:45 Wow. So you went to school there and and chased the girls and all that stuff.   Bill Ratner ** 03:54 I went to school there at Blake School for Boys in Hopkins, Minnesota. Couldn't chase the girls day school, but the girls we are allowed to dance with certainly not chase. Michael was at woodhue dancing school, the Northrop girls from Northrop girls school and the Blake boys were put together in eighth grade and taught the Cha Cha Cha, the waltz, the Charleston, and we danced together, and the girls wore white gloves, and we sniffed their perfume, and we all learned how to be lovers when we were 45   Michael Hingson ** 04:37 There you are. Well, as long as you learned at some point, that's a good start.   Bill Ratner ** 04:44 It's a weird generation. Michael,   Michael Hingson ** 04:46 I've been to Des Moines before. I was born in Chicago, but moved out to California when I was five, but I did some work with the National Federation of the Blind in the mid 19. 1970s 1976 into 1978 so spent time at the Iowa Commission for the Blind in Des Moines, which became a top agency for the Blind in well, the late 50s into the to the 60s and so on. So   Bill Ratner ** 05:15 both my parents are from Chicago. My father from the south side of Chicago, 44th and Kenzie, which was a Irish, Polish, Italian, Jewish, Ukrainian neighborhood. And my mother from Glencoe, which was a middle class suburb above Northwestern University in Evanston.   Michael Hingson ** 05:34 I Where were you born? 57th and union, north, south side, no, South   Bill Ratner ** 05:42 57th union is that? Is that west of Kenzie?   Michael Hingson ** 05:46 You know, I don't remember the geography well enough to know, but I know that it was, I think, Mount Sinai Hospital where I was born. But it was, it's, it's, it's a pretty tough neighborhood today. So I understand,   Bill Ratner ** 06:00 yeah, yeah, my it was tough, then it's tough now,   Michael Hingson ** 06:03 yeah, I think it's tougher, supposedly, than it was. But we lived there for five years, and then we we moved to California, and I remember some things about Chicago. I remember walking down to the local candy store most days, and had no problem doing that. My parents were told they should shut me away at a home somewhere, because no blind child could ever grow up to amount to anything. And my parents said, You guys are you're totally wrong. And they brought me up with that attitude. So, you   Bill Ratner ** 06:32 know who said that the school says school so that   Michael Hingson ** 06:35 doctors doctors when they discovered I was blind with the   Bill Ratner ** 06:38 kid, goodness gracious, horrified.   Michael Hingson ** 06:44 Well, my parents said absolutely not, and they brought me up, and they actually worked with other parents of premature kids who became blind, and when kindergarten started in for us in in the age of four, they actually had a special kindergarten class for blind kids at the Perry School, which is where I went. And so I did that for a year, learn braille and some other things. Then we moved to California, but yeah, and I go back to Chicago every so often. And when I do nowadays, they I one of my favorite places to migrate in Chicago is Garrett Popcorn.   Bill Ratner ** 07:21 Ah, yes, with caramel corn, regular corn, the   Michael Hingson ** 07:25 Chicago blend, which is a mixture, yeah, the Chicago blend is cheese corn, well, as it is with caramel corn, and they put much other mozzarella on it as well. It's really good.   Bill Ratner ** 07:39 Yeah, so we're on the air. Michael, what do you call your what do you call your program? Here I am your new friend, and I can't even announce your program because I don't know   Michael Hingson ** 07:48 the name, unstoppable mindset. This   Bill Ratner ** 07:51 is unstoppable mindset.   Michael Hingson ** 07:56 We're back. Well, we're back already. We're fast. So you, you, you moved off elsewhere, out of Des Moines and all that. And where did you go to college?   Bill Ratner ** 08:09 Well, this is like, why did you this is, this is a bit like talking about the Vietnam War. Looking back on my college career is like looking back on the Vietnam War series, a series of delusions and defeats. By the time I the time i for college, by the time I was applying for college, I was an orphan, orphan, having been born to fabulous parents who died too young of natural causes. So my grades in high school were my mediocre. I couldn't get into the Ivy Leagues. I got into the big 10 schools. My stepmother said, you're going to Michigan State in East Lansing because your cousin Eddie became a successful realtor. And Michigan State was known as mu u it was the most successful, largest agriculture college and university in the country. Kids from South Asia, China, Northern Europe, Southern Europe, South America all over the world came to Michigan State to study agricultural sciences, children of rich farmers all over the world and middle class farmers all over the world, and a huge police science department. Part of the campus was fenced off, and the young cadets, 1819, 20 years old, would practice on the rest of the student body, uniformed with hats and all right, excuse me, young man, we're just going to get some pizza at eight o'clock on Friday night. Stand against your car. Hands in your car. I said, Are you guys practicing again? Shut up and spread your legs. So that was that was Michigan State, and even though both my parents had master's degrees, I just found all the diversions available in the 1960s to be too interesting, and was not invited. Return after my sophomore year, and in order to flunk out of a big 10 University, and they're fine universities, all of them, you have to be either really determined or not so smart, not really capable of doing that level of study in undergraduate school. And I'd like to think that I was determined. I used to show up for my exams with a little blue book, and the only thing I would write is due to lack of knowledge, I am unable to complete this exam, sign Bill ranter and get up early and hand it in and go off. And so what was, what was left for a young man like that was the theater I'd seen the great Zero Mostel when I was 14 years old and on stage live, he looked just like my father, and he was funny, and if I Were a rich man, and that's the grade zero must tell. Yeah, and it took about five, no, it took about six, seven years to percolate inside my bread and my brain. In high school, I didn't want to do theater. The cheerleaders and guys who I had didn't happen to be friends with or doing theater. I took my girlfriends to see plays, but when I was 21 I started acting, and I've been an actor ever since. I'm a committee chair on the screen actors guild in Hollywood and Screen Actors Guild AFTRA, and work as a voice actor and collect my pensions and God bless the union.   Michael Hingson ** 11:44 Well, hey, as long as it works and you're making progress, you know you're still with it, right?   Bill Ratner ** 11:53 That's the that's the point. There's no accounting for taste in my business. Michael, you work for a few different broadcast entities at my age. And it's, you know, it's younger people. It's 18 to 3418 years to 34 years old is the ideal demographic for advertisers, Ford, Motor Company, Dove soap, Betty, Crocker, cake mixes and cereals, every conceivable product that sold online or sold on television and radio. This is my this is my meat, and I don't work for religion. However, if a religious organization calls, I call and say, I I'm not, not qualified or not have my divinity degree in order to sell your church to the public?   Michael Hingson ** 12:46 Yeah, yeah. Well, I, I can understand that. But you, you obviously do a lot, and as we talked about, you were Flint and GI Joe, which is kind of cool.   Bill Ratner ** 13:01 Flynn GI Joe was very cool. Hasbro Corporation, which was based in Providence, Rhode Island, had a huge success with GI Joe, the figure. The figure was about 11 and a half inches tall, like a Barbie, and was at first, was introduced to the public after the Korean War. There is a comic book that was that was also published about GI Joe. He was an individual figure. He was a figure, a sort of mythic cartoon figure during World War Two, GI Joe, generic American soldier, fighting man and but the Vietnam war dragged on for a long time, and the American buying public or buying kids toys got tired of GI Joe, got tired of a military figure in their household and stopped buying. And when Nixon ended the Vietnam War, or allotted to finish in 1974 Hasbro was in the tank. It's got its stock was cheap, and executives are getting nervous. And then came the Great George Lucas in Star Wars, who shrank all these action figures down from 11 and a half inches to three and a half inches, and went to China and had Chinese game and toy makers make Star Wars toys, and began to earn billions and billions dollars. And so Hasbro said, let's turn GI Joe into into a team. And the team began with flint and Lady J and Scarlett and Duke and Destro and cover commander, and grew to 85 different characters, because Hasbro and the toy maker partners could create 85 different sets of toys and action figures. So I was actor in this show and had a good time, and also a purveyor of a billion dollar industry of American toys. And the good news about these toys is I was at a conference where we signed autographs the voice actors, and we have supper with fans and so on. And I was sitting next to a 30 year old kid and his parents. And this kid was so knowledgeable about pop culture and every conceivable children's show and animated show that had ever been on the screen or on television. I turned to his mother and sort of being a wise acre, said, So ma'am, how do you feel about your 30 year old still playing with GI Joe action figures? And she said, Well, he and I both teach English in the Pittsburgh, Pennsylvania school system, and last year, the literacy level of my ninth graders was 50% 50% of those kids could not read in ninth grade. So I asked the principal if I could borrow my son's GI Joe, action figures, comic books and VHS tapes, recordings of the shows from TV. And he said, Sure, whatever you want to try. And so she did, and she played the video tapes, and these kids were thrilled. They'd never seen a GI Joe cartoon in class before. Passed out the comic books, let him read comics. And then she said, Okay, you guys. And passed out notebooks and pens and pencils, and said, I want you guys to make up some some shows, some GI Joe shows. And so they said, Yeah, we're ready. All right, Cobra, you better get into the barber shop, because the barber bill is no longer there and the fire engines are in the way. And wait a minute, there's a dog in the street. And so they're making this up, using their imagination, doing their schoolwork, by coming up with scenarios, imaginary fam fan fiction for GI Joe and she raised the literacy level in her classroom by 50% that year, by the end of that year, so, so that was the only story that I've ever heard about the sort of the efficacy of GI Joe, other than, you know, kids play with them. Do they? Are they shooting each other all the time? I certainly hope not. I hope not. Are they using the action figures? Do they strip their guns off and put them in a little, you know, stub over by the side and and have them do physical battle with each other, or have them hump the woods, or have them climb the stairs, or have them search the trees. Who knows what kids do? Same with same with girls and and Barbies. Barbie has been a source of fun and creativity for lots of girls, and the source of of worry and bother to a lot of parents as   Michael Hingson ** 17:54 well. Well, at the same time, though, when kids start to react and relate to some of these things. It's, it's pretty cool. I mean, look what's happened with the whole Harry Potter movement and craze. Harry Potter has probably done more in the last 20 or 25 years to promote reading for kids than most anything else, and   Bill Ratner ** 18:17 that's because it's such a good series of books. I read them to my daughters, yeah. And the quality of writing. She was a brilliant writer, not only just the stories and the storytelling, which is fun to watch in the movies, and you know, it's great for a parent to read. If there are any parents listening, I don't care how old your kids are. I don't care if they're 15. Offer to read to them. The 15 year old might, of course, say mom, but anybody younger than that might say either, all right, fine, which is, which means you better do it or read, read a book. To me, sure, it's fun for the parent, fun for the kid, and it makes the child a completely different kind of thinker and worker and earner.   Michael Hingson ** 19:05 Well, also the people who they got to read the books for the recordings Stephen Fry and in the US here, Jim Dale did such an incredible job as well. I've, I've read the whole Harry Potter series more than once, because I just enjoy them, and I enjoy listening to the the voices. They do such a good job. Yeah. And of course, for me, one of the interesting stories that I know about Jim Dale reading Harry Potter was since it was published by Scholastic he was actually scheduled to do a reading from one of the Harry from the new Harry Potter book that was coming out in 2001 on September 11, he was going to be at Scholastic reading. And of course, that didn't happen because of of everything that did occur. So I don't know whether I'm. I'm assuming at some point a little bit later, he did, but still he was scheduled to be there and read. But it they are there. They've done so much to help promote reading, and a lot of those kinds of cartoons and so on. Have done some of that, which is, which is pretty good. So it's good to, you know, to see that continue to happen. Well, so you've written several books on poetry and so on, and I know that you you've mentioned more than once grief and loss. How come those words keep coming up?   Bill Ratner ** 20:40 Well, I had an unusual childhood. Again. I mentioned earlier how, what a lucky kid I was. My parents were happy, educated, good people, not abusers. You know, I don't have a I don't have horror stories to tell about my mother or my father, until my mother grew sick with breast cancer and and it took about a year and a half or two years to die when I was seven years old. The good news is, because she was a sensitive, educated social worker, as she was actually dying, she arranged a death counseling session with me and my older brother and the Unitarian minister who was also a death counselor, and whom she was seeing to talk about, you know, what it was like to be dying of breast cancer with two young kids. And at this session, which was sort of surprised me, I was second grade, came home from school. In the living room was my mother and my brother looking a little nervous, and Dr Carl storm from the Unitarian Church, and she said, you know, Dr storm from church, but he's also my therapist. And we talk about my illness and how I feel, and we talk about how much I love you boys, and talk about how I worry about Daddy. And this is what one does when one is in crisis. That was a moment that was not traumatic for me. It's a moment I recalled hundreds of times, and one that has been a guiding light through my life. My mother's death was very difficult for my older brother, who was 13 who grew up in World War Two without without my father, it was just him and my mother when he was off in the Pacific fighting in World War Two. And then I was born after the war. And the loss of a mother in a family is like the bottom dropping out of a family. But luckily, my dad met a woman he worked with a highly placed advertising executive, which was unusual for a female in the 1950s and she became our stepmother a year later, and we had some very lovely, warm family years with her extended family and our extended family and all of us together until my brother got sick, came down with kidney disease a couple of years before kidney dialysis was invented, and a couple of years before kidney transplants were done, died at 19. Had been the captain of the swimming team at our high school, but did a year in college out in California and died on Halloween of 1960 my father was 51 years old. His eldest son had died. He had lost his wife six years earlier. He was working too hard in the advertising industry, successful man and dropped out of a heart attack 14th birthday. Gosh, I found him unconscious on the floor of our master bathroom in our house. So my life changed. I My life has taught me many, many things. It's taught me how the defense system works in trauma. It's taught me the resilience of a child. It's taught me the kindness of strangers. It's taught me the sadness of loss.   Michael Hingson ** 24:09 Well, you, you seem to come through all of it pretty well. Well, thank you. A question behind that, just an observation, but, but you do seem to, you know, obviously, cope with all of it and do pretty well. So you, you've always liked to be involved in acting and so on. How did you actually end up deciding to be a voice actor?   Bill Ratner ** 24:39 Well, my dad, after he was managing editor of Better Homes and Gardens magazine in Des Moines for Meredith publishing, got offered a fancy job as executive vice president of the flower and mix division for Campbell within advertising and later at General Mills Corporation. From Betty Crocker brand, and would bring me to work all the time, and would sit with me, and we'd watch the wonderful old westerns that were on prime time television, rawhide and Gunsmoke and the Virginian and sure   Michael Hingson ** 25:15 and all those. Yeah, during   Bill Ratner ** 25:17 the commercials, my father would make fun of the commercials. Oh, look at that guy. And number one, son, that's lousy acting. Number two, listen to that copy. It's the dumbest ad copy I've ever seen. The jingles and and then he would say, No, that's a good commercial, right there. And he wasn't always negative. He would he was just a good critic of advertising. So at a very young age, starting, you know, when we watch television, I think the first television ever, he bought us when I was five years old, I was around one of the most educated, active, funny, animated television critics I could hope to have in my life as a 56789, 1011, 12 year old. And so when I was 12, I became one of the founding members of the Brotherhood of radio stations with my friends John Waterhouse and John Barstow and Steve gray and Bill Connors in South Minneapolis. I named my five watt night kit am transmitter after my sixth grade teacher, Bob close this is wclo stereo radio. And when I was in sixth grade, I built myself a switch box, and I had a turntable and I had an intercom, and I wired my house for sound, as did all the other boys in the in the B, O, R, S, and that's brotherhood of radio stations. And we were guests on each other's shows, and we were obsessed, and we would go to the shopping malls whenever a local DJ was making an appearance and torture him and ask him dumb questions and listen obsessively to American am radio. And at the time for am radio, not FM like today, or internet on your little radio tuner, all the big old grandma and grandpa radios, the wooden ones, were AM, for amplitude modulated. You could get stations at night, once the sun went down and the later it got, the ionosphere would lift and the am radio signals would bounce higher and farther. And in Minneapolis, at age six and seven, I was able to to listen to stations out of Mexico and Texas and Chicago, and was absolutely fascinated with with what was being put out. And I would, I would switch my brother when I was about eight years old, gave me a transistor radio, which I hid under my bed covers. And at night, would turn on and listen for, who knows, hours at a time, and just tuning the dial and tuning the dial from country to rock and roll to hit parade to news to commercials to to agric agriculture reports to cow crossings in Kansas and grain harvesting and cheese making in Wisconsin, and on and on and on that made up the great medium of radio that was handing its power and its business over to television, just as I was growing As a child. Fast, fascinating transition   Michael Hingson ** 28:18 and well, but as it was transitioning, how did that affect you?   Bill Ratner ** 28:26 It made television the romantic, exciting, dynamic medium. It made radio seem a little limited and antiquated, and although I listened for environment and wasn't able to drag a television set under my covers. Yeah, and television became memorable with with everything from actual world war two battle footage being shown because there wasn't enough programming to 1930s Warner Brothers gangster movies with James Cagney, Edward G   Michael Hingson ** 29:01 Robinson and yeah   Bill Ratner ** 29:02 to all the sitcoms, Leave It to Beaver and television cartoons and on and on and on. And the most memorable elements to me were the personalities, and some of whom were invisible. Five years old, I was watching a Kids program after school, after kindergarten. We'll be back with more funny puppets, marionettes after this message and the first words that came on from an invisible voice of this D baritone voice, this commercial message will be 60 seconds long, Chrysler Dodge for 1954 blah, blah, blah, blah, blah. And I watched hypnotized, hypnotized as a 1953 dodge drove across the screen with a happy family of four waving out the window. And at the end of the commercial, I ran into the kitchen said, Mom, mom, I know what a minute. Is, and it was said, it had suddenly come into my brain in one of those very rare and memorable moments in a person's life where your brain actually speaks to you in its own private language and says, Here is something very new and very true, that 60 seconds is in fact a minute. When someone says, See you in five minutes, they mean five times that, five times as long as that. Chrysler commercial, five times 60. That's 300 seconds. And she said, Did you learn it that that on T in kindergarten? And I said, No, I learned it from kangaroo Bob on TV, his announcer, oh, kangaroo Bob, no, but this guy was invisible. And so at five years of age, I was aware of the existence of the practice of the sound, of the magic of the seemingly unlimited access to facts, figures, products, brand names that these voices had and would say on the air in This sort of majestic, patriarchal way,   Michael Hingson ** 31:21 and just think 20 years later, then you had James Earl Jones,   Bill Ratner ** 31:26 the great dame. James Earl Jones, father was a star on stage at that time the 1950s James Earl Jones came of age in the 60s and became Broadway and off Broadway star.   Michael Hingson ** 31:38 I got to see him in Othello. He was playing Othello. What a powerful performance. It was   Bill Ratner ** 31:43 wonderful performer. Yeah, yeah. I got to see him as Big Daddy in Canada, Hot Tin Roof, ah, live and in person, he got front row seats for me and my family.   Michael Hingson ** 31:53 Yeah, we weren't in the front row, but we saw it. We saw it on on Broadway,   Bill Ratner ** 31:58 the closest I ever got to James Earl Jones. He and I had the same voice over agent, woman named Rita vinari of southern Barth and benare company. And I came into the agency to audition for Doritos, and I hear this magnificent voice coming from behind a closed voiceover booth, saying, with a with a Spanish accent, Doritos. I thought that's James Earl Jones. Why is he saying burritos? And he came out, and he bowed to me, nodded and smiled, and I said, hello and and the agent probably in the booth and shut the door. And she said, I said, that was James Earl Jones. What a voice. What she said, Oh, he's such a nice man. And she said, but I couldn't. I was too embarrassed. I was too afraid to stop him from saying, Doritos. And it turns out he didn't get the gig. So it is some other voice actor got it because he didn't say, had he said Doritos with the agent froze it froze up. That was as close as I ever got to did you get the gig? Oh goodness no,   Michael Hingson ** 33:01 no, you didn't, huh? Oh, well, well, yeah. I mean, it was a very, it was, it was wonderful. It was James Earl Jones and Christopher Plummer played Iago. Oh, goodness, oh, I know. What a what a combination. Well, so you, you did a lot of voiceover stuff. What did you do regarding radio moving forward? Or did you just go completely out of that and you were in TV? Or did you have any opportunity   Bill Ratner ** 33:33 for me to go back at age 15, my brother and father, who were big supporters of my radio. My dad would read my W, C, l, o, newsletter and need an initial, an excellent journalism son and my brother would bring his teenage friends up. He'd play the elderly brothers, man, you got an Elvis record, and I did. And you know, they were, they were big supporters for me as a 13 year old, but when I turned 14, and had lost my brother and my father, I lost my enthusiasm and put all of my radio equipment in a box intended to play with it later. Never, ever, ever did again. And when I was about 30 years old and I'd done years of acting in the theater, having a great time doing fun plays and small theaters in Minneapolis and South Dakota and and Oakland, California and San Francisco. I needed money, so I looked in the want ads and saw a job for telephone sales, and I thought, Well, I used to love the telephone. I used to make phony phone calls to people all the time. Used to call funeral homes. Hi Carson, funeral I help you. Yes, I'm calling to tell you that you have a you have a dark green slate tile. Roof, isn't that correct? Yes. Well, there's, there's a corpse on your roof. Lady for goodness sake, bring it down and we laugh and we record it and and so I thought, Well, gee, I used to have a lot of fun with the phone. And so I called the number of telephone sales and got hired to sell magazine subscriptions and dinner tickets to Union dinners and all kinds of things. And then I saw a new job at a radio station, suburban radio station out in Walnut Creek, California, a lovely Metro BART train ride. And so I got on the BART train, rode out there and walked in for the interview, and was told I was going to be selling small advertising packages on radio for the station on the phone. And so I called barber shops and beauty shops and gas stations in the area, and one guy picked up the phone and said, Wait a minute, wait a minute. Wait a minute. Are you on the radio right now? And I said, No, I'm just I'm in the sales room. Well, maybe you should be. And he slams the phone on me. He didn't want to talk to me anymore. It wasn't interested in buying advertising. I thought, gee. And I told somebody at the station, and they said, Well, you want to be in the radio? And he went, Yeah, I was on the radio when I was 13. And it just so happened that an older fellow was retiring from the 10am to 2pm slot. K I S King, kiss 99 and KD FM, Pittsburgh, California. And it was a beautiful music station. It was a music station. Remember, old enough will remember music that used to play in elevators that was like violin music, the Percy faith orchestra playing a Rolling Stone song here in the elevator. Yes, well, that's exactly what we played. And it would have been harder to get a job at the local rock stations because, you know, they were popular places. And so I applied for the job, and   Michael Hingson ** 37:06 could have lost your voice a lot sooner, and it would have been a lot harder if you had had to do Wolfman Jack. But that's another story.   Bill Ratner ** 37:13 Yeah, I used to listen to Wolf Man Jack. I worked in a studio in Hollywood. He became a studio. Yeah, big time.   Michael Hingson ** 37:22 Anyway, so you you got to work at the muzack station, got   Bill Ratner ** 37:27 to work at the muzack station, and I was moving to Los Angeles to go to a bigger market, to attempt to penetrate a bigger broadcast market. And one of the sales guys, a very nice guy named Ralph pizzella said, Well, when you get to La you should study with a friend of mine down to pie Troy, he teaches voiceovers. I said, What are voice overs? He said, You know that CVS Pharmacy commercial just carted up and did 75 tags, available in San Fernando, available in San Clemente, available in Los Angeles, available in Pasadena. And I said, Yeah. He said, Well, you didn't get paid any extra. You got paid your $165 a week. The guy who did that commercial for the ad agency got paid probably 300 bucks, plus extra for the tags, that's voiceovers. And I thought, why? There's an idea, what a concept. So he gave me the name and number of old friend acquaintance of his who he'd known in radio, named Don DiPietro, alias Johnny rabbit, who worked for the Dick Clark organization, had a big rock and roll station there. He'd come to LA was doing voiceovers and teaching voiceover classes in a little second story storefront out of the San Fernando Valley in Los Angeles. So I signed up for his class, and he was an experienced guy, and he liked me, and we all had fun, and I realized I was beginning to study like an actor at 1818, who goes to New York or goes to Los Angeles or Chicago or Atlanta or St Louis to act in the big theaters, and starts acting classes and realizes, oh my goodness, these people are truly professionals. I don't know how to do what they do. And so for six years, I took voice over classes, probably 4050, nights a year, and from disc jockeys, from ex show hosts, from actors, from animated cartoon voices, and put enough time in to get a degree in neurology in medical school. And worked my way up in radio in Los Angeles and had a morning show, a lovely show with a wonderful news man named Phil Reed, and we talked about things and reviewed movies and and played a lot of music. And then I realized, wait a minute, I'm earning three times the money in voiceovers as I am on the radio, and I have to get up at 430 in the morning to be on the radio. Uh, and a wonderful guy who was Johnny Carson's staff announcer named Jack angel said, You're not still on radio, are you? And I said, Well, yeah, I'm working in the morning. And Ka big, get out of there. Man, quit. Quit. And I thought, well, how can I quit? I've always wanted to be a radio announcer. And then there was another wonderful guy on the old am station, kmpc, sweet Dick Whittington. Whittington, right? And he said at a seminar that I went to at a union voice over training class, when you wake up at four in the morning and you swing your legs over the bed and your shoes hit the floor, and you put your head in your hands, and you say to yourself, I don't want to do this anymore. That's when you quit radio. Well, that hadn't happened to me. I was just getting up early to write some comedy segments and on and on and on, and then I was driving around town all day doing auditions and rented an ex girlfriend's second bedroom so that I could nap by myself during the day, when I had an hour in and I would as I would fall asleep, I'd picture myself every single day I'm in a dark voiceover studio, a microphone Is before me, a music stand is before the microphone, and on it is a piece of paper with advertising copy on it. On the other side of the large piece of glass of the recording booth are three individuals, my employers, I begin to read, and somehow the text leaps off the page, streams into my eyes, letter for letter, word for word, into a part of my back brain that I don't understand and can't describe. It is processed in my semi conscious mind with the help of voice over training and hope and faith, and comes out my mouth, goes into the microphone, is recorded in the digital recorder, and those three men, like little monkeys, lean forward and say, Wow, how do you do that? That was my daily creative visualization. Michael, that was my daily fantasy. And I had learned that from from Dale Carnegie, and I had learned that from Olympic athletes on NBC TV in the 60s and 70s, when the announcer would say, this young man you're seeing practicing his high jump is actually standing there. He's standing stationary, and the bouncing of the head is he's actually rehearsing in his mind running and running and leaping over the seven feet two inch bar and falling into the sawdust. And now he's doing it again, and you could just barely see the man nodding his head on camera at the exact rhythm that he would be running the 25 yards toward the high bar and leaping, and he raised his head up during the imaginary lead that he was visualizing, and then he actually jumped the seven foot two inches. That's how I learned about creative visualization from NBC sports on TV.   Michael Hingson ** 43:23 Channel Four in Los Angeles. There you go. Well, so you you broke into voice over, and that's what you did.   Bill Ratner ** 43:38 That's what I did, darn it, I ain't stopping now, there's a wonderful old actor named Bill Irwin. There two Bill Irwin's one is a younger actor in his 50s or 60s, a brilliant actor from Broadway to film and TV. There's an older William Irwin. They also named Bill Irwin, who's probably in his 90s now. And I went to a premiere of a film, and he was always showing up in these films as The senile stock broker who answers the phone upside down, or the senile board member who always asks inappropriate questions. And I went up to him and I said, you know, I see you in everything, man. I'm 85 years old. Some friends and associates of mine tell me I should slow down. I only got cast in movies and TV when I was 65 I ain't slowing down. If I tried to slow down at 85 I'd have to stop That's my philosophy. My hero is the great Don Pardo, the late great   Michael Hingson ** 44:42 for Saturday Night Live and Jeopardy   Bill Ratner ** 44:45 lives starring Bill Murray, Gilder Radner, and   Michael Hingson ** 44:49 he died for Jeopardy before that,   Bill Ratner ** 44:52 yeah, died at 92 with I picture him, whether it probably not, with a microphone and. His hand in his in his soundproof booth, in his in his garage, and I believe he lived in Arizona, although the show was aired and taped in New York, New York, right where he worked for for decades as a successful announcer. So that's the story.   Michael Hingson ** 45:16 Michael. Well, you know, I miss, very frankly, some of the the the days of radio back in the 60s and 70s and so on. We had, in LA what you mentioned, Dick Whittington, Dick whittinghill on kmpc, Gary Owens, you know, so many people who were such wonderful announcers and doing some wonderful things, and radio just isn't the same anymore. It's gone. It's   Bill Ratner ** 45:47 gone to Tiktok and YouTube. And the truth is, I'm not gonna whine about Tiktok or YouTube, because some of the most creative moments on camera are being done on Tiktok and YouTube by young quote influencers who hire themselves out to advertisers, everything from lipstick. You know,   Speaker 1 ** 46:09 when I went to a party last night was just wild and but this makeup look, watch me apply this lip remover and blah, blah, blah, blah, blah, no, I have no lip.   Bill Ratner ** 46:20 You know, these are the people with the voices. These are the new voices. And then, of course, the faces. And so I would really advise before, before people who, in fact, use the internet. If you use the internet, you can't complain if you use the internet, if you go to Facebook or Instagram, or you get collect your email or Google, this or that, which most of us do, it's handy. You can't complain about tick tock, tick tock, tick tock. You can't complain about tick tock or YouTube, because it's what the younger generation is using, and it's what the younger generation advertisers and advertising executives and creators and musicians and actors are using to parade before us, as Gary Owens did, as Marlon Brando did, as Sarah Bernhardt did in the 19 so as all as you do, Michael, you're a parader. You're the head of the parade. You've been in on your own float for years. I read your your bio. I don't even know why you want to waste a minute talking to me for goodness sakes.   Michael Hingson ** 47:26 You know, the one thing about podcasts that I like over radio, and I did radio at kuci for seven years when I was in school, what I really like about podcasts is they're not and this is also would be true for Tiktok and YouTube. Primarily Tiktok, I would would say it isn't as structured. So if we don't finish in 60 minutes, and we finish in 61 minutes, no one's gonna shoot us.   Bill Ratner ** 47:53 Well, I beg to differ with you. Now. I'm gonna start a fight with you. Michael, yeah, we need conflict in this script. Is that it The Tick Tock is very structured. Six. No,   Michael Hingson ** 48:03 no, I understand that. I'm talking about podcasts,   Bill Ratner ** 48:07 though, but there's a problem. We gotta Tone It Up. We gotta pick it up. We gotta there's a lot of and I listen to what are otherwise really bright, wonderful personalities on screen, celebrities who have podcasts and the car sucks, and then I had meatballs for dinner, haha. And you know what my wife said? Why? You know? And there's just too much of that. And,   Michael Hingson ** 48:32 oh, I understand, yeah. I mean, it's like, like anything, but I'm just saying that's one of the reasons I love podcasting. So it's my way of continuing what I used to do in radio and having a lot of fun doing it   Bill Ratner ** 48:43 all right, let me ask you. Let me ask you a technical and editorial question. Let me ask you an artistic question. An artist, can you edit this podcast? Yeah. Are you? Do you plan to Nope.   Michael Hingson ** 48:56 I think conversations are conversations, but there is a but, I mean,   Bill Ratner ** 49:01 there have been starts and stops and I answer a question, and there's a long pause, and then, yeah, we can do you edit that stuff   Michael Hingson ** 49:08 out. We do, we do, edit some of that out. And I have somebody that that that does a lot of it, because I'm doing more podcasts, and also I travel and speak, but I can edit. There's a program called Reaper, which is really a very sophisticated   Bill Ratner ** 49:26 close up spaces. You   Michael Hingson ** 49:28 can close up spaces with it, yes, but the neat thing about Reaper is that somebody has written scripts to make it incredibly accessible for blind people using screen readers.   Bill Ratner ** 49:40 What does it do? What does it do? Give me the elevator pitch.   Michael Hingson ** 49:46 You've seen some of the the programs that people use, like computer vision and other things to do editing of videos and so on. Yeah.   Bill Ratner ** 49:55 Yeah. Even Apple. Apple edit. What is it called? Apple? Garage Band. No, that's audio. What's that   Michael Hingson ** 50:03 audio? Oh,   Bill Ratner ** 50:06 quick time is quick   Michael Hingson ** 50:07 time. But whether it's video or audio, the point is that Reaper allows me to do all of that. I can edit audio. I can insert, I can remove pauses. I can do anything with Reaper that anyone else can do editing audio, because it's been made completely accessible.   Bill Ratner ** 50:27 That's great. That's good. That's nice. Oh, it is. It's cool.   Michael Hingson ** 50:31 So so if I want, I can edit this and just have my questions and then silence when you're talking.   Bill Ratner ** 50:38 That might be best. Ladies and gentlemen, here's Bill Ratner,   Michael Hingson ** 50:46 yep, exactly, exactly. Now you have won the moth stories. Slam, what? Tell me about my story. Slam, you've won it nine times.   Bill Ratner ** 51:00 The Moth was started by a writer, a novelist who had lived in the South and moved to New York City, successful novelist named George Dawes green. And the inception of the moth, which many people listening are familiar with from the Moth Radio Hour. It was, I believe, either late 90s or early 2000s when he'd been in New York for a while and was was publishing as a fiction writer, and threw a party, and decided, instead of going to one of these dumb, boring parties or the same drinks being served and same cigarettes being smoked out in the veranda and the same orders. I'm going to ask people to bring a five minute story, a personal story, nature, a true story. You don't have to have one to get into the party, but I encourage you to. And so you know, the 3040, 50 people showed up, many of whom had stories, and they had a few drinks, and they had hors d'oeuvres. And then he said, Okay, ladies and gentlemen, take your seats. It's time for and then I picked names out of a hat, and person after person after person stood up in a very unusual setting, which was almost never done at parties. You How often do you see that happen? Suddenly, the room falls silent, and someone with permission being having been asked by the host to tell a personal story, some funny, some tragic, some complex, some embarrassing, some racy, some wild, some action filled. And afterward, the feedback he got from his friends was, this is the most amazing experience I've ever had in my life. And someone said, you need to do this. And he said, Well, you people left a lot of cigarette butts and beer cans around my apartment. And they said, well, let's do it at a coffee shop. Let's do it at a church basement. So slowly but surely, the moth storytelling, story slams, which were designed after the old poetry slams in the 50s and 60s, where they were judged contests like, like a dance contest. Everybody's familiar with dance contests? Well, there were, then came poetry contests with people singing and, you know, and singing and really energetically, really reading. There then came storytelling contests with people standing on a stage before a silent audience, telling a hopefully interesting, riveting story, beginning middle, end in five minutes. And so a coffee house was found. A monthly calendar was set up. Then came the internet. Then it was so popular standing room only that they had to open yet another and another, and today, some 20 years later, 20 some years later, from Austin, Texas to San Francisco, California to Minneapolis, Minnesota to New York City to Los Angeles. There are moth story slams available on online for you to schedule yourself to go live and in person at the moth.org as in the moth with wings. Friend of mine, I was in New York. He said, You can't believe it. This writer guy, a writer friend of mine who I had read, kind of an avant garde, strange, funny writer was was hosting something called the moth in New York, and we were texting each other. He said, Well, I want to go. The theme was show business. I was going to talk to my Uncle Bobby, who was the bell boy. And I Love Lucy. I'll tell a story. And I texted him that day. He said, Oh man, I'm so sorry. I had the day wrong. It's next week. Next week, I'm going to be back home. And so he said, Well, I think there's a moth in Los Angeles. So about 15 years ago, I searched it down and what? Went to a small Korean barbecue that had a tiny little stage that originally was for Korean musicians, and it was now being used for everything from stand up comedy to evenings of rock and roll to now moth storytelling once a month. And I think the theme was first time. And so I got up and told a silly story and didn't win first prize. They have judges that volunteer judges a table of three judges scoring, you like, at a swim meet or a track beat or, you know, and our gymnastics meet. So this is all sort of familiar territory for everybody, except it's storytelling and not high jumping or pull ups. And I kept going back. I was addicted to it. I would write a story and I'd memorize it, and I'd show up and try to make it four minutes and 50 seconds and try to make it sound like I was really telling a story and not reading from a script. And wish I wasn't, because I would throw the script away, and I knew the stories well enough. And then they created a radio show. And then I began to win slams and compete in the grand slams. And then I started submitting these 750 word, you know, two and a half page stories. Literary magazines got a few published and found a whole new way to spend my time and not make much   Michael Hingson ** 56:25 money. Then you went into poetry.   Bill Ratner ** 56:29 Then I got so bored with my prose writing that I took a poetry course from a wonderful guy in LA called Jack grapes, who had been an actor and a football player and come to Hollywood and did some TV, episodics and and some some episodic TV, and taught poetry. It was a poet in the schools, and I took his class of adults and got a poem published. And thought, wait a minute, these aren't even 750 words. They're like 75 words. I mean, you could write a 10,000 word poem if you want, but some people have, yeah, and it was complex, and there was so much to read and so much to learn and so much that was interesting and odd. And a daughter of a friend of mine is a poet, said, Mommy, are you going to read me one of those little word movies before I go to sleep?   Michael Hingson ** 57:23 A little word movie, word movie out of the   Bill Ratner ** 57:27 mouths of babes. Yeah, and so, so and I perform. You know, last night, I was in Orange County at a organization called ugly mug Cafe, and a bunch of us poets read from an anthology that was published, and we sold our books, and heard other young poets who were absolutely marvelous and and it's, you know, it's not for everybody, but it's one of the things I do.   Michael Hingson ** 57:54 Well, you sent me pictures of book covers, so they're going to be in the show notes. And I hope people will will go out and get them   Bill Ratner ** 58:01 cool. One of the one of the things that I did with poetry, in addition to wanting to get published and wanting to read before people, is wanting to see if there is a way. Because poetry was, was very satisfying, emotionally to me, intellectually very challenging and satisfying at times. And emotionally challenging and very satisfying at times, writing about things personal, writing about nature, writing about friends, writing about stories that I received some training from the National Association for poetry therapy. Poetry therapy is being used like art therapy, right? And have conducted some sessions and and participated in many and ended up working with eighth graders of kids who had lost someone to death in the past year of their lives. This is before covid in the public schools in Los Angeles. And so there's a lot of that kind of work that is being done by constable people, by writers, by poets, by playwrights,   Michael Hingson ** 59:09 and you became a grief counselor,   Bill Ratner ** 59:13 yes, and don't do that full time, because I do voiceovers full time, right? Write poetry and a grand. Am an active grandparent, but I do the occasional poetry session around around grief poetry.   Michael Hingson ** 59:31 So you're a grandparent, so you've had kids and all that. Yes, sir, well, that's is your wife still with us? Yes?   Bill Ratner ** 59:40 Oh, great, yeah, she's an artist and an art educator. Well, that   Michael Hingson ** 59:46 so the two of you can criticize each other's works, then, just   Bill Ratner ** 59:52 saying, we're actually pretty kind to each other. I Yeah, we have a lot of we have a lot of outside criticism. Them. So, yeah, you don't need to do it internally. We don't rely on it. What do you think of this although, although, more than occasionally, each of us will say, What do you think of this poem, honey? Or what do you think of this painting, honey? And my the favorite, favorite thing that my wife says that always thrills me and makes me very happy to be with her is, I'll come down and she's beginning a new work of a new piece of art for an exhibition somewhere. I'll say, what? Tell me about what's, what's going on with that, and she'll go, you know, I have no idea, but it'll tell me what to do.   Michael Hingson ** 1:00:33 Yeah, it's, it's like a lot of authors talk about the fact that their characters write the stories right, which, which makes a lot of sense. So with all that you've done, are you writing a memoir? By any chance, I   Bill Ratner ** 1:00:46 am writing a memoir, and writing has been interesting. I've been doing it for many years. I got it was my graduate thesis from University of California Riverside Palm Desert.   Michael Hingson ** 1:00:57 My wife was a UC Riverside graduate. Oh, hi. Well, they   Bill Ratner ** 1:01:01 have a low residency program where you go for 10 days in January, 10 days in June. The rest of it's online, which a lot of universities are doing, low residency programs for people who work and I got an MFA in creative writing nonfiction, had a book called parenting for the digital age, the truth about media's effect on children. And was halfway through it, the publisher liked it, but they said you got to double the length. So I went back to school to try to figure out how to double the length. And was was able to do it, and decided to move on to personal memoir and personal storytelling, such as goes on at the moth but a little more personal than that. Some of the material that I was reading in the memoir section of a bookstore was very, very personal and was very helpful to read about people who've gone through particular issues in their childhood. Mine not being physical abuse or sexual abuse, mine being death and loss, which is different. And so that became a focus of my graduate thesis, and many people were urging me to write a memoir. Someone said, you need to do a one man show. So I entered the Hollywood fringe and did a one man show and got good reviews and had a good time and did another one man show the next year and and so on. So But writing memoir as anybody knows, and they're probably listeners who are either taking memoir courses online or who may be actively writing memoirs or short memoir pieces, as everybody knows it, can put you through moods from absolutely ecstatic, oh my gosh, I got this done. I got this story told, and someone liked it, to oh my gosh, I'm so depressed I don't understand why. Oh, wait a minute, I was writing about such and such today. Yeah. So that's the challenge for the memoir is for the personal storyteller, it's also, you know, and it's more of a challenge than it is for the reader, unless it's bad writing and the reader can't stand that. For me as a reader, I'm fascinated by people's difficult stories, if they're well   Michael Hingson ** 1:03:24 told well, I know that when in 2002 I was advised to write a book about the World Trade Center experiences and all, and it took eight years to kind of pull it all together. And then I met a woman who actually I collaborated with, Susie Florey, and we wrote thunder dog. And her agent became my agent, who loved the proposal that we sent and actually got a contract within a week. So thunder dog came out in 2011 was a New York Times bestseller, and very blessed by that, and we're working toward the day that it will become a movie still, but it'll happen. And then I wrote a children's version of it, well, not a children's version of the book, but a children's book about me growing up in Roselle, growing up the guide dog who was with me in the World Trade Center, and that's been on Amazon. We self published it. Then last year, we published a new book called Live like a guide dog, which is all about controlling fear and teaching people lessons that I learned prior to September 11. That helped me focus and remain calm.   Bill Ratner ** 1:04:23 What happened to you on September 11,   Michael Hingson ** 1:04:27 I was in the World Trade Center. I worked on the 78th floor of Tower One.   Bill Ratner ** 1:04:32 And what happened? I mean, what happened to you?   Michael Hingson ** 1:04:36 Um, nothing that day. I mean, well, I got out. How did you get out? Down the stairs? That was the only way to go. So, so the real story is not doing it, but why it worked. And the real issue is that I spent a lot of time when I first went into the World Trade Center, learning all I could about what to do in an emergency, talking to police, port authorities. Security people, emergency preparedness people, and also just walking around the world trade center and learning the whole place, because I ran an office for a company, and I wasn't going to rely on someone else to, like, lead me around if we're going to go to lunch somewhere and take people out before we negotiated contracts. So I needed to know all of that, and I learned all I could, also realizing that if there ever was an emergency, I might be the only one in the office, or we might be in an area where people couldn't read the signs to know what to do anyway. And so I had to take the responsibility of learning all that, which I did. And then when the planes hit 18 floors above us on the other side of the building, we get we had some guests in the office. Got them out, and then another colleague, who was in from our corporate office, and I and my guide dog, Roselle, went to the stairs, and we started down. And   Bill Ratner ** 1:05:54 so, so what floor did the plane strike?   Michael Hingson ** 1:05:58 It struck and the NOR and the North Tower, between floors 93 and 99 so I just say 96 okay, and you were 20 floors down, 78 floors 78 so we were 18 floors below, and   Bill Ratner ** 1:06:09 at the moment of impact, what did you think?   Michael Hingson ** 1:06:13 Had no idea we heard a muffled kind of explosion, because the plane hit on the other side of the building, 18 floors above us. There was no way to know what was going on. Did you feel? Did you feel? Oh, the building literally tipped, probably about 20 feet. It kept tipping. And then we actually said goodbye to each other, and then the building came back upright. And then we went,   Bill Ratner ** 1:06:34 really you so you thought you were going to die?   Michael Hingson ** 1:06:38 David, my colleague who was with me, as I said, he was from our California office, and he was there to help with some seminars we were going to be doing. We actually were saying goodbye to each other because we thought we were about to take a 78 floor plunge to the street, when the building stopped tipping and it came back. Designed to do that by the architect. It was designed to do that, which is the point, the point.   Bill Ratner ** 1:07:02 Goodness, gracious. And then did you know how to get to the stairway?   Michael Hingson ** 1:07:04 Oh, absolutely. And did you do it with your friend? Yeah, the first thing we did, the first thing we did is I got him to get we had some guests, and I said, get him to the stairs. Don't let him take the elevators, because I knew he had seen fire above us, but that's all we knew. And but I said, don't take the elevators. Don't let them take elevators. Get them to the stairs and then come back and we'll leave. So he did all that, and then he came back, and we went to the stairs and started down.   Bill Ratner ** 1:07:33 Wow. Could you smell anything?   Michael Hingson ** 1:07:36 We smelled burning jet fuel fumes on the way down. And that's how we figured out an airplane must have hit the building, but we had no idea what happened. We didn't know what happened until the until both towers had collapsed, and I actually talked to my wife, and she's the one who told us how to aircraft have been crashed into the towers, one into the Pentagon, and a fourth, at that time, was still missing over Pennsylvania. Wow. So you'll have to go pick up a copy of thunder dog. Goodness. Good. Thunder dog. The name of the book is Thunder dog, and the book I wrote last year is called Live like a guide dog. It's le

In this episode of LaidOPEN Podcast, host Charna Cassell sits down with award-winning playwright, performer, and teacher Ann Randolph, whose autobiographical solo shows blend comedy, storytelling, and profound transformation. Together they explore their long-held desire to collaborate — a journey guided by synchronicity, presence, and creative courage. Ann shares how her early days working the graveyard shift at a homeless shelter evolved into a celebrated career sharing the stage with icons like Mel Brooks and Alanis Morissette. She opens up about using comedy to approach trauma, the healing power of daily writing, and the importance of embodying your story rather than just telling it. Charna and Ann dive deep into the somatic roots of storytelling, the interplay between vulnerability and creative freedom, and the spiritual practices that sustain both art and healing. Whether you're a writer, performer, or simply someone seeking personal transformation, this conversation invites you to embrace failure, presence, and play as pathways to authentic expression and connection. Show Notes 00:00 – Introduction and Guest Introduction 02:11 – Charna's Journey to Meeting Ann 03:39 – The Power of Daily Writing 04:18 – Writing for Transformation 05:02 – Ann's Solo Shows and Comedy 09:18 – Victim, Hero, and Perpetrator Dynamics 12:22 – Somatic Practices in Storytelling 18:19 – Collaborations with Alanis Morissette 23:10 – Working with Mel Brooks 27:42 – Support and Validation 28:15 – Mentorship and High Stakes 29:16 – Opening in New York and Personal Loss 31:27 – Turning Grief into Art 41:26 – The Healing Power of Storytelling 45:29 – Spiritual Practices and Personal Growth 47:42 – Current Projects and Offerings 51:53 – Conclusion and Farewell

Sugar Kaye Grefaldeo never imagined that her talent in dance would take her to Australia. She travelled to the Land Down Under twice to represent the Philippines in an international competition, and those experiences inspired her to move to Australia, where she continued her path as a teacher and international student. - Dahil sa talento sa pagsasayaw dalawang beses nang nakapaglakbay patungong Australia si Sugar Kaye Grefaldeo upang irepresenta ang Pilipinas sa mga internasyonal na kompetisyon. Sa mga pagbisitang ito niya unang nakilala at minahal ang bansa dahilan upang magdesisyon siyang lumipat at mag aral sa Australia taong 2019.

Same Time, Same Station 2025-08-24 Everett Sloan Part 13. “Suspense” 07/07/1957 Alibi. Everett Sloan AFRS. “The CBS Radio Workshop 07/21/1957 The Green Hills Of Earth. “The Molle Mystery Theater” 05/21/1948 Solo Performance. “Inner Sanctum Mysteries” 06/20/1949 Corpse Without a Conscience. If you would like to request shows, please call (714) 449-1958 E-mail: Larry Gassman: LarryGassman1@gmail.com John Gassman: John1Gassman@gmail.com

The British and Irish Lions are currently on their tour of Australia and have won the first test in Brisbane. The Lions is all about history and tradition, meaning each evokes the memories of tours gone by. In this case of this tour, the tales being told most often relate to the last time the Lions visited Australian shores, when they made history with their only victorious test series this century. Whilst a Lions tour is about coming together, so often the memories are about an individual. In the case of 2013, the individual of note was Wales fullback Leigh Halfpenny. His record breaking performance won him player of the series back in 2013... but was it even more than that? Was Halfpenny's performance against Australia in 2013 the greatest we have ever seen from a Lion? In this video I will tell the story of Halfpenny's 2013. I'll break down what made him such an exceptional player and how he propelled himself to the Lions XV in Australia, setting records all along the way. If you enjoy it, please consider subscribing to the channel and sharing a link with a friend! Cheers! Follow me on Twitter: https://x.com/HuwGriffinRugby Learn more about your ad choices. Visit podcastchoices.com/adchoices

For those looking for an example of a life lived with both artistic excellence and personal richness, oboist Christoph Hartmann is an inspiring model. A member of the Berlin Philharmonic since 1992, Christoph is not only a world-class orchestral musician but also a sought-after soloist and chamber player. He teaches at the Freiburg Musikhochschule, where he now lives, regularly commuting to Berlin for performances with the Philharmonic.Outside of his musical career, Christoph is deeply involved in endurance sports—he has run around 40 marathons and is an avid cyclist. His passion for biking even led him to create his own line of bicycles, Pasulli bikes, as well as open a bike shop. With a schedule this full and diverse, Tony was eager to learn how Christoph balances it all—and that's exactly what this wide-ranging conversation explores.In Part 1, Christoph reflects on his time with the Berlin Philharmonic, sharing how the orchestra has evolved over the decades and offering insight into the leadership and influence of conductors Claudio Abbado, Simon Rattle, and Kirill Petrenko. He also talks about the experience of performing for the Philharmonic's Digital Concert Hall and whether those streamed performances come with added pressure. The conversation turns to the ever-present topic of reeds and their impact on oboe playing, as well as how he manages his time between teaching in Freiburg and performing in Berlin. Christoph also shares how his interest in long-distance running and biking fits into his musical life, and we wrap up the first part with a look at the Mozart Oboe Concerto video he recorded for the YouTube Symphony.[Subscriber Content] Part 2 begins with a thoughtful discussion about Christoph's personal motto—“live your dreams”—and how he balances that ideal with the practical demands of his life. Given how many passions he juggles, Tony asks how he determines his priorities and maintains focus. Christoph also offers his perspective on the differences between German and American styles of oboe playing. The conversation then travels back to his early days on the instrument, culminating in the story of his audition for the Berlin Philharmonic. The episode concludes with his reflections on why the Mozart Oboe Concerto continues to be an ideal first-round audition piece for aspiring orchestral players.DoricoProfessional music notation and composition software from Steinberg. Download a free 30-trial today!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

Behrendt, Barbara www.deutschlandfunk.de, Kultur heute

This one is pretty short n' sweet! Here are our final predictions for best pop solo performance! Comment below who you think will take the award home! #predictions #nomination #Grammy2025 Email questions to lexcsolo@gmail.com CashApp: $LexCATL PayPal: lexcsolo@gmail.com Venmo: @lexcatl Zelle: 404-552-5514 Please support me by becoming a Patron on my Patreon at https://www.patreon.com/lexcatl. As a Patron, you'll get to see all my content AS SOON AS I POST, not when I schedule stuff to post, which is only once each week right now. If you want to see your requested videos IMMEDIATELY, sign up to become a Patron for just $5 each month! WORK WITH LEXC https://www.lexcatl.com/shop/work-with-lexc LexC eBook: http://bit.ly/lexcebook MUSIC Amazon - http://bit.ly/lexconamazon Apple Music - http://bit.ly/lexconapple CD Baby - http://bit.ly/lexconcdbaby Spotify - http://bit.ly/lexconspotify Tidal - http://bit.ly/lexcontidal _________________________________________________________________ Follow me: https://www.lexcatl.com/ https://www.instagram.com/lexcatl/ https://twitter.com/lexcatl https://www.facebook.com/lexcatl https://anchor.fm/lexcatl https://www.patreon.com/lexcatl

Have you played Fill The Grid on Actorle? It's my current favourite daily timewaster to add to the list - perfect if you really love remembering who was in both The Cider House Rules and Avengers: Endgame. Hope you enjoy this week's Quiz Cupboard - rounds include AD, Baby and What About Us?Join the Patreon and become a Cupboard Dweller!Get your Quiz Cupboard merch here.Social media:- Instagram- TwitterThanks to:CGBJTLord and Lady Grames of LutonBrandon HuntGwynne YColin FarleyNat PandaZach and JPSteven (aka Jaye's Boyfriend)Queen Sherbert FlavourLucille Pavlov & SandbagLady EkaterinaSandra from Malmö SwedenElisa & MartinEmmaShauna and BasCaroline RDante PetrinIan and Beth's road tripsChar & Olliestrangelove1976Dorna & DamianMatt & Jo

DescriptionMind Games: The Psychology Behind a Solo Performance in 60 Seconds. Take a minute to get the scoop!Fun FactOne of the most difficult violin concertos is Niccolò Paganini's Violin Concerto No. 1 in D Major. Known for its technical demands, it features rapid scales, double stops, harmonics, and wide leaps that push the limits of a violinist's dexterity and control. The concerto also requires expressive phrasing while navigating these complexities, blending virtuosity with musicality. Its intense demands on both technique and endurance make it a formidable challenge for even the most skilled violinists.__________________________________________________________________About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.__________________________________________________________________You can FOLLOW ME on Instagram.

Episode 09: In this episode, Scott and Carmen introduce their son, Tommy, to the podcast, talk about how he came into this world, and what it's been like living with a newborn these past few weeks. 0:00 — Intro 1:20 — Special Request 2:23 — Introducing Tommy 4:39 — First Few Weeks 6:50 — How Tommy Arrived 18:06 — Carmen's Perspective 21:23 — What to Expect When Baby Arrives 28:16 — Postpartum 30:38 — New Life Adjustment 32:56 — Figuring Out Work-Life-Baby Balance 35:06 — Tommy's First Solo 35:25 — Carmen's Pregnancy Journey 39:04 — Babymoon 42:16 — Dadtok Secrets 44:32 — Special Milestones Resources https://postpartum.orghttps://bouncebackbc.ca/ LISTEN & SUBSCRIBE YouTube: https://www.youtube.com/@StudioNorthPodcast?sub_confirmation=1  Spotify: https://open.spotify.com/show/7Dh7M22shDInWU7RJlJim5 Apple: https://podcasts.apple.com/us/podcast/the-studio-north-podcast/id1735231812 FOLLOW Instagram: https://www.instagram.com/studionorthpodcast  TikTok: https://www.tiktok.com/@studionorthpodcast  Website: https://www.thestudionorth.com/  HOSTED BY Carmen Forsyth https://www.instagram.com/carmen4syth/ https://www.youtube.com/@Carmen4syth  Scott Forsyth https://www.instagram.com/scott4syth/  https://www.youtube.com/@ScottForsyth  ABOUT US Join Scott & Carmen Forsyth every week as they dive deep into the dance community, go behind the scenes of Studio North, and sit down with some of North America's most successful dancers, teachers, and choreographers. STUDIO NORTH TV Learn from Canada's best dancers from your own home  https://www.thestudionorth.tv/  STUDIO NORTH Vancouver  https://www.youtube.com/@StudioNorthVancouver  https://www.instagram.com/thestudionorth/  Toronto https://www.instagram.com/thestudionorthto/  https://www.youtube.com/@StudioNorthToronto 

On this day in 1983, Michael Jackson performed the moonwalk for the first time at the Pasadena Civic Auditorium in California. See omnystudio.com/listener for privacy information.

Jonjan is a guitarist with a unique fusion of flamenco and funk, delivering performances that effortlessly captivates audiences with his energy and charm. From playing in Jimi Hendrix's apartment to performing for the likes of Apple and Google, Jonjan plays his carefully crafted songs, and will leave you wondering how one person can produce such a diverse range of sounds with just one instrument. In 2023, Jonjan released his debut album, "Strings Attached", featuring the dynamic songs that he is known to perform on stage. In today's episode, Jonjan shares insights into his musical journey, discussing his early influences, his experiences studying guitar and solo performance, the lessons learned from street performances, and the importance of maintaining professionalism in the music industry.

On episode 153 of Inside the SCCA, we connect with a someone who dedicates a lot of his life to the solo community. The owner of SoloPerformance.com --- Dave Whitworth. Partners - A big thank you to our partners who help make Inside the SCCA possible! Race-Keeper is the official in-car video system of Inside the SCCA -- find out more at https://www.race-keeper.com/ Use the Promo Code "ROK25HH" for 25% off the RoadKeeper and you get a free OBDII scanner -- a $99 value. This Promo Code is good through 12/31/23. Ray Esports is the official sim racing league of the Inside the SCCA podcasts -- from the "Unofficial SCCA eSports Racing Leagues on Tuesday nights - to the weekend warrior leagues on Saturday and Sunday -- Ray Esports is the place to go for SCCA members to racing. What's I like best about the Ray eSports leagues is the racing is much more respectful than the vast majority of eRacing leagues on iRacing. Go to https://rayesportsracing.com/ for all the info you need. Become a patron to support the channel and gain access to exclusive giveaways, Livestream Q&As and more: https://www.patreon.com/racingwirenetwork

Hisham Akira Bharoocha is a Japanese born multimedia artist based in Brooklyn New York . Bharoocha works in various mediums creating large scale mural paintings, drawings, collage, sound, installation work, and performance. He has had solo exhibitions in Japan, New York and The Netherlands, not to mention the countless group exhibitions his work has been displayed around the world. Bharoocha is known for being one of the founding members of the experimental rock group Black Dice (1997-2004) alongside other bands he was a member of such as Pixeltan, Soft Circle, IIII, Boredoms (live show member 2007-2015) Currently Bharoocha is a member of Kill Alters. He creates electronically focused music under the name YOKUBARI, performing live under his own name using drums and Sensory Percussion drum sensors. Bharoocha has performed at renowned spaces such as Rockefeller Center, MoMA, MoCA, The Sydney Opera House (Australia), MoMA PS1, Barbican (London) to name a few, organizing large scale performances including up to 100 musicians, mainly drummers performing together. Hisham is performing at MOMA PS1 tomorrow (February 24th, 2024) 5PMin conjunction with the @tiravanija_team_cm (ig) exhibition. (FREE SHOW)IG: https://www.instagram.com/softcircle/TW: https://twitter.com/HishamBharoochaFine Art: https://www.hishamakirabharoocha.comCommercial Work: https://www.hugoandmarie.com/artists/hisham-akira-bharoocha/Solo Performance: https://hishamakirabharoocha.bandcamp.com/album/live-at-h0l0-01-31-2020-2Solo Electronic: https://chinabot.bandcamp.com/album/sakaiBand (Kill Alters): https://killalters.bandcamp.com/track/time-warpDJ Mixes: https://www.mixcloud.com/YOKUBARI_SoftCircle/We also requested Hisham to share with us some of his favorite things. Catch them all in our newsletter.https://putf.substack.com/The PUTF show is an interview series, dedicated to showcasing inspiring creatives from the PUTF community and beyond. Guests are invited to share their unique career journeys, stories, and visions. The PUTF show is produced by WAVDWGS, a video production company based in NYC.https://wavdwgs.com/Pick Up The Flow, is an online resource based in NYC striving to democratize access to opportunities. Opportunities are shared daily on this page and website, and weekly via our newsletter. More on https://putf.substack.com/#nyc #music #podcast #blackdice#softcircle#killalters#yokubari#boredoms#pixeltan#inspiration #motivation#hishamakirabharoocha#art #lifestyle #interview #risd#visualarts Hosted on Acast. See acast.com/privacy for more information.

Patricia Anderson of Rochester is a choral director who teaches voice. She is excited about a forthcoming concert by Resounding Voices Chorus, “a wonderful organization that is part of a growing worldwide movement to improve the lives of people living with some sort of dementia and with their support partners through musical participation.” She explains that artistic director Suzy Johnson ”gets a wonderful mix of music … and then she arranges them so that they really fit very well with the people that are singing in the choir.” The concert is called “Rain or Shine” and will take place May 14 at Calvary Evangelical Free Church in Rochester. Louise Robinson of Minneapolis has a career managing professional dance companies in Minnesota. “I grew up in Winona in the 60s and never imagined finding a connection with the South Indian dance form of Bharatanatyam,” she says. “But years ago, my paths crossed with Ranee Ramaswamy, artistic director of Ragamala Dance here locally, and I have been captivated by the form ever since.”  Don't see video? Click here Saturday the Fitzgerald Theater will host Ragamala's Dance Company's “guru” (as they describe her on their website), Indian dancer and choreographer Alarmel Valli. “Miss Valli's style of Bharatanatyam is particularly emotional in its intentions and fluid in its movement style,” Robinson says. “Her performances are captivating, and that's not easy to command a stage for an entire evening as a solo performance. But that's her forte.”

It's a whole play with more than 15 characters, performed by one person. It's called "Hamlet (Solo)," and it's playing tonight at the Corner Brook Rotary Arts Centre. Raoul Bhaneja has been performing the Shakespeare classic ALONE for over a decade. He says when it comes to theatre production, sometimes less is more. Bhaneja spoke with CBC's James Grudic as he was checking out the stage and doing some rehearsing.

In this episode, hosts Zsófi and Bíborka take apart autobiographical theatre with stage director Panni Néder; actress Judit Tarr; actor and director László Göndör; and director and dramaturg Kristóf Kelemen. Together they delve into their approach to autobiographical material, playing themselves versus acting, their lives after creating a highly personal show, and the nuances of someone else playing them onstage.

In this week's episode of PUHA podcast, co-hosts Bíborka and Zsófi navigate their way through a discussion of what queerness means with performer, actress, and director Veronika Szabó; contemporary dancer Kemelo Sehlapelo; and dancer, choreographer, and clubber Gergő Dávid Farkas. Together, they contemplate identities, responsibility, and the way queer people exist in society.

Ein diverses Team rund um die Schauspielerin Daniela Ruocco hat die Performance «En mi imperio perreo sola» erarbeitet, die in der Dampfzentrale zu sehen ist. Daniela Ruocco hat Wurzen in Uruguay und ist mit Reggaeton aufgewachsen. Mit der Solo-Performance lädt sie uns auf eine queer-feministische Erkundung dieses meist als sexistisch bekannten Musikstils ein. Die Performance ... >

It's astonishing what magic one actor can produce on stage when they have a great script and the ability to play many roles simply through movement and voice.. TAHI - New Zealand Festival of Solo Performance brings together soloists - from emerging first or second-timers through to well-established performers - from around Aotearoa for 10 days of performances and conversations about this specialist theatrical form. This year marks the fourth TAHI and it'll be hosted in Wellington - 18 shows across four venues and ten days. Lynn Freeman talks with two of this year's participants - Sacha Copland and Helen Fletcher. TAHI: New Zealand Festival of Solo Performance starts on September 8 at Bats Theatre in Te Whanganui A Tara/Wellington.

In this episode, Jordan Ealey and Leticia Ridley look at the life and legacy of playwright Robbie McCauley, who recently passed away. They discuss her work as a pioneer of solo performance as a Black woman and how she impacted the world of Black feminist theatre.

A couple of my songs to fill in a few moments. The podcast will be back in a few weeks with the launch of Season 5. These are two songs from the show "Yes! Because..." which I have performed from Brisbane to Edinburgh, London to Liverpool and also at the New York Festival of Solo Performance.  The songs are available on Bandcamp, as well as Spotify, Apple Music and Amazon Music.Thanks for listening. Stay safeSupport the show

One man show or one woman show

Harry Edward Styles (born 1 February 1994) is an English singer, songwriter and actor. His musical career began in 2010 as a solo contestant on the British music competition series The X Factor. Following his elimination, he was brought back to join the boy band One Direction, which went on to become one of the best-selling boy bands of all time before going on an indefinite hiatus in 2016.Styles released his self-titled debut solo album through Columbia Records in 2017. It debuted at number one in the UK and the US and was one of the world's top-ten best-selling albums of the year, while its lead single, "Sign of the Times", topped the UK Singles Chart. Styles' second album, Fine Line (2019), debuted atop the US Billboard 200 with the biggest ever first-week sales by an English male artist, and was the most recent album to be included in Rolling Stone's "500 Greatest Albums of All Time" in 2020. Its fourth single, "Watermelon Sugar", topped the US Billboard Hot 100. Featuring the chart-topping single "As It Was", Styles' third album, Harry's House (2022), was widely acclaimed and broke several records.Throughout his career, Styles has received several accolades, including two Brit Awards, a Grammy Award, an Ivor Novello Award, and an American Music Award. Styles made his acting debut in Christopher Nolan's 2017 war film Dunkirk. Aside from music and acting, he is known for his flamboyant fashion. He is the first man to appear solo on the cover of Vogue.

In this episode, Adam and Budi discuss Solo Performance and the difference between Performance Art and Theatre, and how great Solo Performance requires a dedicated team of people to make the one person shine.  Mentioned in this episode:Marcel DuchampMarina AbramovicAnnabel ChongAnna Deveare SmithTwilight 1992  Extreme ExposureEric BogosianGuillermo Gomez PenaMike DaiseyRoger Guenveur SmithA Huey P Newton storySlava's snow showLily TomlinSearch for Signs of Intelligent Life in the UniverseTyroneSandra Bernhard and Mariah CareyWhoopi GoldbergJohn LeguizamoLatino History for Moron'sPatti Labelle and Cyndi LauperScott Mann's Last OutTOO MerchandiseTo submit a question, please visit http://www.speakpipe.com/theatreofothers for voice recording or submit an email to podcast@theatreofothers.com Messages may be quoted by name unless the writer stipulates otherwiseIf you enjoyed this week´s podcast, we´d love for you to leave a review on Apple Podcasts. It helps with our visibility, and the more people listen to the podcast, the more we can invest in it and make it even betterSupport the showSupport the show

Preparation for any solo contest, or audition generally takes several weeks to prepare for. With that objective in mind we are are going to be discussing some standard contest and solo performance considerations that you or your students should keep in mind when laying the groundwork for this event. Most importantly, remember that as a performer expecting the best result requires the best detailed and specific preparation possible.   Want to ADVERTISE your SERVICE or PRODUCT to a highly focused Music Education audience. Then ADVERTISE HERE! Show Notes  https://signup.libsyn.com/?promo_code=MUSICED Do You Get Value From The Show? Consider Supporting the Show with a $3 Donation. https://glow.fm/themusiceducatorpodcast/ For More Information: www.themusiceducatorpodcast.com

Dael Orlandersmith hat mit "Until the Flood" eines der Stücke der Stunde geschrieben. In der Solo-Performance setzt sie sich mit der Tötung eines schwarzen Jugendlichen in Ferguson auseinander –und mit Rassismus und toxischer Männlichkeit.Von Ute Büsingwww.deutschlandfunkkultur.de, Rang 1Direkter Link zur Audiodatei

Gender Euphoria, the Podcast host Nicolas Shannon Savard sits down with actor, writer, and comedian D'Lo to talk about his career and how he uses comedy and storytelling as tools for connection, education, and compassion.

Gender Euphoria, the Podcast, host Nicolas Shannon Savard sits down with storyteller, educator, and advocate for transgender rights, Rebecca Kling. Their conversation addresses Rebecca's work as a solo performer-turned-activist, the importance of consent in deciding to take on the trans educator role, and her radical and hilarious approach to the post-show talkback: the Strip Q and A.

Whether you're stripping your clothes off or coming out of the closet, it's all about the big reveal. But, what happens when you are terrified to let people see the real you, the you that you're meant to be? Do you freeze, and get scared of exposing your true self to the world? It's time to be confident and stop concerning yourself with what others think and unleash your inner vixen on the world. Actor, award-winning International Burlesque performer, and Speaker Cat LaCohie helps us strip down to our truth so the world can see us for who were truly are - our most authentic selves. About Cat Cat LaCohie is a multi-talented LA based British actress, Speaker and award-winning International Variety Burlesque Performer, ‘Vixen DeVille'.​ In addition to multiple appearances on TV's, “Masters Of Illusion”, her solo stage show “Vixen DeVille Revealed” toured the US in 2019 picking up multiple awards and is currently being produced as a TV special. With a BA(hons) in Theatre Creation and Solo Performance, plus 15 years experience of performing and teaching burlesque in over 3 continents, Cat has learned how to step out into the world confidently, authentically and unapologetically – her mission is to help others to do the same. In addition to performing for audiences, Cat also teaches her craft to students all over the world. Her unique training is designed for bodies of ALL ages, abilities, shapes and sizes, to break free of others' restrictive and damaging labels and, to instead, rediscover and celebrate their inner badass, their inner goddess, their inner Vixen! Whether gaining the confidence to step out onto the Burlesque stage, or out of your own front door, this work provides the individual a new found freedom of self-expression, without shame or judgement. It provides the ability to be seen, to eradicate insecurities and in some cases, even prove doctors wrong.m. Connect With Cat http://www.vixendeville.com/ (Vixen Deville Website) http://www.catlacohie.com/ (Personal Website) https://www.facebook.com/cat.lacohie (Facebook) https://www.instagram.com/catlacohie/ (Instagram) https://www.linkedin.com/in/cat-lacohie/ (LinkedIn) You can also listen to the podcast on… https://apple.co/2RBmUxZ ()https://bit.ly/2UxP9zN ()   https://spoti.fi/2JpvCfg ()https://www.stitcher.com/podcast/rick-clemons/the-coming-out-lounge ()   http://tun.in/pjtKR ()https://bit.ly/30kT4kL ()   https://bit.ly/2FVH55j ()  

About my guest, Jeff Purtle: Author of Hit it Hard & Wish it Well: Claude Gordon's Approach to Trumpet & Brass Playing A MultiTouch book available in the Apple Books Store (http://www.hitithardwishitwell.com/ (www.hitithardwishitwell.com)) https://www.purtle.com/brass-conference (Purtle Brass Conference), Anderson University - The South Carolina School of the Arts; Anderson, SC Host and presenter for music workshop attracting brass players of all levels worldwide to SC with university credit. Highly reviewed in The Brass Herald (UK) and International Trumpet Guild. Clinician and Presenter Presentations at https://www.purtle.com/international-trumpet-guild-conference-2017-trumpet-clinic-jeff-purtle (International Trumpet Guild Conference), Royal Welsh College of Music and Drama (Cardiff, Wales), Wells Cathedral School of Music, SC MENC Convention, SC International Trumpet Guild, https://www.purtle.com/testimonial-dr-gary-malvern (Furman University), https://www.purtle.com/testimonial-dr-david-stern (Anderson University), https://www.purtle.com/testimonial-dr-gary-malvern (Bob Jones University), SCACS Convention and other music education events on topics of brass playing and technology use. Work Published: International Trumpet Guild, The Brass Herald (London), Cited in various doctoral thesis as an authority on Claude Gordon's brass teachings. Manager for http://harrykimtrumpet.com/ (Harry Kim) - Trumpet Featured Artist and Clinician at the National Trumpet Competition Producing multimedia presentations for Harry Kim Adjunct Trumpet Professor, Anderson University; Anderson, SC Adjunct Trumpet Professor, Clemson University; Clemson, SC Trumpet Performances with: Dionne Warwick, Rita Coolidge, Rhythm & Brass, Sandi Patty, Reggie & Ladye Love Smith, Christopher Parkening, Jubilant Sykes, Harry Kim, Wayne Bergeron, Susan Slaughter, Monarch Brass, Philippe Schartz and Byron Stripling. Solo Performance featured on SC Carolina Concerts, SC ETV Radio YourDay, German radio - Koln Westdeutscher Rundfunk, Brentwood-Westwood Symphony, Downey Symphony, Spartanburg Philharmonic, Hendersonville Symphony, and Greater Anderson Music Arts Consortium Credits: Trumpet Dynamics: The Story of the Trumpet, In the Words of Those Who Play It Host: James Newcomb Guest: https://purtle.com (Jeff Purtle) Opening music: "Folklore" by https://bigbigtrain.com (Big Big Train) Closing music: "Creepin' With Clark" written and performed by Mike Vax Audio editing by: Kurtis Goodwolf Show notes prepared by: http://podcastartistry.com (Podcast Artistry™)

With week 3 firmly in the books, Stocks find himself at the helm alone for the review of the weeks action. Sorry for the poor audio, once again the tech gremlins were playing havoc with team College. Get 20% off and free worldwide shipping over at Manscaped using the code 5YARD. Head to https://uk.manscaped.com/ and get grooming.Follow the Podcast on Twitter @5yardcollegeHead over to https://5yardrush.co.uk/fantasy-football-playbook-2021-guide/ and grab your copy of The Fantasy Football Playbook right now. It's going like hotcakes. Stay safe everyone, practice social distancing and keep washing those hands. Head over to NFL Europe Shop and use code '5YARDRUSH' for 10% off your order using the link, https://europe.nflshop.com/stores/nfl/en/c/super-bowlHead over to the website www.5yardrush.co.uk To check out the latest articles and more.Grab your FFCC T-Shirt here https://5yardrush.co.uk/product/the-ffcc-white-t-shirt/

We round off season one with a trio of monologues. First up, is the New Zealand classic The End of the Golden Weather. If you've ever wondered how we do Christmas on the beach in Aotearoa, then this is the episode for you.

This week on the podcast we chat to Ciaran who is a Self- employed, Actor, Wedding Celebrant & Trainer of Celebrants for weddings and funerals, naming ceremonies, Lecturer in Sligo IT, Drama Adjudicator & Hen party entertainer.Here is some more information that Ciaran shared with us . . . An excellent communicator with a proven track record for delivering high quality theatre both as a performer and a director.A natural facilitator and educator with a passion for sharing theatrical knowledge.Possesses an in-depth practical understanding of working within the challenges of a demanding artistic environment.Key Roles and AchievementsLecturer in Sligo Institute of Technology 2015 - Present• I deliver the Physical Theatre module as part of the Performing Arts BA in 2nd year.I have facilitated Acting classes for 1st , 2nd and 3rd year students on the Performing Arts BA• I deliver the modules Modernism in Drama, Literature and Facilitation and Drama to Performing Arts students.• I direct and produce the public showcase for the New Writing module.MA in Drama and Performance, University College Dublin 2014-2015• Completed an MA. which required for graduation a devised Solo Performance and presentation of a Thesis.• This undertaking demanded excellent time management skills and an ability to think and act strategically also developing my computer literacy and written communication skills.• Advanced my understanding of the importance of the Arts, in particular theatre, to the cultural fabric of a community both locally and nationally.Professional Actor 1991 – present• In 2019, I developed and produced a solo theatrical performance piece “Is Mise le Meas” about the writer Flann O'Brien• I have trained extensively in Corporeal Mime, Viewpoints and Suzuki, all disciplines rooted in sound physical technique, which have been developed to provide the actor with the skills to realise their potential and best artistic expression within a theatrical production.• My vocal training has been developed over the last 30 years under the influence of numerous coaches and teachers but most specifically with the Roy Hart Theatre of Voice, France.• As part of an ensemble since 1991, I have been engaged in all aspects of Theatre Production, prop making, costume sourcing and design, set design and construction, lighting design, Production management on National and International Touring schedules.(For full listings of Theatre, Film and Radio performance credits please see addendum.)Theatre Director 1998 - present• In 2016 I established a Youth Theatre group in Tubbercurry. This project required a scheduled number of theatre workshops culminating in a devised performance to mark the opening of The Western Drama Festival.• I have directed a number of productions for Blue Raincoat Theatre company.• I have been Assistant Director to Kellie Hughes, Director Ad Astra Programme University College Dublin, The War Project with the Ad Astra scholars and UCD choral scholars, and Shakespeare's Women presented by the Drama Studies students.• I was the Assistant Director and Production Manager for Terrible Tales of Tubber which was performed by Tubbercurry Youth Drama Group in 2011.• As Director of Footsteps Theatre Group, I directed and produced a number of shows that were presented as part of Cairde Arts Festival.Training and Facilitation Ongoing• I was the lead driver on a unique project to deliver drama workshops to a group of young adults from Sligo Down Syndrome, this collective became The Footsteps Drama group. Weekly drama workshops were held and the company presented a number of public performances as part of the stated goals of the project.• In 2017, at the request of the Summerhill College English Dept., I created and produced a performance designed to provide students with practi

Melati Suryodarmo, (b. 1969, Solo, Indonesia) graduated from the Hochschule für Bildende Künste Braunscheweig, Germany under the tutelage of Marina Abramović and Anzu Furukawa with a Meisterschüler qualification in Performance Art. Her practice is informed by Butoh, dance and history, among others. Her work is the result of ongoing research in the movements of the body and its relationship to the self and the world. These are enshrined in photography, translated into choreographed dances, enacted in video or executed in live performances. Suryodarmo is interested in the psychological and physical agitations that may be from the self or the world but somehow result in lasting change the individual. This belief in change or growth through bodily action belies her early induction in meditation, which she continues to practice. The body is the home for memories and the self, rather than the individual itself, and the body's system. The way the body translates internal and external ideas enriches the attitude and thoughts of the self. Meeting Furukawa, an accomplished Butoh practitioner, had opened her eyes on the expressive qualities of the body, a form of communication that transcends verbal language. This experience has motivated her lifelong studies into Butoh and other artistic forms concerned with the human body. As a trained performance artist, presence is integral to the accomplishment of Suryodarmo's work in all mediums. The senses picks up non-verbal inputs and receive them as communication of intent, emotion, energy or identity. These non-verbal inputs open the door to sensitive and individual perception and the creation of presence. However, everyone processes these inputs differently and interpret them differently based on their unique consciousness. By compiling, extracting, conceptualising and translating some of these factors of presence that she recognises into her work, she intends to tease open the fluid border between the body and its environment. These movements are understood through the metaphor of poets, who similarly assembles words and spaces to create their poetry. Suryodarmo draws inspiration from her real experiences in the world. The path of history informs her perception of the everyday and the now. Her works often reflect the process that lead to current events, be it political, global or highly personal. In her abstracted gestures and poetical acts, the presence of each work is brought to a concentrated level of intensity. In abstracting these acts from their common context, they are made to correspond with new associations and sometimes identify radically with different meanings. The works' abstract narrative throws the spotlight on the audience's bodily response. This often results in a level of factual absurdity in the work, which is acknowledged and welcome. Suryodarmo has presented her work in various international festivals and exhibitions, including Reanacting History: Collective Actions and Everyday Gestures (2017), National Museum of Contemporary Art Korea, Gwacheon, South Korea; SUNSHOWER: Contemporary Art from Southeast Asia 1980s to Now (2017), National Art Centre Tokyo & Mori Art Museum, travelled to Fukuoka Art Museum, Japan; AFTERWORK (2016), Para Site, Hong Kong, travelled to (2017) Ilham Gallery, Kuala Lumpur, Malaysia; East Asia Feminism: FANTasia (2015), Seoul Museum of Art, Seoul, South Korea; 8th Asia Pacific Triennale (2015), Queensland Art Gallery & Gallery of Modern Art, Queensland, Australia; 5th Guangzhou Triennale (2015), Guangzhou, China; The Roving Eye: Contemporary Art from Southeast Asia (2014), Arter, Istanbul, Turkey; Medium at Large (2014), Singapore Art Museum, Singapore; Luminato Festival (2012), Toronto, Canada; Beyond the Self: Contemporary Portraiture from Asia (2011), National Portrait Gallery, Canberra, Australia; Marina Abramović Presents… (2009), Manchester International Festival, Manchester, U.K.; Incheon Women Artists' Biennale (2009), Incheon, South Korea; Manifesta 7 (2008), Bolzano, Italy; Wind from the East: Perspectives on Asian Contemporary Art (2007), Kiasma, Helsinki, Finland. Since 2007, Suryodarmo has been organizing an annual Performance Art Laboratory and Undisclosed Territory, a performance art festival, in Solo, Indonesia. In 2012, she founded “Studio Plesungan”, an art space for performance artists to use as a laboratory. In 2017, she served as Artistic Director for Jiwa, the 17th Jakarta Biennale. She currently lives and works between Gross Gleidingen, Germany and Solo, Indonesia.Artist StatementThe world that inspires me to move my thoughts is the world inside me. The body becomeslike a home which functions as container of memories, living organism. The systeminside the psychological body that changes all the time has enriched my idea to developnew structures of attitude and thoughts. I try to perceive my surroundings as the fact ofthe real presence of now, but considering the path of its history. I try to understand thelanguage that are not spoken, and opens the door of perceptions. I respect the freedom inour minds to perceive things coming through our individual sensory register system.Crossing the boundaries of cultural and political encounters has been a challenge thatstimulates me discovering new identification. An effort to find identity is yet a dangerousact of losing the ground of origin. For me, the process of making artwork is a life long researchthat never stops me to put myself inside the metamorphic constellation. I intend totouch the fluid border between the body and its environment through my art works. I aimto create a concentrated level of intensity without the use of narrative structures. Talkingabout politics, society or psychology makes no sense to me if the nerves are not able todigest the information. I love it when a performance reaches a level of factual absurdity.Melati Suryodarmo's performances have been dealing with the relationship between ahuman body, a culture in which it belongs to and a constellation where it lives. Through thepresence, she compiles, extracts, conceptualized and translates some phenomenon orsubjects into movement, actions, and gestures that are specified to her performance. MelatiSuryodarmo´s performances concern with cultural, social and political aspects, inwhich she articulates through her psychological and physical body. Her performances featureelements of physical presence and visual art to talk about identity, energy, politics andrelationships between the body and its environments.Melati Suryodarmo studied at the Hochschule für Bildende Künste Braunschweig, Germanyunder Marina Abramovic.Suryodarmo has presented her works in various internationalfestivals and exhibitions since 1996, including the 50th Venice Biennale 2003, Marking theterritory, IMMA Dublin. e.t.c. In 2005, Melati Suryodarmo has performed at the Van GoghMuseum Amsterdam, during the Exhibition of the Life of Egon Schiele in 2005; VideobrasilSao Paolo (2005), Haus der Kulturen der Welt Berlin, 52nd Venice Biennale dance Festival(2007), KIASMA Helsinki (2007), Manifesta7, in Bolzano, Italy (2008),and In Transit festival,HKW Berlin (2009), Luminato festival of the arts, Toronto, (2012), Asia Pacific Triennale,Qagoma Brisbane (2015), Guangzhou Triennale, Guangdong, China (2015); SingaporeBiennale, Singapore, (2016). Since the last six years, Suryodarmo has been presenting herworks in Indonesia and other South East Asian countries. For the Padepokan Lemah PutihSolo Indonesia, she has been organizing an annual Performance Art Laboratory Projectand “undisclosed territory” performance art event in Solo Indonesia since 2007. In 2012,she founded “Studio Plesungan” an art space for performance art laboratory. She wasworking as the Artistic Director of the Jakarta Biennale 2017, one of the core visual artsbiennale in South east Asia.Melati Suryodarmo CV info@melatisuryodarmo.comMelati Suryodarmoinfo@melatisuryodarmo.comwww.melatisuryodarmo.comSTUDIO PLESUNGANDesa Plesungan RT03 RW02Plesungan, GondangrejoKaranganyar 57773Jawa TengahIndonesia--------------------------------------------------------------------------------------------------Born 12. July 1969 in Surakarta IndonesiaLives and works in Surakarta, IndonesiaEducation2016 - PhD Candidate in Artistic Research / Art as Practice Phd. at the Institute of theArts Surakarta Indonesia2001 - 2002Postgraduate Program (Meisterschule) in Performance Art at the Hochschulefuer Bildende Kuenste, Braunschweig, Germany, under prof. Marina Abramovic1994- 2001Study of performance art and sculpture under Prof.Anzu Furukawa, and Prof.Marina Abramovic. Degree in Fine Art at the Hochschule fuer Bildende Kuenste,Braunschweig, Germany1993Degree in International Relations Studies, Faculty of Politic and Socio Sciences,UniversitasPadjadjaran Bandung, IndonesiaExhibitions and Festivals |selections|2020- Marina Abramović + MAI Akış / Flux, Akbank Sanat Exhibition Program, Istambulk,Turkey- “Why Let the Chicken Run?”, Solo Exhibition at Museum of Modern Art and ContemporaryArt Nusantara (MACAN), Jakarta2019- “Memento Mori”, Solo Exhibition at Singapore Tyler Print International (STPI)Singapore- “Gandari”an opera by Tony Prabowo, as director and choreographer, Graha BaktiBudaya, Taman Ismail Marzuk, Jakarta- “Contemporary World”, Naional Gallery of Australia, Canberra, Australi- “Orfeus”, dance choreography, Komunitas Salihara, Jakarta- “Kontraksi: Pasca Traditionalisme”, pameran besar Nusantara, National Gallery ofIndonesia, Jakarta- “Arus Balik”, Centre of Contemporary Arts, Gilmann Barracks, Singapore- “All About Eve”, 2nd Women show at the Indonesia Luxury, Jakarta- “+63 / +62”, Silverlens Gallery, Manila, the Philippines2018- “Luminous Emptiness”, dance choreography in collaboration with Katsura Kan(Japan), Bo- robudur Writers and Cultural festival, Borobudur, Indonesia- “Sakhsat”, dance choreography, Solo International Performing Arts (SIPA) Festival,Solo, Indonesia- “Sweet Dreams Sweet”, performance, Hamburger Bahnhof - Museum for ContemporaryArts, Berlin, Germany- “I Love You”, Solo exhibition, Shanghart Gallery, Beijing, China- “Dance in Asia”, Osaka Creative Center, Osaka, Japan- “Timoribus” , Solo Exhibition, Shanghart Gallery , Singapore2017- “Amnesia” , Performance Klub, Europalia 2017, at S.M.A.K, Gent, BelgiumMelati Suryodarmo CV info@melatisuryodarmo.com- “Tomorrow As Purposed”, Dance Performance, Flammish Royal Theatre, KVS, Brussels,Belgium- “Self Portrait”, group exhibition, Mind Set Art Centre, MSAC, Taipei, Taiwan- “Re-enacting History: Collective Actions and Everyday estures”, National Museum ofModern and Contemporary Art (MMCA), Gwacheon Seoul, South Korea.- “First Sight” at Museum Museum, Jakarta- “Political Acts”, AsiaTopa, Melbourne Art Center, Melbourne, Australia- “Sunshower” - Contemporary Art in South East Asia - National Art Centre Tokyo, Japan- “Vertical Recall” dance performance, as choreographer at the Helatari, Salihara, Jakarta- “After Works”, Ilham Museum, Kuala Lumpur2016- “Behind the Light”, Singapore Biennale, SAM Singapore- “Transaction of Hollows”, Lilith Performance Studio Residency , Malmo, Sweden- “Your Otherness, I've never been so East”, dance piece, Hexentanz Festival, Sophiensale,Berlin- “Tomorrow as Purposed”, as choreorapher and director of dance production and researchinvolving dancers, musicians, at Indonesian Dance Festival, Jakarta- “Melati Suryodarmo” Solo Exhibition at Il Ponte Contemporanea, Rome, Italy- “undisclosed territory#10” as Facilitator at Studio Plesungan- “ In Silence”, a group exhibition at Pearl Lam Gallery in Singapore- “Amnesia” - Solo performance and exhibition, Galerie Ark, Jogyakarta, Indonesia- Paper Trail - South East Asia Works on Paper. Galery Sangkring, Jigyakarta, Indonesia- After Works, Para-Site, Hongkong- Costume National : Contemporary Art from Indonesia, Gallerie SAW Ottawa, Canada2015- Asia Pacific Trienial 8, Qagoma, Brisbane, Australia- I See You See Me, Treshold Gallery, New Delhi, Indiea- Sisyphus, a dance piece choerographed and directed by Melati Suryodarmo at DeSIngel, Antwerp, Belgium. Sisyphus, a dance piece choerographed and directed by Melati Suryodarmo at FrankfurtLab, Frankfurt, Germany- 5th Guangzhou Trienial and 1st Asia Bienial, Guanzhou, Guangdong, China- Oz Asia Festival , Adelaide, Australia- Melati Suryodarmo's Video Works, solo exhibition, Contemporary Art Centre of SouthAustralia (CACSA), Adelaide- FantAsia, Seoul Museum of Art, Seoul, South Korea- ArtJog 2015, In FLux, Yogjakarta, Indonesia- Tokyo International Performing Arts Meeting, Yokohama, Japan2014- “APBF Signature Award 2014 Exhibition” , Singapore Art Museum, Singapore- “Indonesian Dance Festival 2014”, Teater Kecil Taman ismail Marzuki, Jakarta- “Marina Abramovic Performance Exhibition”, Fondation Beyeler, Basel, Switzerland- “Rowing Eye- Contemporaray art from South East Asia”, Arter, Istanbul, Turkey- “Domestication”, Kayu, Lucie Fontane Foundation, Bali, Indonesia- “Sensorium 360°”, Singapore Art Museum, Singapore- - ArtJog 2014, Taman Budaya Yogyakarta- “Video Art at Loop”, Loop, Casa Asia, Barcelona- “ArtJog”, Taman Budaya Yogyakarta, Yogjakarta, Indonesia- “Fokus+Indonesia”, Muzeum Narodowe w Szczecinie, Szcezin, Poland- “K.R.O.P.P”, Uppsala Konsert & Kongress, Uppsala, Sweden- “China Festival”, Haus am Ufer HAU 2, Berlin- “Medium at Large”, Singapore Art Museum, Singapore- “Today and Tomorrow: Indonesia Contemporary Art”, Yallay Galery, HongkongMelati Suryodarmo CV info@melatisuryodarmo.com2013- Gambar idoep- video art exhibition, galeri Semarang, Semarang Indonesia- „development“ group exhibition, at TNS Foundation, Gdansk, Poland- ArtJog 2013, Taman Budaya Yogyakarta- „undisclosed territory #7“ padepokan Lemah Putih, Solo, Indonesia- „ Slapstick“, Performance Program, Kunst Museum Wolfsburg, Germany- re-act feminism #2, Fundació Antoni Tàpies, Barcelona, Spanien; Akademie der Künste,Berlin, Deutschland- „Die auf dem Boden Liegenden, liegen gelassen - The lying on the floor, abandoned tolie“, Künstlervereinigung MAERZ, Linz, Austria.- „Pressing“ Fondazzione @videoinsight, Turin, Italy- „Market Forces“, Osage Gallery, Hong Kong2012„I am a ghost in my own house“, Solo exhibition at Lawangwangi Art foundation, Bandung,Indonesia„Transart 2012 Festival“, performing John cage‘s Songs Books,in colaboration with NataliaPschenitschnikova, MAS Museum Ötztal, Bolzano, Italy„Homoludens“, group exhibition at Galeri Emmitan; Surabaya„Tai Ping Quo“, Parasite and Spring Workshop, Hongkong.„Performance Platform Lubiln 2012“, Galeria Labirynt, Lublin Poland„Insight“, Group exhibition at Kuntraum, Vaduz, Lichtenstein„Beethoven Marathon-in collaboration with Stewart Goddyear“, Luminato Festival, KoernerHall RCM, Toronto„Flow“, group exhibition, Gallery Michael Janssen, Berlin„domestic stuffs“, group exhibition at Galeri Salihara, Jakarta; Cemeti Art House Yogyakarta.„ZEITGEIST“- Galeri Seni Bataviasche Kunstkring, Jakarta„Reclaim.doc“, group exhibition at Jakarta National Gallery, Jakarta„re.act.feminism #2“ - a performing archive at the Galerija Miroslav Kraljević in Zagreb,Croatia, Museet for Samtidskunst Roskilde, Denmark; Galerija Miroslav Kraljević Zagreb,Croatia; Instytut Sztuki Wyspa Gdańsk, Poland; Tallinna Kunstihoone Tallinn, Estonia„Beyond the Self“,McClelland Gallery and Sculpture Garden, Langwarrin, Victoria; theAnne and Gordon Samstag Museum of Art, Adelaide, Australia„Acts of Indecency“, solo exhibition at Art Dept, VWFA Jakarta, Indonesia2011„Bienalle Jogja XI“, Jogjakarta, Indonesia„Beyond Pressure IV“ performance art festival; Yangoon and Mandalay, Myanmar„Beyond the East: Indonesian Contemporary Art“ Museo d‘arte Contemporanea Roma,Rome, Italy„Performance Hautnah“, Kunstlerforum, Bonn„Performance I Bibliotek“, Kunstbanken Hedmark Kunstsenter, Hamar, Norway„Kunst Hier und Jetzt“, Algemeine Konsumverein, Braunschweig„re.act Feminism vol. II“, 2011 -2013, Centro Cultural Montehermoso, Vitoria-Gasteiz,Spain„Between Sky and Sea III“ Hergla Island, Norway„hijacking TV“ video exhibition at Gallery Salihara, Jakarta„Beyond the Self“, National Portrait Gallery, Canberra; Australia“Passionate Pilgrim” for House Without Maid Project, curated by Jorge Leon and SimoneAughterlony, Villa Tobler, Zürich, Switzerland.„Absence“, Manila Contemporary, Manila, the Philippines„Almost There“, a dance choreography piece, World Dance Day Festival, at Teater BesarInstitut Seni Indonesia Surakarta, Indonesia„A Feather Fell down from the Silence“, at R.I.T.E.S, Substation, Singapore„Negotiating Home, History and Nation“ Two Decades of Contemporary Art from SouthEast Asia 1991 - 2010, Singapore Art Museum, Singapore„undisclosed territory#5“, Padepokan Lemah Putih, Solo IndonesiaMelati Suryodarmo CV info@melatisuryodarmo.com„Performance Art Laboratory (PALA) Project“, Padepokan Lemah Putih, Solo Indonesia2010“Passionate Pilgrim” for House Without Maid Project, curated by Jorge Leon and SimoneAughterlony, de Internationale Keueze, International Theater Festival, Rotterdam, theNetherlands“Passionate Pilgrim” for House Without Maid Project, curated by Jorge Leon and SimoneAughterlony, Bern Biennale, Haus der Universität, Bern, Switzerland„Ugo“ for One Night Stand, curated by Myriam Laplante, Fundazione Volume, Rome, Italy“Passionate Pilgrim” for House Without Maid Project, curated by Jorge Leon and SimoneAughterlony, Tanz Im August, Berlin“Passionate Pilgrim” for House Without Maid Project, curated by Jorge Leon and SimoneAughterlony, Alcantara Festival, Lisabon, Portugal"Lilith Performance event", Lilith Performance Studio, Malmoe, Sweden“Grenzart”, Kirschau, Germany“Exergie- butter dance – extended” , Asian Body festival, Moderna Dans Teatern, Stockholm“Passionate Pilgrim” for House Without Maid Project, curated by Jorge Leon and SimoneAughterlony, Maisson des Arts de Schaerbek, Brussels“trouble-festival”, Les Halles, Brussels„Indonesian Contemporary art Showcase“ Art Paris - Grand Palais, Paris“undisclosed territory #4”, Padepokan Lemah Putih, Solo, Indonesia“PALA Project 2010”, Padepokan Lemah Putih, Solo, Indonesia“Ugo” solo performance at „mobilized Performance Series“, Mobius, Boston, MA, USA2009“On the Way”, Artrend, Taipeh, Taitung (Dulan), Kaoshiung, Tainan; Taiwan“Asiatopia 11th”, Bangkok Center for Art and Culture, Bangkok, Thailand“Kunstbanken”, Kunsthalle, Hamar, Norway"International Incheon Women Artists Biennale", Incheon, South Korea“European Performance Art Festival”, Centre for Contemporary Art, Warsaw“Farewell Angel”, Lilith Performance Studio, Malmoe, Sweden“International Performance Art Festival”, Turbinen Halle, Giswill, Switzerland“East West Project via Belfast”, Platform Art, Bbeyond, Belfast, Northern Ireland“East West Project”, Kaskaden Kondensator,Basel, Switzerland"CUT - South East Asian Contemporary Photography", Kuala Lumpur, Singapore, Manila“Art of the Encountering”, Gebläser Halle, Ilsede and Hildesheim, Germany“Marina Abramovic Presents…”, Whitworth Gallery, Manchester International Art Festival,Manchester, UK“InTransit 09”, Haus der Kulturen der Welt, Berlin, Germany“Momentum”, Le Bain Connective, Brussel“Performance Art Laboratory Project” 2009, Bali, Indonesia“undisclosed territory#3- performance art event” Solo, Indonesia“Pathological Aesthetic” symposium at HAN, Nijmegen, Holland2008„Ex-teresa Arte Actual“, International Performance Art Festival, Mexico City, Mexico“Intimate Strangers”, with the Damaged Goods Company, Brussels.“Asiatopia 10 – international performance art festival” Bangkok“Future Of Imagination 5” Sculpture Square, Singapore“ZOOM” performance Art Festival, IPAH, St. Jacobi Kirsche, Hildesheim“Memorabilia”, performance project, TBS, Solo, Indonesia“Between Sky and Sea-II” Herdla Island, Norway“Tanz im August/sommer.bar,” Podewil, Berlin, Germany“Sincere Subject”, SIGIARTS Gallery, Jakarta, Indonesia“Emerging discourse- performance mimicry II”, Bodhiart, New York City“Manifesta7”, European Biennial, Ex-Alumix, Bolzano, Italy“Friktioner”, at City Gallery, Uppsala Art Museum, Uppsala, Sweden“MADE Festival”, Nordlandsoperan, Umea, Sweden“Solitaire”, Solo exhibition, Valentine Willie Fine Arts at Annexe, Kuala Lumpur, MalaysiaMelati Suryodarmo CV info@melatisuryodarmo.com“undisclosed territory#2”, Padepokan Lemah Putih Solo, Indonesia2007“Perception of Patterns in Timeless Influence”, Lilith Performance Studio, Malmö, Sweden.“eBent 07 Festival”, off*ample, Passage de la Paz, Barcelona“Insomnia”, Nuit Blanche, Le Gènerateur, ParisTravelogue “Flying Circuss Project”, Theatreworks, Singapore and Ho Chi Minh City, Vietnam“Performance Intermedia”, Sczecin, Poland and Berlin“The Curtain Opens: Indonesian Women Artists”, National Gallery, Jakarta, Indonesia“Anti Aging”, Gaya Fusion Gallery, Bali, Indonesia“Erotic Body”, Venice Biennale Dance Festival, Venice, Italy“15th Performance art Conference”, Bali, Indonesia“undisclosed territory”, performance art event, Solo, Indonesia(N)ever Mind, Video Exhibition, Viavia, Jogjakarta, Indonesia“Wind from the East - Perspectives on Asian Contemporary Art”, National Gallery/Museumof Contemporary art, KIASMA, Finland2006“Disposal on Arrival- Indonesian Contemporary Arts”, Grace exhibition Space, New York,USA“Exergie-butter dance”, Performance Space, Sydney, Australia“Deformed Ethic of a Relationship 3.0 for DormArt” with Oliver Blomeier, Depot, Dortmund“Accione 06”, Madrid, Spain“Deformed Ethic of a Relationship 1.0”, with Oliver Blomeier, Galerieturm, HelmstedtGipfeltreff, Kaskaden Kondensator, Basel, Switzerland“Loneliness in the Boundaries”, Solo Exhibition, Cemeti Art House Jogjakarta, Indonesia.“Exegie – Butter Dance”, Goethe Institut, Jakarta, Indonesia2005“Räume und Schatten”, Haus der Kulturen der Welt, Berlin“Kunst Forum Berlin”, Art.es, Berlin“15th International Electronic Art Festival – Video Brasil”, Sao Paolo, Brasil“ 19th Festival Grad Teatar Budva”, Budva, Serbia and Montenegro“Navigate – live art”, BALTIC & Stubnitz, Gateshead Newcastle, UK“La Galleria dell'Amore”, Galleria Civica Trento, Italy“Gifted Generation”, HAU1 Hebbel Theater Berlin, Germany“International Performance Festival Salzau”, Schloss Salzau, Germany“Retrospective of the work of Egon Schiele – the SHELF” – in collaboration with MarinaAbramovic, Van Gogh Museum Amsterdam, Holland.“Der Sekundentraum – opening of Kunstmuseum Stuttgart”, Wüttembergischem KunstvereinStuttgart, Germany2004“Nude with skeleton”, MARTa Herford, Germany“Retrospective” Galerie der HBK Braunschweig, Germany“7a*11d”, International Performance Art Festival, Toronto, Canada“Leidenschaft Junge Kunst”, Allgemeine Konsum Verein, Braunschweig“FAXE KONDI- unzipped time”, Gallery Futura, Prague, Czech Republik“Cleaning The House -performance Loop”, NMAC Foundation, Jerez Dela Frontera, Spain“RISK”, Landesmuseum Braunschweig, Braunschweig2003„4th International Performance Festival Odense”, Odense“Live Art brrr”, Teatro Carlos Alberto/Teatro Nacional de São joão, Porto Portugal“Student Body”, Centro Galego de Arte Contemporanea, Galicia, Spain“Performance in der Kunsthalle”, Fridericianum , Kassel,“Performance art NRW 2003”, Healing Theater, Köln“Recycling the future”, group event, Venice Biennale 2003, ItalyMelati Suryodarmo CV info@melatisuryodarmo.com“As soon as possible” Performance and Exhibition, PAC Milano, Italy“Performance Art Nord Rhein Westfalen”, Maschinenhaus, Essen2002“Body Power Power Play“, Wüttenbergischer Kunstverein, Stuttgart“The Promise“, Solo Exhibition, Gallerie Gedok, Stuttgart“Braunschweiger Kulturnacht“, LOT Theater, Braunschweig“Pret â Perform“, Gallery Via Farini, Milano, Italy“Body Basic“, Trans art 02, Franzenfestung, Brixen, Italy“Common Ground“, Landesvertretungshaus Niedersachsen –Schleswig Holstein, Berlin2001“Festa dell´arte“, Aquario diroma, Rome, Italy“Marking the territory“, Irish Museum of Modern Art, Dublin, Ireland“Get That Balance”, National Sculpture Factory, Opera House, Cork, Ireland“A little bit of History Repeated“, Kunst Werke, Berlin“Indonesian Live Art“, Gallerie Mein Blau, Berlin“Polysonneries, 2nd International Performance Festival“, Lyon, France “von weiß-rosa zurot“, Luther Turm, Cologne“Lullaby for the ancestors“, Solo Performance, LOT Theater, Braunschweig“Fingerspitzengefühle“, Group exhibition, Galerie der Stadt Sindelfingen2000“Performance Passing Through“, Gedok, Stuttgart“Anableps“, Group exhibition, Galery Miscetti, Rome, Italy“ins“, Maximillian Forum, Munich“Visible Differences - an event“, Hebbel Theater, Berlin“Spot + Places“, Performance Congress, Healing Theater, Cologne1999“Fresh Air“, Group-exhibition, E-Werk, Weimar“Performance Festival Odense“, Odense, Danmark“Cardiff Art in Time“, UWIC, Cardiff, Wales, GB“Unfinished Business“, Group exhibition, Gallery am Lützow Platz, Berlin“Der Sekundentraum“, Solo Performance, Healing Theater, Cologne“Braunschweiger Kulturnacht“, LOT Theater, Braunschweig1998“Finally“, Group exhibition, Kunstverein Hannover, Hannover1997“Braunschweiger Kulturnacht“, FBZ, Braunschweig1996Dance Performance “Kashya-kashya Muttiku“ with Yuko Negoro (Japan), FBZ, Braunschweig1988 -1995 various dance and theatre performances in Indonesia and GermanyUp COMING Project/Exhibition2019- If We Were XYZ, Creative Common Ground Project, Asia Society, New York City- Working as Director and choreographer for Opera Gandari by Tony Prabowo, GrahaBakti Budaya, Jakarta- Solo Exhiibition, Singapore Tyler Print International, Singapore- As Panelist at the Ubud Writer Festival, Ubud, BaliMelati Suryodarmo CV info@melatisuryodarmo.comHonors/ Grants2017 Art Stage Jakarta Award, Best Artist, Jakarta, Indonesia2015 Signature Art Prize Asia Pacific Brewery Foundation, Jurors ChoiceAwardVisual Artist of the Year 2015, Tempo Magazine's choice.Research Grant for the project “Sisyphus” from the Ministery of Cultureof South Korea2011 Icon of the Year 2011,in Arts and Culture; Gatra Media Indonesia2008 Grant for Innovative Art Project “Memorabilia” from Kelola Arts Foundation,Jakarta, Indonesia2008 Jahresstipendium der Niedersächsische Ministerium für Kultur und Wissenschaft,(Grant from the Ministry of Culture and Science NiedersachsenGermany)2006 Arbeitsstipendium Stiftung Kunsfonds, Bonn, Germany2002 - 2003 Graduierten Stipendium, Hochschule für Bildende Künste Braunschweig2003 Arbeitsstipendium der Niedersächsische Ministerium für Kultur und Wissenschaft,Braunschweig (Grant from the Ministry of Culture and ScienceNiedersachsen Germany)Other Projects2019- As Jury for the Bandung Contemporary Art Competition, Lawangwangi Foundnation,Bandung-2018- Critical Responder for the Asia Dramaturgy Network (ADN), Jogjakarta, Indonesia- Facilitator for D-LAP II, Studio Plesungan, Karanganyar- Lecture at the Städelschule, Frankfurt.- Keynote Speaker at “Conversation” Art Basel Hongkong, Hongkong- Facilitator for Artists Platform, Goethe Insitute , Bangkok, Thailand- Facilitator for Platform for Women Artists, Kelola Foundation, Yogyakarta, Indonesia2017- Keynote speaker at Museum Summit, Asia Society, Manila, Philippines- Artistic Director of the Jakarta Biennale 2017, Jakarta, Indoensia- Guest Lecturer at the NAFA (Nanyang Academy of Fine Arts) Singapore2016Melati Suryodarmo CV info@melatisuryodarmo.com- Art Summit Indonesia , as performance workshop tutor, Padang, Indonesia- As Curator and facilitator of the “undisclosed territory #10” performance art event at theStudio Plesungan, Solo, Indonesia- Keynote Speaker at the International Seminar at the post Graduate Program IndonesianInstitute of the Arts, Padang Panjang- Keynote Speaker at Seminar on “Artistic reserach” at the Indonesian Institute of the ArtsSurakarta- Guest Lecturer at the Post Graduate Program, Indonesian Insitute of the Arts, Jogjakarta2015- Guest Lecturer at the Post Graduate Program, Indonesian Insitute of the Arts, Jogjakarta- As panel speaker at the Workshop for young curators in the performing arts at theSingapore International Festival of the Arts- As mentor for Double Dance, Dare! Workshop for dance and performance art, SaskiKirana Dance Camp, Bandung, Indonesia- Public Lecture at the PKKH, Universitas Gajah Mada, Yogyakarta- Public Lecture at the National Gallery of South Australia, Adelaide, Australia- Public Lecture at the Parliement House of Australia, Canberra- As Curator and facilitator of the “undisclosed territory #9” performance art event at theStudio Plesungan, Solo, Indonesia- As Instructure for Lab “Translate,Intertwine, Transgress” Symposium at Moderna Museet,Stockholm, Sweden- As Instructure for Workshop at Fort Rotterdam Makassar, South Sulawesi, indonesisa- As Instrcture for Workshop at the Oksigen Jawa, ITB Bandung, Indonesia- Project House Club, HAU3, Hebbel Am Ufer , Berlin2014- Project House Club, China Festival, HAU2, Hebbel Am Ufer , Berlin- As curator for „undisclosed territory #8“ performance art event atStudio Plesungan, Solo, Indonesia.2013- As curator for „undisclosed territory #7“ performance art event at Studio Plesungan,Solo, Indonesia.- „Pseudopartisipatif Project“, with Cemeti Art House, Jogjakarta, Indonesia- Performance Art Workshop „beetwen the space“ at the Bangkok Arts andCulture Centre, Bangkok, Thailand.- „D-Lap“ dance laboratory, as facilitator, collaboration between PadepokanLemah Putih and CCAP Stockholm.„between the space“, performance art class for graduate and post graduateprogram at Umea Konsthogskolan, Umea, Sweden2012- Curator for „undisclosed territory #6“ performance art event at Padepokan Lemah Putih,Solo, Indonesia.- Facilitator for P_LAP,a performance Laboratory Project, collaborative project betweenPadepokan Lemah Putih Solo Indonesia with Galeria Labirynt Lublin Poland; as curator- Performance art wokshop II at the Padepokan Lemah Putih, Solo, Indonesia2011- Residency at Manila Contemporary, Manila, the Philipines- Mentor for EUFRAD (the European Forum for Research Degrees in Art and Design,Stockholm, Sweden. Workshop for european Phd candidates in artistic research.- Lecture for the Master Program at University of Dance and Circus,Stockholm- Workshop in Mandalay School of Arts during the Beyond Pressure festival,Mandalay, MyanmarMelati Suryodarmo CV info@melatisuryodarmo.com- Performance art wokshop I at the Padepokan Lemah Putih, Solo, Indonesia2010- Lecture and Workshop at the School of the Museum of Fine Arts, boston MA, USA- Workshop at the Academy of Fine Arts - University of Umeå, Sweden- Artist in Residence at IASPIS Residency in Umea and Saxnas, Sweden2009- Workshop at the Academy of Fine Arts - University of Umeå, Sweden- Panelist for Panel Discussion on Women artists in the era of Post_feminism; IncheonWomen Artists‘ Biennale 2009; at Chinese Center Incheon, South Korea- Lecture at the Chiangmai University, Faculty of Fine arts, Chiangmai, Thailand- Lecture at the WIlliam Waren Library, Jim Thompson Foundation, Bangkok, Thailand.- Lecture at the Dongmen Museum, Tainan, Taipei2008- “Is everything performance, is performance everything?”, panel member for Dans Biennal,Umea, Sweden- Workshop at the ZOOM Inetrnational performance art Festival Hildesheim, Germany- Lecture about Organizing Performance Art Labiratory Project, Asiatopia 10th, BangkokArt and Culture Centre, Bangkok, Thailandsince 2007- PALA (Performance Art Laboratory) Project, and “undisclosed territory #1 - #5, performanceart event”as Project manager, Padepokan Lemah Putih, in Tejakula, Bali, and Solo,Java,Indonesia.2007- Lecture at the Malmö School of Arts.- Artist in Studio, December 2007 at Lilith Performance Studio Malmö, Swedia- “Flying Circus Project” – Travelogue – Superintense- Singapore- Ho Chi Minh City, curatedby Ong Ken Seng, Theatreworks, Singapore- “15 International Performance Art Conference”, as project manager, in Bali, Indonesia2006- Faciilitator for the “Time_Place_Space 5”, at the Queensland University of technology(QUT) Brisbane, curated and organized by the Performance Space Sydney Australia- Residency at Grace exhibition Space, New York2005- “Focusing the day”, Project with youths in Berlin, HKW Berlin.Bibliographie |selected|- “Elements and Principles of 4D Art and Design”, Ellen Mueller, Oxford UniversityPress, New York, 2017; pg. 20-21- “Political Acts - Pioneers of Performance Art in South East Asia”, exh. Catalogue;Victorian Arts Centre Trust; Melbourne; 2017; pg. 26 -27- “Reenacting History” , exh. Catalogue, National Museum of Modern andContemporary Art, Seoul, South Korea, 2017; pg 78 - 81Melati Suryodarmo CV info@melatisuryodarmo.com- “Sunshower - Contemporary Art from South East Asia 1980s to Now “,exh. Catalogue; National Art Centre Tokyo, Mori Museum, Japan Foundation;Tokyo Japan; 2017; pg. 110 - 111- “Atlas of Mirrors”, Singapore Biennale 2016, exh. Catalogue, Singapore ArtMuseum; SIngapore; 2016; pg. 54 - 55- “Asia Pacific Triennale” Exh. Catalogue, CAGOMA, Brisbane, 2015- “GuangZhou Trienale”, Exh. Catalogue, Guang Dong Museum of Art, China2015- Rebecca Russo; „Pressing“ exh. Catalogue; Fondazzione @videoinsight,Turin, Italy; 2013- Dominique Lora, „Beyond the East“, Glocal Porject and MACRO, 2011- Serenella Ciclitira, „Indonesian Eye Contemporary Indonesian Art “ Saatchi,Thames and Hudson, London 2011- Prof. Achile Bonito Oliva, „Art Beyond the Year of Two Thousand“, BiasaArtSpace Little Library, Bali; 2010- Elin Lundgren + Petter Pettersson,“Lilith Performance Studio“, lilithperformancestudio,Malmö, 2010, pg: 82 - 85- Agung Hujanitkajennong + Enin Supriyanto,“The Grass Looks greenerwhere you water it“ Indonesian Contemporary art Showcase at Art Paris2010, exhibition Catalogue; Indonesian Platform/Dedy Kusuma, Jakarta2010; pg: 96, 97, 98, 144, 145, 146- Krisna Murti,“Essays on Video Art and New Media: Indonesia andbeyond“, Indonesian Visual Arts Archive (IVAA) Jogjakarta, 2009, pg. 185 -189- Paula Orrell (editor),“Marina Abramovic + The Future of performanceArt“,Prestel Munich-Berlin-London-New York, pg 125; pg 159- Dr. Yang Eunhee (editor),“2009 Incheon Women Artists‘ Biennale- mainexhibition“ , Exhibition Catalogue, Incheon Women Artis‘ Biennale OrganizingCommittee South Korea, 2009; pg: 184 - 185- Manifesta7, “The Rest Of Now”, Exhibition Catalogue, 2008- Carla Bianpoen, “Indonesian Women Artists: The Curtain Opens”, TheIndonesian Arts Foundation, 2007- “Loneliness in the Boundaries”, Works catalogue, Cemeti Art House forMelati Suryodarmo, Jogjakarta 2006- Räume und Schatten, exh. Catalogue, Haus der Kulturen der Welt Berlin,2005, pg 180, 192, 213.- 15th Festival internacional de arte electronica Video Brasil, Associacao,cultural videobrasil, Sao Paolo, 2005, pg.148-153, 170-175.- Emanuela Nobile Mino, “Faxe kondi”, exh. Catalogue, Futura o.s, Prague,2005.- Jane Kallir, “ Egon Schiele Love and Death”, Van Gogh Museum Amsterdam,Exh. Catalogue, Hatje Cantz Publishers Germany, 2005, pg 169 &171- Marina Abramovic, “Student Body”, Edizione Charta, Milan, Italy 2003,pg. 390 – 401- Else Jespersen, “4th Performance Festival Odense 2003“, exh. catalogue,International Performance Festival Odense, 2003, pg. 24- Francesco Bonami, “Dreams and Conflicts – the dictatorship of the viewer,50th International art exhibition, La Biennale di Venezia”, Exhibition catalo-Melati Suryodarmo CV info@melatisuryodarmo.comgue, Grafiche Peruzzo, Vegianno for Marsilio Editori s.p.a in Venice, pg.497- Jens Hoffmann, “ A little bit of history repeated”, exh. Catalogue, KunstWerke Berlin e.V, Berlin, 2001, pg.36,37- Boris Nieslony , “E.P.I Zentrum NRW”, ASA-European, Cologne- Michael Glasmeier und die Meisterschüler 2002,”Meisterschüler 2002 –Zeichnungen” exh. Catalogue, © Michael Glasmeier und die MeisterschülerHBK 2002, pg. 91-96- Mario Candia and Stefania Miscetti, “ANAPBLEPS“, exh. catalogue, GalleryMiscetti, Rome, 2000, pg. 38, 116- Else Jespersen, “Performance Festival Odense 1999“, exh. catalogue,Performance Festival Odense, 1999, pg. 44- Hannes Malte Mahler für Agora, “Fresh Air“, exh. catalogue ,Salon Verlag,Cologne, 1999, pg. 96-98Melati Suryodarmo CV info@melatisuryodarmo.comHier die von Melati im Podcast erwaehnten Künstlerinnen: Cindy Sherman:https://de.m.wikipedia.org/wiki/Cindy_Sherman Hito Steyerl: https://de.m.wikipedia.org/wiki/Hito_Steyerl

Understanding the Psalms as a Sing-Along Rather than a Solo Performance.

Comedian Adam Strauss describes his use of mushrooms and other psychedelics to combat his OCD.  Adam is known for his substantively human monologue, dubbed "The Mushroom Cure",  where he shares the complex nuances of OCD and his turbulent path of psychedelic use to find mental homeostasis. This episode offers insight into the mind of obsessive compulsive disorder and how psychedelics can be an effective tool for surrendering those tendencies. Adam is an intellectual storyteller and comedian, so sit back and enjoy some grade A conversation..Adam Strauss is a comedian, writer and performer based in NYC. He won the New York Fringe Festival's Overall Excellence Award for Solo Performance and the Leffe Craft Your Character Storytelling Competition. Topics CoveredMental health in comedy culture Psychedelics and psychotherapy for mental illness, particularly with psilocybin and OCDAdam describes what it's like to have OCDThe backstory of The Mushroom Cure monologueCoping mechanisms for OCD in the past, present and futureShow notesThe Mushroom Cure website: https://www.themushroomcure.com/Adam Strauss' IG: https://www.instagram.com/atomstraussAdam Strauss' Website: http://adamstrauss.com/who-is-adam/Articles mentioned:  https://drive.google.com/drive/folders/1G6tSBLiHmiBBPjl0mNvz23033vQf506b?usp=sharing

Astrid Leutwyler ist eine inspirierende, vielseitige Geigerin mit Master-Abschlüssen in Performance und Solo-Performance in Deutschland, London und Zürich. Ihre Karriere begann bereits jugendlichen Jahren als stellvertretende Konzertmeisterin und Stimmführerin im Gustav Mahler Jugendorchesters. Sie spielte dann unter Claudio Abbado als erste Geigerin im Orchestra Mozart und ist bis heute regelmässig teil des Lucerne Festival Orchestras, des Tonhallen Orchesters Zürich, des Zürcher Kammerorchester und des Bayrischen Rundfunkorchesters München.Was diese Bilderbuch-Karriere vermuten lässt sind unzählige Stunden des Übens alleine und Orchesterproben; dies seit frühester Kindheit. Dem ist auch so. Doch was den meisten verborgen bleibt ist, dass die Violinistin Astrid Leutwyler neben der ohnehin schon prall gefüllten Agenda auch noch ein Orchester gründete, mit ihrer Schwester ein Klassikfestival auf die Beine stellte und zu Corona-Zeiten im Livestream Künstler und Publikum zusammenführte.astridleutwyler.chMusicStage.chorchestraofeurope.comklassikfestival.chhautnah.media

Stay connected on IG to the show and its creators: @alessoninswimming @whmike @dianawyenn @zalooski @plainwoodproductionsLearn more about the show: www.michaelshutt.comClick here to be notified when the next chapter drops. Click here to support the artists involved. Click here to share questions and reflections with Michael and the team!A Lesson in Swimming is produced by Plain Wood Productions, written and performed by Michael Shutt, directed and dramaturged by Diana Wyenn, and features sound design, music, and engineering by John Zalewski.This radio play has been supported in part by the California Arts Council, a state agency, and the National Arts and Disability Center at the University of California, Los Angeles. Note: Any findings, opinions, or conclusions contained herein are not necessarily those of the California Arts Council, the National Endowment for the Arts, and the National Arts and Disability Center.A Lesson in Swimming was initially developed in Terrie Silverman's Creative Rites Masterclass and received a workshop production at Moving Arts with director and dramaturg Diana Wyenn. 

Adam Strauss is an American Stand-up comedian he has previously won New York Fringe Festival's Overall Excellence Award for Solo Performance. He has a solo show called 'The Mushroom Cure' which looks at psychedelics and their role in his life with OCD. You can find Adam on his Socials which are; Twitter: @AtomStrauss  Instagram: @AtomStrauss     Sponsors   For 10% off your first month of Online Therapy head to www.BetterHelp.com/Aneedtoread   Contact Instagram: @aneed2read Email: Aneedtoread.podcast@gmail.com  Email list: https://aneedtoread.us19.list-manage.com/subscribe?u=0334e9242982fc3b7d0ab8bac&id=e2e171e387

Gauahar Khan considers singer Rahul Vaidya as one of the true solo performers in the ongoing season of the reality TV show.

Molle' Mystery Theater was NBC's iteration of a popular series which aired additionally on ABC and CBS from 1943 through 1952 under several different names. It was narrated-or rather 'annotated'- by amateur criminologist Geoffrey Barnes (played by Bernard Lenlow, pictured) who helped the listener understand what was going on. Molle' (moe-lay') brand shaving cream sponsored the program.---------------------------------------------------------------------------Entertainment Radio Stations Live 24/7 Sherlock Holmes/CBS Radio Mystery Theaterhttps://live365.com/station/Sherlock-Holmes-Classic-Radio--a91441https://live365.com/station/CBS-Radio-Mystery-Theater-a57491----------------------------------------------------------------------------Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Contemporary artist Marija Baranauskaitė explains how she reached a point in her life where she needed to learn to be individually free and happy with what she was doing. Otherwise, she says, you are always depending on others. This is where she started investigating objects surrounding her and The Sofa Project was born. In this episode you will learn what effect this project had on me and what it does to other people. Marija also shares here experience of study years in France with professor of theatre and clownery Philippe Gaulier and some valuable insights on nonpracticalities and practicalities of being an artist. Also her approach  to money was truly eye-opening. Join us for 40 minutes and 42 seconds of positive energy!Book Marija mentioned:The Artist Way by Julia CameronTrailer of The Sofa ProjectEpisode music:C. Debussy - Étude No. 11 "Pour les Arpèges Composés" performed by M.MašanauskaitėThanks for listening and if you know anyone who would benefit from this talk, please share it with them. If you have any comments or enquiries, drop me a line at openartedpodcast@gmail.comwww.monikapianiste.com  

Episode 1 of our special limited-engagement PRIDE MONTH edition of TenureTalks! Elouise Epstein talks self-acceptance, professional success, and her surprising undergrad major on this wonderful and long-awaited episode of TenureTalks! Find Elouise: https://www.linkedin.com/in/drelouise/ Elouise's Solo Performance: https://vimeo.com/382700807/9bd54dc7c7 Find PF: https://procurementfoundry.com/ https://twitter.com/procurefoundry https://www.youtube.com/channel/UCMszO5K-A245ajCdJSCNEVQ https://www.facebook.com/procurementfoundry/ https://www.linkedin.com/company/procurement-foundry/about/

https://deonpowterband.bandcamp.com/releaseshttps://www.facebook.com/deon.powter.1https://www.facebook.com/DeonPowter/https://www.musosgarage.com/deonpowter 

Random Thursday nite fun and gun!

In this episode, Christina, Donna, and Kaori talk about making art for healing purposes. How does art help process trauma? How do you deal with twists and turns in the healing journey? What are the risks or fears in sharing our art when we're using our artistic practice to process trauma? What does all this have to do with poop?Alt episode title: I SHALL BE GENTLE! Hosts:Donna Chan, Kaori Sato, Christina Tran Notes:Solo Performance Workshop (Martha Rydberg)Donna's performancesKaori's Instagram Music:"Fading Liftoff" by Brian Poucher Edited by:Christina Tran

Ilana and Marin once again join in a discussion on Marins career. Marin Ireland has been seen on Broadway in Big Knife, After Miss Julie, reasons to be pretty (Tony nom, Theatre World Award). Selected Off-Broadway: Blue Ridge (Atlantic), Summer and Smoke (Transport Group/CSC), Three Sisters (CSC), Marie Antoinette, Blasted (Soho Rep), Maple and Vine (Playwrights Horizons), In the Wake, The Ruby Sunrise (Public), Lie of the Mind (New Group); Cyclone (Obie Award; Studio Dante), Far Away (NYTW), The Harlequin Studies (Signature), On the Exhale(Drama Desk nom, Solo Performance, Roundabout), Ironbound (Drama Desk nom, Rattlestick, Geffen Playhouse), Kill Floor (LCT3). Other: 4.48 Psychosis (Royal Court US tour), Troilus & Cressida (Wooster Group/RSC). Film: The Family Fang, Glass Chin (Independent Spirit Award nomination), 28 Hotel Rooms, Flint, Sparrows Dance, The Irishman, others. TV: “Sneaky Pete,” “The Slap,“"Masters of Sex,” “Girls,” “The Divide,” “Homeland", “Mildred Pierce,”others. 

Marin Ireland has recently been seen in Happy Talk at the New Group also previsouly  Big Knife, After Miss Julie, reasons to be pretty (Tony nom, Theatre World Award). Selected Off-Broadway: Blue Ridge (Atlantic), Summer and Smoke (Transport Group/CSC), Three Sisters (CSC), Marie Antoinette, Blasted (Soho Rep), Maple and Vine (Playwrights Horizons), In the Wake, The Ruby Sunrise (Public), Lie of the Mind (New Group); Cyclone (Obie Award; Studio Dante), Far Away (NYTW), The Harlequin Studies (Signature), On the Exhale(Drama Desk nom, Solo Performance, Roundabout), Ironbound (Drama Desk nom, Rattlestick, Geffen Playhouse), Kill Floor (LCT3). Other: 4.48 Psychosis (Royal Court US tour), Troilus & Cressida (Wooster Group/RSC). Film: The Family Fang, Glass Chin (Independent Spirit Award nomination), 28 Hotel Rooms, Flint, Sparrows Dance, The Irishman, others. TV: “Sneaky Pete,” “The Slap,“"Masters of Sex,” “Girls,” “The Divide,” “Homeland", “Mildred Pierce,”others. 

Photo by Bridget Badore for the 14th Street Y | @bridgetbadore Shawn Shafner is an artist, educator and activist. Creator of The People's Own Organic Power Project (www.thePOOPproject.org), he has catalyzed conversation about sustainable sanitation from NYC's largest wastewater treatment plant to the United Nations. Shawn's solo show An Inconvenient Poop was a Time Out NY Critic’s Pick and won him the 2015 NY International Fringe Festival Award for Overall Excellence in Solo Performance. Other major POOP works include the feature documentary Flush, family musical Innie / Outie, and monthly episodes of SHHH: The Poopcast (aka Shit and Shame with Shawn). His new show, Assume the Throne, is currently touring living rooms across the USA. Shawn was a 2005 Spielberg Fellow, 2014-15 LABA Fellow, 2014-15 iLAND/LMCC resident (featured in their book, A Field Guide to iLANDing), 2017 Global Social Impact House fellow through UPenn's Center for Social Impact Strategy, a 2017 Performing Arts Legacy Fellow, 2018 National Fellow through the Environmental Leaders Program, and is a member of the Charles and Lynn Schusterman Foundation's ROI Community. Outside of The POOP Project, Shawn pursues work that invites human interaction and connection. Community-based projects include The Clap (with Laura Silver), art walks for Jane's Walks NYC and Elastic City (featured in their forthcoming book), and Latch/Attach commissioned by the World Policy Institute and Fourth Arts Block and exhibited at Cooper Union. An accomplished theatre artist, Shawn's performances have graced New York Stages from Madison Square Garden to Joe's Pub, and venues around the world including the Institute for Contemporary Art in London, and Harpa Concert Hall in Iceland. He has sung with the New York Philharmonic at Lincoln Center alongside Marisa Michelson's Constellation Chor (of whom he is a founding member), and spent the summer of 2017 in residence at the Art Monastery Project, directing a new play about white supremacy. Shawn teaches movement through the lineage of acclaimed choreographer Tamar Rogoff, tells original stories for young children and their families, develops arts-integrated curriculum, and is devoted to manifesting a world of creativity, mindfulness and joy. Shawn in his 2015 award-winning solo show, An Inconvenient Poop, directed by Annie G. Levy. Photo by Ellise Lesser Spring 2018, Shawn created a two-part performance, beginning at the Soil Symposium hosted by the University of California at Santa Cruz, and ending at the Follow the Flush Wastewater Walk in Santa Cruz produced by Fictilis. During The Sum of My Soil Part 1: Realization of the Grotesque Body, Shawn baked his own body weight in mud cakes, and led participants in contemplation of the body's form and impermanence (traditional Paṭikkūlamanasikāra meditation). In The Sum of My Soil Part 2: Earth Witness, Shawn retold the story of Siddartha Gautama becoming the enlightened Buddha by naming the earth as his witness, and thus claiming his right to enlightenment. Visitors were reminded that they, too, are worthy of the space allotted them, and each person was gifted a mud cake. Sprinkled with native seeds, audiences were invited to plant the cakes or allow them to dissolve in a final gesture of embodied impermanence. Photo by Timothy Furstnau.

Look out for the newest album by County, A Solo Performance, dropping in February 2019! You can find the music of band member Ryan Ricks on his Bandcamp.

Look out for the newest album by County, A Solo Performance, dropping in February 2019! You can find the music of band member Ryan Ricks on his Bandcamp.

Catalin Rotaru has just released a new album titled The Lord of The Basses.  This album features Catalin performing on Bottesini's famous 300-year-old Testore bass.  Catalin has also released another project this fall titled Sonic Bridges Vol. 2. About Catalin Rotaru: Catalin Rotaru was born in Moldova, a province in the far northeast of Romania, in the same region where Romania's most celebrated composer, George Enescu was born. Leaving home at the age of 11 and settling in the city of Botosani, he began his musical studies directly with the double bass. After only one year he transferred to one of the leading music schools in Bucharest, the G. Enescu Arts Lyceum. Upon his graduation he was admitted to the Conservatory, a great accomplishment, since at the time, only one bass player was admitted each year. As part of the admission process, he had to pass 5 exams: 3 instrumental - recital, technical proficiency, sight-reading and 2 theoretical - dictation, pure theory and solfeggio. His most influential teacher there was Ion Cheptea, a direct disciple of Joseph Prunner, an eminent bassist and visionary from Austria, who moved to Bucharest at the beginning of the 20th century and established at the conservatory one of the most distinguished schools of double bass. Immediately upon graduation, he was offered a position with the Sibiu State Philharmonic, a major orchestra in Transylvania. Three years later he became associate principal with the Romanian National Radio Symphony in Bucharest. While still in Romania Catalin served as principal with the Virtuosi Chamber Orchestra of Bucharest and Orchestra Sinfonica Europea, with which he toured extensively throughout Europe. In 1995 he emigrated to the U.S. after being offered a teaching assistantship at the University of Illinois at Urbana-Champaign where he also obtained a Master's Degree in music performance. He has also served as Associate Professor of Double Bass and Jazz Studies at the University of Wisconsin-Stevens Point and taught at Millikin University in Decatur Illinois before joining the faculty of the School of Music at Arizona State University, in 2005. Since his arrival in the U.S. Catalin has been the recipient of many prestigious awards. He received the second prize at the 1997 International Society of Bassists Solo Division Competition and the Jury's Special Award for the best performance of the required piece at that competition. He was the winner of the Krannert Center for the Performing Arts Debut Recital Award in 1997, the Central Illinois Chapter of the National Society of Arts and Letters Award in 1996 and in 2013, was honored with the Recognition award for Solo Performance by the International Society of Bassists, which, being an award from his peers, is one of the highest forms of recognition that a solo double bassist can receive. Catalin is one of the most in-demand International soloists of the day. His 2013 schedule alone included multiple appearances as soloist with various orchestras, performing recitals or conducting master classes at prestigious conservatories in Brazil, Japan, China, The Netherlands, Russia, Romania, Italy, Ecuador and Paraguay as well as the U.S. He also found time to perform the premieres of two new works for the bass: Andres Martin's Double Bass Concerto and Frank Proto's Sonata No. 2 for Double Bass and Piano, and serve as a juror at many of the world's most prestigious solo bass competitions. His debut solo CD, Bass*ic Cello Notes was released by Summit Records in March 2007 and in 2010 released his second CD entitled Juliana D'Agostini + Catalin Rotaru which was recorded in Sao Paulo, Brazil. In 2012 Catalin recorded his third CD, in collaboration with the National Symphony Orchestra of Paraguay, which includes the world premiere of a double bass performance of Mozart's Violin Concerto No. 5. Links to Check Out: Catalin Rotaru on Liben Music The Lord of the Basses Sonic Bridges Vol. 2 Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle! Contrabass Conversations is sponsored by:   A440 Violin Shop An institution in the Roscoe Village neighborhood for over 20 years, A440's commitment to fairness and value means that we have many satisfied customers from the local, national, and international string playing communities. Our clients include major symphony orchestras, professional orchestra and chamber music players, aspiring students, amateur adult players, all kinds of fiddlers, jazz and commercial musicians, university music departments, and public schools. The English Double Bass Book The English Double Bass Book examines the great English double bass makers of the 18th and 19th Century, illustrating in fine detail the incredible work they produced. It also explores the fascinating story of how the double bass came to England, its development guided by the great Venetian virtuoso Domenico Dragonetti, and the rise and fall of the English double bass makers. To pre-order your limited-edition copy, please visit www.theenglishdoublebass.com. Subscribe to the podcast to get these interviews delivered to you automatically!

In the latest episode of Beyond the Margin, host Michael Shields welcomes into the studio actor and comedian David Carl. For the past five years, David has been writing and performing his own solo work with Michole Biancosino as co-creator and director. Currently, you can catch David in Trump Lear every Saturday at Under St. Mark's Theater in New York City, and you can also find him playing the part of Gary Busey (Pappas!) in Point Break Live. His performance of David Carl’s Celebrity One-Man Hamlet was a breakout hit of the 2014 New York International Fringe Festival, receiving an extended run at Baruch College and an award for “Overall Excellence in Solo Performance.” In 2015, David and actor/comedian Katie Hartman created a dark musical comedy called David and Katie Get Re-Married, and in October 2016, David played Donald Trump at Laugh Boston in Trump Takes On Boston after playing him for a year in Road to the White House at the People’s Improv Theater. These projects all run in tandem with all the film & television, music, and voiceover work that David tirelessly pursues.During the podcast, Michael And David dig into the origins and the ins-and-outs of Trump Lear, discuss Carl’s early acting career and his journey into and through the New York comedy scene, and as the podcast progresses, David opens up about the challenges and thrills of his craft, the side jobs rife with life lessons that enabled his artistic career, and the motivations and the vigor required to impersonate huge personalities such as Donald Trump and Gary Busey. So dive deep in another installment of Beyond the Margin, with an episode that offers both laughs and a weighty insight into a cunning comedic mind.Subscribe to Across the Margin: The PodcastCheck out Across the Margin for further amazing stories & much, much more! See acast.com/privacy for privacy and opt-out information.

Deardra Shuler talks to producer Rome Neal, the Artistic Theatre Director of the Nuyorican Poets Café theatre program.  Over the years he has received five Audelco Awards for his direction of Pepe Carril’s "SHANGO de IMA" and Samuel Harp’s "DON”T EXPLAIN." Mr. Neal also received two Audelcos for his acting: one for Lead Actor in Gabrielle N. Lane's "SIGNS," and one for Solo Performance in his critically acclaimed "MONK," by Laurence Holder.   Neal also received the National Black Theatre Festival's coveted Lloyd Richards Director’s Award.  His directorial credits includes his adaptation of William Shakespeare's "JULIUS CAESAR SET IN AFRICA," Sekou Sundiata's "THE CIRCLE UNBROKEN IS A HARD BOP" Amiri Baraka's "MEETING LILLIE," "SHANGO de IMA," "Prism," Ishmael Reed's "THE C ABOVE C ABOVE HIGH C" and Amiri Baraka's "PRIMITIVE WORLD: AN ANTI- NUCLEAR JAZZ MUSICAL," all performed at the Nuyorican Poets Cafe and National Black Theatre Festival in Winston Salem North Carolina.  His film acting credits include Michael Almereyda’s "HAMLET" Spike Lee’s "SUMMER OF SAM" and Leon Ichaso’s "PINERO."  Mr. Neal has a CD entitled: "A Brighter Crooner", and now his live concert "All in The Puddin'" recently released on DVD along with his "Rome Neal's Banana Puddin' Jazz Jam... A Night To Remember." His daughter Lia Neal is a member of the Stamford Women's Gold Medal Olympics Swimming Team.

VOICE-OVER ACTOR | NOVELIST - Bill Ratner is one of Hollywood's most popular voice-over artists on movie trailers, computer games, commercials, documentaries on the Discovery Channel, History Channel, Travel Channel, Smithsonian Channel, the voice of "Flint" in the G.I. Joe TV cartoon, Robot Chicken, Community, and Family Guy, "Ambassador Donnell Udina" in Mass Effect 1, 2 & 3. His spoken word stories air on National Public Radio's Good Food, The Business, and KCRW's Strangers. Mr. Bill Ratner is a 9-Time Winner of The Moth Story Slams and 2-Time "Best of Hollywood Fringe Festival Extension Winner for Solo Performance." Familus Press just published his latest book about the business, "Parenting for the Digital Age" and they did a rave review about it in TIME Magazine. INTERVIEW QUESTIONS INCLUDE: Why are so many A-List celebrities doing voice-over work now when they used to avoid it like the plague? If you're not financially surviving as a voice-over union actor and accept non-union work, what will happen? Explain the royalty system of union voice-over actors? What are the pros and cons of a union voice-over actor and a non-union voice-over actor? WEBSITE: BillRatner.com

VOICE-OVER ACTOR | NOVELIST - Bill Ratner is one of Hollywood's most popular voice-over artists on movie trailers, computer games, commercials, documentaries on the Discovery Channel, History Channel, Travel Channel, Smithsonian Channel, the voice of "Flint" in the G.I. Joe TV cartoon, Robot Chicken, Community, and Family Guy, "Ambassador Donnell Udina" in Mass Effect 1, 2 & 3. His spoken word stories air on National Public Radio's Good Food, The Business, and KCRW's Strangers. Mr. Bill Ratner is a 9-Time Winner of The Moth Story Slams and 2-Time "Best of Hollywood Fringe Festival Extension Winner for Solo Performance." Familus Press just published his latest book about the business, "Parenting for the Digital Age" and they did a rave review about it in TIME Magazine. INTERVIEW QUESTIONS INCLUDE: Why are so many A-List celebrities doing voice-over work now when they used to avoid it like the plague? If you're not financially surviving as a voice-over union actor and accept non-union work, what will happen? Explain the royalty system of union voice-over actors? What are the pros and cons of a union voice-over actor and a non-union voice-over actor? WEBSITE: BillRatner.com

Unplugged returned after a one week hiatus with a special Wednesday night edition, where BronxZilla Tony J. Mirabella went solo.  Bronx opened the show revealing […]

Solo Performance by Rebecca Foon on cello, effects pedals and voice recorded and mixed by erin Weisgerber and Andrea-Jane Cornell at CKUT for broadcast on the June 8, 2010 edition of the Montreal Sessions.

Look out for the newest album by County, A Solo Performance, dropping in February 2019! You can find the music of band member Ryan Ricks on his [Bandcamp.](http://ryanricks1.bandcamp.com)