Podcasts about studio west

This week, a new disaster movie was announced. There isn't a script yet, because no one knows how it's going to end - and when it was announced, no one knew how to react. If there was ever a global WTF moment in film, it was Trump's announcement of a 100 percent tariff on films coming into the US which have been produced in foreign lands. As is often the case with President Trump, he asks a good question but comes up with the wrong answer. It's totally reasonable to look at how California can rebuild its entertainment industry. According to the International Alliance of Theatrical Stage Employees, around 18,000 full time jobs have been lost over the last three years, mostly in California. So, yes, sure, look at how to maintain production and jobs in the US - but in a way which will actually benefit the entertainment business. No one sees the tariff on films made overseas as the answer to their problems. Many US studios make films overseas. The industry was advocating for tax incentives and subsidies and all the other normal things countries, including New Zealand, have done to help their film industries. But throwing out a declaration on social media without further explanation isn't the way to convince an industry you have their best interests at heart. Share prices for Netflix, Disney, Warner Bros. Discovery, Paramount and Comcast fell after President Trump's announcement. And what does this proposal even mean? Is Trump talking about independent, foreign language films? Or large-scale studio films made overseas? And what if you produce the film from the States - say you write the script, pre-produced and post produce the film in the US, but take advantage of another country's tax incentives to shoot there? Is that a film made in a foreign land? What about a US produced film that uses Weta FX in NZ to create award winning visual effects - will it have to foot the tariff bill? What does this mean for streaming services? It's thought about 75 percent of Netflix content is made outside the US. Will TV shows be included? It's a minefield and it has thrown Hollywood into chaos. Films do not get made in a hurry, they are scheduled and planned years in advance. This is close to a writer's strike - in that Hollywood is being forced to take a breath and pause non-committed work, and it will take some time to get things started again. It's not just Hollywood who has been thrown, film industries around the world are in collective shock. In the UK, where new instalments of Marvel's Avengers and Spider-Man are set to shoot in London, the news was met with disbelief. Succession star Brian Cox called it “an absolute disaster”, and with a related workforce of around 200,000, many freelancers could find themselves jobless. New Zealand could suffer the same fate. Our industry has been bolstered recently by international productions, such as Chief of War, Minecraft and Brad Pitt's Heart of the Beast. We have an incredible industry here driven by a world-class crew who rely on these international projects. At the beginning of the year, Studio West in Auckland completed construction of its fifth sound stage, and Auckland Film Studios is also adding new stages - all so they can accommodate bigger international projects. The industry will be holding its breath that it can find a way to fill this new capacity. New Zealand's film sector generates NZ$3.5 billion annually, with around one third of revenue generated from the United States. So, yeah, what Brian Cox said - this could be a disaster. But we're grown ups - so keep calm and carry on seems to be the public response so far, but behind the scenes there is no doubt at least mild panic. Finding a way to convince Trump there are other approaches to Make Hollywood Great Again will be at the forefront of industry leaders' minds right now - let's hope they do. Otherwise, this story might have a miserable ending... LISTEN ABOVESee omnystudio.com/listener for privacy information.

Steve Niel is a seasoned professional in the entertainment industry with a diverse background both in front of and behind the camera. He graduated from the LA Second City Conservatory Program, which is renowned for training in improvisational comedy. Steve has an impressive portfolio in commercials, television, and film spanning over 30 years. But Steve's most impressive credit may be his work with Performing Arts West, where since 2008, he's helped nurture the dreams & talents of those with disabilities. Website: https://www.pastudiowest.com/ Facebook:  https://www.facebook.com/performingartstudiowest/ YouTube:  https://www.youtube.com/user/PASWTV Mentioned: https://ebenrahl.com/ — Website: https://justtwodadspodcast.com/ eMail:wearejusttwodads@gmail.com Instagram: https://www.instagram.com/just_two_dads/ Podcast: https://anchor.fm/justtwodads LinkedIn: https://www.linkedin.com/in/justtwodads Facebook: https://www.facebook.com/wearejusttwodads YouTube: https://www.youtube.com/channel/UC-GN4T9fkHEVR5R_16w_7bw The Den Men's Group: https://forms.gle/xe8ujJunPCMzBgw49 Sponsored by Billy Footwear: https://billyfootwear.com/?ref=just-two-dads #StevenNiel #PerformingArtsStudioWest #ProfessionalTrainingAndManagementForPerformersWithDisabilities

Filming at Studio West in San Diego California, CEO and Creative Director of Voices of Our City Choir, Steph Johnson connects with Benj Gershman for a meaningful discussion. Steph's artistic path collided with her calling to be of service to others when she brought the creative initiative to life. San Diego's unsheltered homeless choir receives resources, support, purpose and dignity from the community effort - all while Steph put her own personal career on pause for this higher purpose. The demands of this endeavor touched all sides in all ways while she learned the hard way about how to balance what her community needed, and needs, with what she can provide in maintaining form and function. The learning goes both ways as Benj sees himself in her efforts with how this current podcast project has pulled at him in various capacities. Enjoy these two new friends connecting with one another and taking a moment out of their lives to help one another understand and tell their unique stories.

On this episode of Westside Stories, Anil Chopra, former CEO and MD of Lakmé, who now consults with Trent, tells the story of how the Tata Group built Lakmé which went on to become the foundation of Trent and Westside's exclusive beauty brand - Studio West. Anil talks about how the legacy that JRD Tata and Mrs Simone Tata created lives on in the Indian beauty industry even today.   Shop the look here: www.westside.com Follow Westside here: https://www.instagram.com/westsidestores   CREDITS: Guest: Anil Chopra Executive Producer: Umashan Naidoo Creative Director: Liana Deboo Created by Westside   This is a Maed in India production. Head of Production: Mae Mariyam Thomas Project Manager: Shaun Fanthome Head of Audio Production: Kartik Kulkarni Sound Editor & Mix Engineer (Audio Episode): Lakshman Parsuram Mix Engineer (Video Episode): Ishaan Devasthali Senior Producer: Ruchi Sawardekar Director and Video Editor: Jishnu Guha Recorded at The Indian Audio Company

EPISODE 13: entrepreneurial friendships Join us for a special episode featuring Stephanie Wood-Ennett, co-owner of Studio West Dance Academy. We're diving deep into our entrepreneurial journeys and how we've uplifted each other over the years. Trust us, having entrepreneur besties is a game-changer!

On this episode of Adventures In Vinyl we discuss the 3rd studio album that launched a band to a mainstream commerical success in 1999.  That band is Blinke 182 and the album is Enema of the State.Songs Of The Week!Cage the Elephant - Cigarette DaydreamsBowling for Soup - 1985Blink 182 - Enema of the StateGenre:  Pop - PunkRelease Date:  June 1, 1999Studio(s):  Signature Sound, Studio West, Mad Hatter, the Bomb Factory, Conway Recording, and Big FishProducer:  Jerry FinnLabel:  MCALength:  35:17Number of Tracks:  12For more information on the band Blink 182  be sure to check out their website at www.blink182.com .   If you like this podcast be sure to check us out on our website at www.adventuresinvinyl.com where you can find links to our episodes and through our support section you can find a place to order your very own adventures in vinyl T Shirt.   Follow us on instagram @adventures.in.vinyl and be sure to subscribe to the podcast and leave a 5 star review on your favorite platform of choice.

Josh joins Lucian and Zach in Studio West to catch up and recollect themselves after a long few weeks! Does Lucian need to start working out?

In this episode of Next City, Lucas Grindley explores the history of LGBTQ neighborhoods, or "Gayborhoods," and how they've been affected by skyrocketing housing prices. Developers are trying to spark the birth of a new queer neighborhood in Cleveland. But can a massive real estate development even succeed as LGBTQ-focused? This ambitious 300,000-square-foot complex called Studio West 117 will include sports, dining, entertainment and housing alongside identity-affirming businesses and social services.

If you don't look for it, you might miss the sprawling complex called The Fieldhouse, positioned behind the old Phantasy Nightclub building in Lakewood. If you are not in the LQBTQ+ community, chances are you don't even know about it. I had the chance to speak with two women who each have distinct roles in the success of this evolving queer gathering space. Chelsea Huizing (known also as Ox, for her physical stamina and can-do attitude that's housed in a very petite frame), leads the food and beverage operations and Margaret Harper Jenkins manages media relations and oversees arts and culture projects. Both women found their way to Studio West 117 after years of professional challenges—primarily an inability to feel accepted for who they are and how they wanted to present to the world. The gathering place has created restaurants, meeting places, classrooms and sports programs for people who don't feel welcome in traditional settings but who embrace each other's expressions of diversity and uniqueness. Future phases include an expansion of personal services, retail, and even a hotel. For now, the anchors of Studio West 117 are three food concepts, including Trellis, Lakewood's only rooftop patio bar, and a flexible space that can be used for all kinds of social programming and outreach.

In this podcast we venture out to our very own Garrett's underground bar, "the office" in Geneva, IL. Mike and Johnny had to opportunity to hand select a couple of very nice bottles of whiskey to down while enjoying the look of disgust on G's face. All jokes aside, he shares. Cheerful Whistling by Free Music | https://soundcloud.com/fm_freemusic Music promoted by https://www.free-stock-music.com Creative Commons Attribution 3.0 Unported License https://creativecommons.org/licenses/by/3.0/deed.en_US

Gerard and Bruce Eva were joined by West Coast coach Adam Simpson in the first hour.

TV personalities, Confess Your Mess podcast hosts and newlyweds AJ Gibson and Emile Ennis Jr share their Hollywood love story, on this week's 3 Things to Know with Stephanie Haney podcast. The two reveal why it's so important to them to represent for the LGBTQIA+ community, and the reactions they've gotten to documenting their incredible ceremony during Pride month in Mexico. Plus, Stephanie shares why Studio West 117 is the space you Need to Know in NEO for inclusivity, and why the LGBT Center of Greater Cleveland is A Good Follow on all social media platforms. Connect with AJ Gibson and Emile Ennis Jr here: http://twitter.com/ajgibson http://instagram.com/_ajgibson http://twitter.com/emileennisjr http://instagram.com/emileennisjr Need to Know in NEO: Studio West 117th http://studiowest117.org A Good Follow: LGBT Center of Greater Cleveland http://twitter.com/LGBTCleveland http://instagram.com/LGBTCleveland http://facebook.com/LGBTCleveland http://lgbtcleveland.org Connect with Stephanie Haney here: http://twitter.com/_StephanieHaney http://instagram.com/_StephanieHaney http://facebook.com/thestephaniehaney

Have you ever wondered how A-listers always have such amazing hair? Then tune in to our show with celeb hairstylist Marco Pelusi, who is behind some of the best-known heads in Hollywood. Marco is a globally-recognized hair color authority and owner of Marco Pelusi Studio West Hollywood. He was born in Pittsburg, and comes from a long line of hairstylists from his dad to his uncle, and when Marco realized Pittsburg wasn't his thing, the family stood behind him and supported his launch in West Hollywood. He credits his supportive family and strong Italian background for who is today, and shares some charming stories about growing up Italian in Pittsburgh, along with working on some pretty famous heads, from supermodel Carol Alt to actor James Brolin (I asked about Barbra).Tune in LIVE and on demand, on all video and audio platforms of #DeborahKobyltLIVE, @LittleItalyPodcast and @LittleItalyOfLAPodcast. Please invite your friends to join us, too

Thursday, June 2, 2022: Why Parma Senior High School canceled classes on Thursday, Governor DeWine‘s comments on signing a bill to allow armed teachers, the latest on COVID-19 vaccination shots for kids under five, Cleveland Cavaliers unveil new logos, what Browns players are saying about Baker Mayfield's and Odell Beckham Jr.'s relationship, how LeBron James got to be the NBA's first active billionaire, Cleveland Magazine's best suburb to live in, and more on 3News Now with Stephanie Haney Need a break from bad news? Watch It's All Good (News!) with Stephanie Haney: https://youtu.be/RPB8vFil3Pw Like this show? Check out the 3 Things to Know with Stephanie Haney podcast: http://wkyc.com/3thingstoknow Connect with Stephanie here: http://twitter.com/_StephanieHaney http://instagram.com/_StephanieHaney http://facebook.com/thestephaniehaney Read more here: Parma Senior High School cancels classes on Thursday due to shooting threat https://www.wkyc.com/article/news/local/cuyahoga-county/parma-senior-high-school-closes-thursday-threat/95-87cc15d1-c877-4c1e-a89b-a0f805a64229 Gov. Mike DeWine intends to sign bill allowing teachers, other staff members to be armed https://www.wkyc.com/article/news/politics/mike-dewine-intends-to-sign-bill-allowing-teachers-other-staff-members-to-be-armed/530-eea5a630-f2b0-4b35-9d78-6371c2b5a2af Ohio GOP lawmakers insert transgender girl sports ban in unrelated education bill https://www.wkyc.com/article/news/politics/lawmakers-renew-attempt-at-transgender-girl-sports-ban/530-3c1baa11-3e3d-4955-9752-2efbd80bd044 White House: 1st shots for kids under 5 possible by June 21 https://www.wkyc.com/article/news/nation-world/1st-shots-for-kids-under-5-possible-by-june-21/507-f61e84c1-86db-44e1-8ed8-013ecee99293 COVID-19 in Ohio: State reports over 17,000 new cases in the past week https://www.wkyc.com/article/news/health/coronavirus/coronavirus-numbers/coronavirus-ohio-updates/95-e2faeb56-d02a-443a-bcdb-141f2c7fafe8 UH Rainbow Babies & Children's Hospital first in world to use Pulse platform for pediatric spine surgery: How the procedure works https://www.wkyc.com/article/news/health/university-hospitals-rainbow-babies-childrens-pulse-platform-pediatric-spine-surgery/95-2d501af7-80fb-4b4c-be21-ca6af3e45350 Meet a new furry friend to the WKYC family: It's All Good News https://www.wkyc.com/article/news/local/its-all-good-news/meet-a-new-furry-friend-to-the-wkyc-family/95-1aee83b3-e90b-4fe6-a7f7-9b5cc85f60ee Ford reveals 'major economic announcement' with Northeast Ohio to make all-new electric vehicle in $1.5 billion investment https://www.wkyc.com/article/news/local/ohio/ford-major-economic-announcement-ohio-governor-mike-dewine-sheffield-plant/95-85a12382-baed-4a9b-a5a7-3a70e85d2656 Exclusive first look at Studio West 117, an LGBTQ+-oriented development project in Lakewood https://www.wkyc.com/article/entertainment/places/first-look/exclusive-first-look-studio-west-117-lgbtq-lakewood/95-8c1ced88-fe0f-482c-bd8d-fb4a262a4bdd Cleveland Cavaliers unveil new logos; new uniforms to follow https://www.wkyc.com/article/sports/nba/cavaliers/cleveland-cavaliers-unveil-new-logos/95-def72a14-e359-4fce-89ba-1df14aade91d Cleveland Browns teammates say Baker Mayfield and Odell Beckham Jr.'s relationship was a distraction https://www.wkyc.com/article/sports/nfl/browns/cleveland-browns-greg-newsome-ii-baker-mayfield-and-odell-beckham-jr-relationship-was-destraction/95-d060c395-a40d-43df-a484-68843a48ed94 LeBron James becomes first active billionaire in the NBA https://www.wkyc.com/article/sports/nba/lebron-james/lebron-james-nba-first-active-billionaire/95-530b39dc-60d6-4c92-a37c-2ac34c859752 Cleveland Magazine names Beachwood Cleveland's best suburb to live in Northeast Ohio https://www.wkyc.com/article/news/local/cleveland-magazine-names-beachwood-clevelands-best-suburb-to-live-in/95-4273eb3d-9217-4ea2-a149-e6759536db87

This week we feature an up-and-coming band known as "Mojo on Max", as Max Simpson drops by "Studio West" and sits in on an interview with Jonny. Then, we have a chat on the ummpod guest line with Vernon Buchanan of the new venue, Buchanan's Bar and Grill located in Taylors off Wade Hampton Blvd. We enjoyed his outlook on life and his vision of running a family friendly, music promoting, fun bar for everyone around. As usual, we wrap up the show with the 'This Day In Music' segment followed by our weekly show schedule run-down.  Thank you for tuning in, see you next week!!Support the show (https://www.buymeacoffee.com/ummpod )

In collaboration with LGBTQ+ Programs and Womxn's History Month, this special episode features guest host Gray Strain, Assistant Director for Diversity and Belonging at BGSU, and Dr. Lady J, who was keynote speaker of the 2021 Women's, Gender, and Sexuality Studies Research Symposium at BGSU. The pair discuss drag scholarship, community activism, the untold history of the artform, and the integral role transgender and cisgender women have played as performers since drag's inception.  Announcer :From Bowling Green State University and the Institute for the Study of Culture and Society, this is BG ideas.Musical Intro:I'm going to show you this with a wonderful experiment. Gray:Welcome to the BG Ideas podcast, a collaboration between the Institute for the Study of Culture and Society and the School of Media and Communication at Bowling Green State University. My name is Gray Strain, Assistant Director for Diversity and Belonging at BGSU. And I'm happy to be guest hosting a special episode today in collaboration with LGBTQ+ programs and Women's History Month. Thank you to Dr. Jolie Sheffer of ICS for allowing us to guest host this episode. We appreciate the opportunity for collaboration. This special episode of the BG Ideas podcast is being recorded during the COVID-19 pandemic. That means we're not in studio, but instead are talking via Zoom and phone. Our sound quality will be different as a result, but we want to continue to share with our listeners some of the amazing work being done on and around our campus. We at ICS and LGBTQ+ programs think it's important to celebrate great ideas. As always the opinions expressed on this podcast are those of the individuals involved and do not necessarily represent those of BGSU or its employees.Gray :Today, I am thrilled to be speaking with Dr. Lady J the Director of Programming, Education and Outreach for Studio West 117 in Cleveland, Ohio. The official drag historian for the Austin International Drag Festival, the creator and host of the podcast Untucking the Past and the keynote speaker for the 2021 Women's Gender and Sexuality Studies Research Symposium here at BGSU. A pillar of the Cleveland LGBTQIA+ community, she represents the city on the national drag scene and leads locally through activism, entertainment, and education. Her dissertation from RuPaul to the Love Ball: The Mainstreaming of Drag in the 1990s, has been downloaded over 3,800 times. And her work as a historian has been featured everywhere from vice.com to the journal of the American Musicological Society.Gray: Dr. Lady J joins me today to discuss their work in the field of drag history, the politics and inclusion of women, both transgender and cisgender in drag communities and how she serves diverse LGBTQ+ populations today in the Cleveland area. So thank you so much for joining me, Lady J. Before we dive into the fascinating topic of drag history, I do want to touch on the work that you're doing with Studio West 117. Could you tell me a little bit about your role and the vision for Studio West?Dr. Lady J:So thank you first of all, so much for having me, Gray. I'm really excited to be here, and I'm really excited about the upcoming events that we're going to be doing together for Bowling Green. So Studio West 117 is an LGBTQ hub for the Northeast Ohio area and specifically Cleveland and Lakewood, especially. We're going to be doing everything from supporting LGBTQ+ local businesses, especially starting with BIPOC businesses first. We're working with our business tenants to provide ways of entry that are low barrier of entry. Everything from working on subsidies for businesses to working on a podcast and broadcast studio. We're going to have a makers space, an artist's co-op, a coffee co-op. So there'll be a lot of different opportunities for people to break into kind of gig based jobs that may require a lot of equipment on the front end and to use high end equipment for a really reasonable price that is affordable to the average trans person.Dr. Lady J:And that's really important to me because one of the ways that I was able to survive for a while after grad school was doing landscaping and handyman work for people that would lend me their tools. I knew these trades, but I didn't really know any way that I could afford a chainsaw and like 20 different pieces of equipment for landscaping. And a thousand different things for sanding stairs and painting and dah, dah, dah, dah. So this is a way we can start with that. On top of that, we're going to have five different venues, everything from the chamber and the symposium, which are smaller kind of bar sized venues up through the 1200 seat theater, somewhere between 800 and 1200 seat theater in the fantasy theater.Dr. Lady J:We're going to have the field house, which is going to have a gymnasium. It's going to have an LGBTQ youth sports league. We're going to have a restaurant run by Juan Vergara. That is a Colombian restaurant. That's going to be managed by two different LGBTQ folks. We're going to have the first rooftop patio in Lakewood. It's going to be 2,500 square feet. We're going to have an outdoor area between the two buildings so we can do... You could start with a brunch in the field house, go through a queer flea market in the alley into a children's theater show on Sunday afternoon, into a drag show that evening or a burlesque show that night. Really a place where you can spend all day and a place for everybody to feel safe and welcome. And it's primarily a place that is first and foremost for the LGBTQ+ community, and also very welcoming to allies. But this is really the queer's community's space first.Dr. Lady J:And I really love that we're working to really make sure that Cleveland is a majority black city, and in most of the businesses and organizations I've been a part of in my time here, whether it's been activism or education, or just working like an hourly job you don't often see Black management, you don't often see Black leadership. And it's because those opportunities have been denied. This is one of the most red lined cities in the country, racism is tremendous here. And I grew up going to Atlanta, going to a place where you saw Black artists, you saw lack managers, you saw Black leadership. And I'm really excited that like with this job, I've been able to form a 5% hiring committee that is 60% trans and non-binary, I think it's 80% people of color, especially heavy right now, it's 80% Black.Dr. Lady J:And I think that's really important because most young Black folks who are a huge portion of the population here are interviewing with people who do not look like them, who do not understand what they're going through. And we're thinking really about the multi-layered issues that affect people to make sure that the hiring doesn't look inclusive just at the level of baristas and bartenders, but at the level of management, leadership, all of those things. And that's one of the things that honestly is the reason I signed on with this project. Because my first questions were things like this that are huge often tend to just go with the easiest thing, which is to pick the oldest, whitest, people who have the most typical resume to create a very standard thing. And that's what I love about every time we bring in more people is for once I'm able to say, "Let's take this perspective or this problem that you are having as community member. And let's fold this into the structure. Let's think about this on the front end." Dr. Lady J:And during COVID, we've had a lot of extra time to really think about those things, to really make sure that everyone feels like they are included. And that also comes down to people with disabilities. We're going to be one of the only places around, if not the only place in this area that has a fully accessible stages, fully accessible dressing rooms. And this was something that when I started to book one of my drag kids, who's a queer puppeteer, a young guy who uses a wheelchair it was impossible just getting him in a ground floor bar, because a lot of them have a lip that goes up or a step that goes down. We tried getting in the back door of this one place. We realized the backdoor has a step down.Dr. Lady J:And even if he came into the kitchen, which we were going to try, the galley entry from behind the bar is not big enough for a wide chair like his. So luckily Nate is able to walk some. So we were able to get him into the bar, but once I started booking him, it was a real eye-opener as far as like, we need to make sure that these things are taken care of in this venue. And the exciting thing is we've been in contact with a festival that's specifically for performers with disabilities. And we are one of the first places or the first place that they've been able to bring this to Cleveland, which they wanted to do for a long time, that we'll be able to actually accommodate not just on the audience level, but on the stage level. And that'll be everywhere from the chamber and the symposium and the fantasy dance club up through the fantasy theater, the field house, all of it.Dr. Lady J:So like that's a big part of what I think is really important. And there's about nine million other things I could talk about, but what we really want when you look at the programming for this whole place is I want it to look like it's a nightly takeover of space by different queer folks. So when you look at the schedule, it looks like nobody owns the club. That's one of my most important things is trying to make it feel like there's not a centralized thing there. So yeah, I think that's a pretty good, short, brief overview of Studio West.Gray :I mean, that's fantastic. It's this way that you're creating this LGBTQ+ hub. It's so much more than just the hub itself, right? It's all of the people behind it. And I really appreciate the way that you talked about centering BIPOC communities, so Black, Indigenous and people of color in the process. So you've talked a little bit about this, but we of course know that due to COVID, face to face interaction and truly all interaction has been limited the majority of last year into this year. And of course, a lot of drag and LGBTQ+ community building is about having those physical spaces that you've talked about. So how has this shifted the way that Studio West does their work and how you build and maintain community?Dr. Lady J:Yeah, I think that's a great question. It was really interesting because when I came onto the project, initially just as a temporary thing to see like how is this going to work and all that, we were totally thinking about like doing big events in June. We were starting to plan out our Pride events and book that out. And I'd already started booking people. And then all of a sudden everything gets locked down, COVID comes along. And the plus side of it is, it's given us a lot of time to really do those inclusivity elements, to really have those conversations. To have a five-hour long conversation between me and community members. And the other thing that's really interesting is because we have this space we're able to do like virtual events. So we just did our very first virtual event in December. It was called Aqueerium. Dr. Lady J:And so we wanted to account for COVID. So what we were originally going to do was we were going to have some in-person, about four tables, maybe 16 people of four each with dividers. And we built the stage so the whole entire front of the stage is covered by plexiglass now. So I wanted to basically create an aquarium that we could perform in kind of bringing in the idea of like, how do we incorporate what's happening in a fun way? And so our whole first show was all underwater theme, sea themed. We had a giant clamshell that our creative and technical director, Dan Housman built along with all of these kinds of set props. We had stalactites that looked like coral that he had made out of insulation foam. We really had an amazing cast. And that's what we're going to be planning to do for the rest of this year right now. We may have some in-person events that don't look like a show that involve a lot of distance, and that are actually to-go events that we'll be releasing maybe later in the year.Dr. Lady J:What we're planning on right now, basically every show we do for the rest of this year right now is planning to be all digital. So we're going to be prerecording the performers one by one so we can edit. And like, that's the great thing is it also allows us that yes, performers can come in and just use the space to record that. But also if people want to, we can do things where we edit more stuff, we can make things more like a music video. And that's kind of what we're working towards in the second show that we're going to be announcing that I'm calling Icebox. So this time we're using the front of the plexiglass again as an ice theme. And that's kind of what we're going to be doing as we go forward, is kind of keep trying to reinvent this until we find a way towards live stuff. And we're hoping that we might be able to do live socially distance stuff maybe in January of next year and maybe some this year. But, it's really going to vary on what we find out in the next few months.Gray: Yeah. I think one thing that's really great about our community, especially as I think there's an instinct to pivot. So really to just adapt. And not to quote Tim Gunn, but, "To make it work," right in the moment and do what needs to be done. So I'm going to take a quick break right now, and then we'll come back and chat a little bit more about your research and the work you do with drag history. Thanks so much for listening to BG Ideas podcast. We'll be right back.Announcer :If you are passionate about BiG Ideas consider sponsoring this program. To have your name or organization mentioned here, please contact us at ics@bgsu.edu.Gray :Hello and welcome back to the BG ideas podcast. Today we're talking to Dr. Lady J about her work as a drag historian and educator. So Lady J, as a scholar of drag and gender myself, I honestly can't hold us back any longer. Let's jump into some drag. So first could you provide, and I appreciate this is a difficult question, a working definition of drag, as you understand it for our listeners?Dr. Lady J: Okay. So yeah, this is a question that I get a lot and it is one that I find really difficult. It's one that I was asked a lot by my advisor and my whole team on my dissertation to really try to define more. Really what I think drag boils down to is its historical narrative, because there's a lot of cross dressing and crossing the gender binary that doesn't really fit in with the timeline of drag, that stands on its own as another part of another tradition. And I think that's one of the things that gets collapsed a lot in the histories is things that are theatrical cross dressing that aren't actually like drag. They're not informed by queerness. Like movies like Some Like It Hot where people have to get into drag for a reason that is motivated by the plot of the story, rather than, "I like drag. This is part of my personhood and my artistry."Dr. Lady J:But really, I would say drag is number one, an art form in the same way that sculpting or painting or any of those things are, or theater or music. It is its own artistic discipline that deserves its own space in that way. But it has to do with playing with gender and characters more importantly. But I think for me, straight people can do drag and that can be part of the tradition. But straight people, cross dressing in movies and things like that often comes from a really different place. And I think that drag at its core is inherently queer. I think that it really comes from a place of transness before there was a word for transness. The history reflects that. With cases like Boulton and Park which you can Google very easily.Dr. Lady J:That's a case of two people that both lived as women on the stage and off the stage who were assigned male at birth. They were carted in front of a judge. They were stripped nude as part of this. And one of them actually ended up performing later on with another person who lived their life as a man who was assigned female at birth, who had also had a career on the stage as a man. And who was married to a woman. And for me, that looks, even though we can't use the word trans because that wasn't indicative of the times. But what I see in that moment is two trans people, seeing themselves in each other and seeing a way to work together. And most of the people that you see in early drag are people who are gender non-conforming on and off the stage. And I think that there is also a lot of room for discussion about the wibbly wobbly-ness of the term drag and like female impersonation.Dr. Lady J:And there's so much respectability politics that goes into those things. There are many people, if you look at the 90s, especially who would say, especially trans women who would say, "I am not a drag queen, I'm a female impersonator." Because drag queen in their head was a man in a dress. But again, that's because men in dresses were the ones who were controlling that conversation. But yeah, I would say drag is really about queer people creating character personas on stage. And playing with gender is part of that. But the one thing I do want to say that I always think is really important is saying that drag is about crossing the gender binary is like saying that architecture is about making a brick. It's absolutely part of what is necessary to do the other thing. But most of the people I know who are performing drag are not thinking about the gender element the most. They're thinking about character creation. They're thinking about storytelling. They're thinking about a song that they're doing, the narrative dance styles. That's really what drag is, it's a queer performance genre.Gray :Well I really hope that we have some architecture majors tuning in to appreciate that metaphor. So, you talked already a little bit about this, but thinking of drag as a performance of gender, but also character. So what does drag have to say about identity as a whole or thinking about gender in relationship to other categories of identity?Dr. Lady J:Oh, that's a really, really tough one. What does drag have to say about identity as a whole? For me, I think it's about how different people experience it. Like I have a very hard time saying drag does things or drag is things because drag is so individual and it changes a lot.Like even when we think about female impersonation is what most people think of when they think of drag. And we think of like alternative drag that's bearded drag, or cis women doing drag as something that's brand new. All those things have been present at a minimum. And I guarantee you they're there before. I just haven't or can't think of them off the top of my head, but at a minimum, like cis women been doing drag since the 60s, bearded queens have existed since the 60s, like all of those things have existed since the 1960s, we had a counter-cultural movement that happened in drag in the same way that it happened in the rest of the world, in every other art form.Dr. Lady J:And it fully changed our art form. And so I think what drag has to say about identity very much has to do with the individual. So like for some trans women, for instance, some trans women get in drag and they feel more fully themselves. They feel confirmed by the drag and they want to be a heightened version of themselves on stage. For me as a non-binary trans woman, I did like pretty girl drag for like the first five years. I think a lot of people might question the first two or three years. Not what I'd call pretty. But like I was doing a femme face. And what I found was that once I saw myself as a trans woman in that face, I was like, "Well, this isn't what I wanted. I came here to do something that was about building a creation. That's an insane over the top heroic version of myself." Dr. Lady J:And so, that's why like Lady J the character my eyes are as big as my forehead. My mouth is huge because it's about... My character for me, drag is about becoming intimidating or becoming a big, giant ball of light that people can see themselves in. So I think it just really varies based on person to person and what you're trying to... It's the same thing as art it's like saying, what does art have to do with identity? Well, it's going to have a lot to do with the genre and the person and the aesthetic that they're going for and what their goals are.Gray :Absolutely. And I really encourage folks if they haven't already seen Lady J's character to look you up on Instagram. It's the only Lady J, correct?Dr. Lady J:Yeah.Gray :Yes. Because your makeup, your persona is absolutely fantastic. So when folks hear drag, and you've already started to break this down, many people might only make the connection to RuPaul or RuPaul's drag race or other dominant representations of "drag." so as a drag historian, what do you think gets missed in our popular understanding of the timeline of drag we have in the US? Dr. Lady J:The timeline is, I think number one, the first thing would be that the timeline generally says, "The history is about people who crossed from male to female, female to male." And that's not really been the case for a lot of history. And I think the timeline also makes it seem like trans women are something new to drag when that's not been the case. A lot of drag history's timeline has unfortunately been about respectability politics. And it's been about cis men's perspectives. Even the book that I cite in my dissertation as being foundational to my understanding of drag history, which was Laurence Senelick's The Changing Room, is virulently transphobic. It was really hard reading where alot of people would say, when they talk about the metaphorical magic of drag, many people try to say that being a trans woman and having any kind of hormonal adjustment or any kind of surgery, somehow alters what you're doing.Dr. Lady J:And I just don't really ever understand how that makes any sense. Also, because as long as there've been trans women getting pump in their face, there've been cis men in the same industry getting pump in their face. And frankly, I've had some very intense toe-to-toe screaming matches with some of my very closest friends who have had this fight with me about the place of trans women in drag. Where I had to say to this person, and it was really a hateful moment on my part, but it came out of this whole discussion about trans women's place in drag, and this person saying that trans women deserve have a different place. They're a totally separate thing. And I was like, "You can't sit here and tell me that you think that trans women and drag is somehow juicing." And I poked this person's face. And I said, "When are your lip looks like that, don't sit here and act like it's not acceptable for us to get work done when you get work done. When the same pageants who disallow trans women allow silicone injections above the neck line." Dr. Lady J:So there's a lot of these weird things that have come up. And the other thing I would say is people talk about drag as if it's always transgressive. I think that's one of the biggest, biggest lies out there. Drag absolutely often, often, often reifies and stands up the gender binary. It says it is about, "I'm a man who can also be a woman." And then the version of womanhood that's presented is absolutely like a stereotype. Now that doesn't mean that I think that high glamour drag is inherently misogynist. I don't, but I do think... And I don't think men doing drag is inherently misogynist but I do think that many people think "I am portraying a woman, so I'm paying homage."Dr. Lady J:When in fact, if you're creating a sarcastic kind of hateful version of this person, are you paying homage or are you actually just creating a misogynist tirade against what you think women are? I think there is much space for all of that. And that's kind of the thing that I want people to understand about drag is that our discussion should be the same as art. We don't call art misogynist because there's misogynist art. We don't say that all art is not misogynist because there's non-misogynist art. We take it on a case by case aesthetic by aesthetic, genre by genre basis. And that's what drag deserves.Gray :Thank you. So thinking about the role of women in drag that you touched on a bit going back to the 60s, what does it mean for you to be a woman and taking that category broadly to include transgender and cisgender women who performs in drag? Dr. Lady J:For me, it's what has helped me find my community. It's what helped me find my sisters, my partner, my best friends, the people who understand me most understand that I am most me not now, but when I'm fully Lady J.Like it was astonishing to me how different it was for the developers and the other people I work with at Studio West, who had met me in drag once when we went to New York. But it was 5:00 AM when I was getting ready that day, I was super nervous. I didn't know them very well. When we did our first show, they were like, "Oh my God, you're a totally different person." And I was like, "Yeah, because you know what happens when I get in drag? Even with all this crazy look on my dysphoria goes away. I'm not looking at a 35 year old person who has not gone on a hormone therapy yet, and who wishes they'd done it a lot sooner."Dr. Lady J:I see what I want to be. I see this heroic trans goddess of rock and roll. This KISS-like Wendy O Williams, not to be confused with Wendy Williams, like character. I always wanted to be covered in armor with a sword or something. I want to see myself as a protector because I grew up in a house where my mother was abused violently by my father. And I'm positive that's why Lady J exists. That's why I do what I do is because most of my career has been about creating someone that someone like that could never touch. And creating someone that could have saved my mom in that situation. That could have saved all of us little kids from having to deal with all of that.Dr. Lady J:That's a lot of what Lady J is, is me trying to provide people with some semblance of, "There's a future, there's hope there's promise." And also if you feel angry, like I'm going to get angry for you here on stage. I'm going to smash things. I did a number of last year where I was Lorena Bobbitt, and I was chopping an eggplant with a freshly purchased sharp butcher knife into the audience. If you want to see some stuff that is anti-misogynist, I'll give it to you because a lot of my drag is about my anger about those things. It's about processing out the pain and nonsense that I have seen and had inflicted upon me. I'm a three time sexual assault survivor. A lot of that anger goes into Lady J and that's how I get it out. And that's what's fun. And that's the hard part about COVID is like, I'm not on a stage in front of an audience, like doing all of that all the time. And maintaining sanity is harder without that.Gray :I really appreciate that. I think when we have that conversation about what drag is, we started initially in thinking that some people believe only cis men doing this kind of across gender performance, I think we miss out on all the, all the personality, all of our experiences that get put into our art form. So I really appreciate you being open about that. So I'm going to end with what I know is another difficult question. I know I've been full of them today, but who is, if you could just pick out one woman in drag's history that you think everybody should know about should go learn about right now?Dr. Lady J:That's really tough. I would say there's like maybe three that I think of a lot. One of them I would say is the person that like, if you don't know a lot about drag history, go look up Crystal LaBeija. Crystal LaBeija is the person who... Look up the movie, The Queen, and look at the argument that she has with Mother Flawless Sabrina. What you will see there is a world in which Black queens had been denied real advancement, had been denied bigger money, had been denied bigger opportunities. And this queen took this moment on film and took an enormous risk that could have made her look terrible. That could have ruined everything for her by saying, "You know what? I don't care that this documentary is here. And in fact, I think it's probably good that this documentary is here and I'm going to confront this pageant system about its racist practices and about the fact that I should have been the winner. And I was the rightful winner."Dr. Lady J:And sadly what a lot of people will see in that is just an angry Black woman. All they'll see is that. And they'll just be like, "Well, I don't understand why she's like that. What is she so mad about? Why does she think she deserved to win?" The reality is this was the only Black queen who had ever won Queen of Manhattan, which was like one of the biggest things in the world back then, at that time, for her. And so she was winning pageants that only white pageant girls were winning. And that's one of the things that we, in addition to saying, drag is not misogynist is a mythology. The other mythology is that drag is not racist. The drag world has been very racist in the past, but what you saw back in the day was that Black queens just did not... You were expected to lighten up and whiten up your skin and perform as white celebrities for the most part or light-skinned celebrities.Dr. Lady J:And then you were still going to lose no matter how well you did. Because they wanted your audience, they wanted you to participate. They wanted you to bring your people who would pay the tab, but they didn't want to allow you anything real. They didn't want to allow any of that. And so when you watch her confront Mother Flawless and tell her, "Yeah, I am showing my color, and I have a right to show my color." The entirety of this separate world of Black competition comes about because of this moment of just complete, "I'm done with this, I'm frustrated with this. And I will not do this anymore. I will not be this for you." And so being able to move on with that, I think she's one of the most important people.Dr. Lady J:And aside from her, I would say if you know a lot about drag history, you already know about her, look up Lady Chablis, you'll find out a ton of things. She was a trans woman. She never used the word drag queen and didn't like it. But I would still say she's part of the history because that's the culture she was a part of. And she did own like 12 pageant titles.Gray :Awesome. And you said there was a third as well, in your top three?Dr. Lady J:Oh, I forgot what the other one was now. The other one, I know one of the other ones I was going to say was to look up the women who were part of The Cockettes. Just look up The Cockettes and see that there was a troop of cis women, trans people, Black people, white people, babies, adults, the whole gamut.Dr. Lady J:And that was the 60s. And again, everybody thinks they're reinventing the wheel now. And it's because we have no awareness of our own history. It's like, as if we were trying to create art and all artists were trying to create art without having any idea that Cubism existed before, or that Impressionism existed before or any of these things. That's kind of the world we exist in. And that's a lot of why I try to do so much drag education, not just because we deserve to know our own history, but because it helps us get better as artists to not just keep repeating the same stuff.Gray :Awesome. Thank you. Yeah. I really think that Crystal LaBeija is a wonderful figure to highlight. And The Queen is a very interesting documentary. If a little dated, still, I think, worth a watch if only for Crystal's scene at the end.Dr. Lady J:I think it's important for people to see how bland some of the white drag scene was. Like, that's important. It's important for you to see the people that were getting somewhere despite not really doing much. Because that speaks volumes about the history itself.Gray :I think we definitely all have a lot of work to do in kind of uncovering the real, or perhaps the realer history of drag. So Dr. Lady J, I want to thank you so much for taking the time to chat about the work that you do. This has been a fantastic conversation that I think could be twice or three times the length. You have so many wonderful things to say. And I'm so glad that we were able to bring you to campus to share your keynote with us for the Women's Gender and Sexuality Studies Research Symposium. So I do want to give credit to our wonderful producers for this podcast. Chris Cavera and Marco Mendoza. Marco deserves extra thanks for sound editing in these very challenging conditions. We really appreciate you, Marco. Want to give a special thank you to the Institute for the Study of Culture and Society, and to Dr. Jolie Sheffer for allowing us to host this episode.Gray :Be sure to like, and subscribe to the BG ideas podcast, wherever you listen. And of course, follow LGBTQ+ programs on Facebook, /BGSULGBTQRC, and on Instagram @BGSU_LGBTQ. And there you can stay up to date and all of our programming and our events. But above all else, stay safe. And thanks for listening.

"Wishwood Bridge" is the FIRST studio recording by Richard Del Connor in 1974. Sorry about the cassette tape dub of lower quality. “Go Blame It On Somebody Else” is from LIVE at The Music Machine album by THE RICH. This is the band I performed with in 1982 and 1983. The drummer is John Merritt who was also on the TEMPTATION album which is the first vinyl album release by Richard O’Connor & The Rich on Shaolin Records in 1984. I think the guitarist is Bob… Richard Del Connor talks about his years as a recording engineer from 1974 to 1976. After that he recorded at 8-track Dr. Sound, 16-track Studio West, then 24-track Village Recorder and the Beachboys Studio, Cherokee, Soundcastle, A&M, Capitol Records and a dozen more in Los Angeles. "Wishwood Bridge" is on the BONITA album by Lotus only released online at: https://www.shaolinrecords.com/RecordStore-R/AmZen_Lotus-R.html “Go Blame It On Somebody Else” is on the “Live at the Music Machine” album by Shaolin Records: https://www.shaolinrecords.com/RecordStore-R/the_rich-MUSICMACHINE-R.html The Rich ARTIST PAGE at Shaolin Records: https://www.shaolinrecords.com/RecordStore-R/the_rich-R.html Produced by Richard Del Connor for Shaolin Records. https://www.ShaolinRecords.com Copyright 1984-2021 Shaolin Communications https://www.ShaolinCOM.comMusic used by permission of Shaolin Records and licensed by Shaolin Music. ASCAP https://www.ShaolinMusic.com

Listen to the incredible journey and wisdom of Randi Driscoll, an award winning singer/songwriter and actress.  Randi’s original song “What Matters” has been featured in several stage productions, films and documentaries, and proceeds from the song support the Matthew Shepard Foundation, an anti-hate charity. The choral version of Randi’s song has been performed by over fifty choirs internationally, and has been featured at New York’s Carnegie Hall and the Disney Hall in California. A film about the making of Randi's song "What Matters" has earned several awards and the song itself was named one of the top Pride Anthems, by the Advocate Magazine. Most recently Randi’s original song “No Song” won best Adult Contemporary in the Song of the Year contest. Randi's original music is a blend of piano driven singer/songwriter music with elements of pop, country and jazz. Her music has been featured in film, television, and a commercial directed by Spike Lee, in which Randi also appeared. Her performance credits include appearances at Lincoln Center, Place des Arts (Montreal), The Japan Center for the Arts, The Ford Theatre and numerous universities, performance halls, nightclubs and cabarets. Randi studied theatre and music at the University of San Diego, and her theatrical credits include most recently appearing alongside Bradley Whitford and Mary McDonnell in the Broad Stage's "Laramie Project; Epilogue" (Romaine Patterson). Randi has appeared in several San Diego film and stage productions, and has worked as a teaching artist and director for San Diego Junior Theatre, CYT,  The Musician's Institute (Los Angeles), The Performer's Academy (OC) and Wingspan Arts, (NYC). Randi has shared the stage with a wide range of artists, including Pat Benatar, Dar Williams, Bruce Hornsby, Bonnie Raitt, Anthony Rapp (Rent), Max Von Essen (An American in Paris), Jason Mraz, and Dave Koz. Randi has released seven solo studio albums and has participated in or performed on, over fifty more, for various artists and bands, including musician and MLB coach,  Tim Flannery, Gospel artist, Shyla Nibbe, Journalist and performer, Jamie Reno,  and several recordings with prominent choirs. Randi’s first solo release, "Climb" on East River Records, was recorded at Studio West and produced by Jon Mathias. Since that time, Randi's cds have been released independently, on her own label, Dramatique Records.  Randi’s most recent release, "Glass Slipper” is a collection of original songs, produced by Noah Heldman and Grammy winner Larry Mitchell. The CD features a duet with People Magazine's up and coming country artist, Aaron Parker, and a wide range of musical guests, including Grammy award winning cellist, Dave Eggar. In July of 2018, Randi, her husband Andrew, and their daughter, Skyler Faith, relocated to Nashville TN. Randi continues to tour year round, and is currently finishing her forthcoming CD, produced by Dean Miller, and featuring some of Nashville’s finest musicians. Her new songs have awarded her several notable mentions; including; Winner, of "The Top Writer” series, Nashville TN, (2019) Best Love Song, Betty Lou’s Songwriter night ( Happy Hour in Heaven) Nashville, TN, 2018 and a weekly finalist for Nashville’s Rising Star competition, 2017. Connect with Randi:   www.randidriscoll.com instagram.com/randidriscoll

Episode 48: The Theology of White Supremacy Wherein Them Pastors come to you again from Studio West in Seattle, Washington with special guests Rob Bradford and Jimmy Dykstra to talk about white supremacy and white privilege.  Class is in session as Rob breaks down the systemic problems of privilege and supremacy in our culture and then they all try to figure out what the church can do about this (and what God is calling us to do about it).  Everything is 100% resolved and solved by the end.  Before the heavy lifting, they discuss what modern day item that could be sent back into the past to most affect the future, they are joined by some hot mics that pick up all the noises of life, and J gets an early visit from the Sandman. “The church is dying…but what if racial reconciliation was the thing that ‘saved’ the mainline denominations?”

Noel Gonzales, a student in the Music Industry Studies program at Cuyamaca College, interviews Pete Dyson, owner of Studio West.

Hear more from Amanda & Nicole on the end of Season 2 as they recap and reflect on Beyond the Studio: West Coast Edition, and prepare for the launch of Season 3, Beyond the Studio: East Coast Edition! www.beyondthe.studio Intro and Ad Music by: Suahn Album Artwork by: David Colson

Today, April 20, is the day of Cameron Paul's memorial service in San Mateo, CA.  I hope to get some interviews from the Bay Area's Mix D.J's.  That gave us our doses of what now is called Old School.   Cameron Paul was who every young mix DJ wanted to be, if you lived in the California, Bay Area. Here is a week three power-mix of Cameron Paul's Power Mixes and pieces of his Mixx-It collections are ground breaking and put together here for another week. Cameron passed late in March. Here is Cameron Paul's Obituary Cameron Paul Graubart, born and raised in San Francisco, CA passed away in peace with Christ on March 26, 2018 in Tulsa, Oklahoma. Cameron was a music producer and legendary DJ who, under the stage name Cameron Paul, revolutionized club music and introduced the world to a new form of entertainment, "Mixx-It". Cameron's music could be heard on the legendary Bay Area radio stations KSOL and KMEL-FM, and he earned gold records for his remixes of iconic songs like Salt n Pepa's "Push It" and George Michaels' "I Want Your Sex". In the 1980's and 1990's, his music drew enormous crowds to San Francisco dance clubs like City Nights and Studio West where the masses danced the nights away to his unique style of music. Cameron's irreplaceable contribution to the music industry resulted in him being inducted into the Legends of Vinyl DJ Hall of Fame, solidifying his reign as an artist whose music will inspire others all over the world for generations to come. Cameron was preceded in death by his loving sister Laura Graubart. He leaves behind his loving parents, Larry and Caroline Graubart of San Francisco, CA; his devoted sister Suzanne (Cole) Sack, and her husband Steve; his niece Kirsten Pegeron; two nephews: Brandon and Jordan Cole; and many cousins. A Memorial Service will be held from 12-3pm on Friday, April 20, 2018 at Sneider & Sullivan & O'Connell's Funeral Home, 977 S. El Camino Real, San Mateo, CA. Cameron had a compassionate heart and shared his love for animals with his sisters, Laura and Suzanne. In lieu of flowers, he requested donations be made to Alley Cat Allies, a charity that assists shelters in saving cats and kittens around the US. Donations can be made under Cameron's name directly to donate@alleycat.org or to the Porta Caeli Hospice House in Tulsa, Oklahoma where he was lovingly cared for in his final days.

In The Next few weeks on the Rewind we will pay tribute to Mixx-It and Cameron Paul.. Cameron has left us for the other side and this is the obit for the services coming up April 20th Cameron Paul Graubart, born and raised in San Francisco, CA passed away in peace with Christ on March 26, 2018 in Tulsa, Oklahoma. Cameron was a music producer and legendary DJ who, under the stage name Cameron Paul, revolutionized club music and introduced the world to a new form of entertainment, "Mixx-It". Cameron's music could be heard on the legendary Bay Area radio stations KSOL and KMEL-FM, and he earned gold records for his remixes of iconic songs like Salt n Pepa's "Push It" and George Michaels' "I Want Your Sex". In the 1980's and 1990's, his music drew enormous crowds to San Francisco dance clubs like City Nights and Studio West where the masses danced the nights away to his unique style of music. Cameron's irreplaceable contribution to the music industry resulted in him being inducted into the Legends of Vinyl DJ Hall of Fame, solidifying his reign as an artist whose music will inspire others all over the world for generations to come. Cameron was preceded in death by his loving sister Laura Graubart. He leaves behind his loving parents, Larry and Caroline Graubart of San Francisco, CA; his devoted sister Suzanne (Cole) Sack, and her husband Steve; his niece Kirsten Pegeron; two nephews: Brandon and Jordan Cole; and many cousins. A Memorial Service will be held from 12-3pm on Friday, April 20, 2018 at Sneider & Sullivan & O'Connell's Funeral Home, 977 S. El Camino Real, San Mateo, CA. Cameron had a compassionate heart and shared his love for animals with his sisters, Laura and Suzanne. In lieu of flowers, he requested donations be made to Alley Cat Allies, a charity that assists shelters in saving cats and kittens around the US. Donations can be made under Cameron's name directly to donate@alleycat.org or to the Porta Caeli Hospice House in Tulsa, Oklahoma where he was lovingly cared for in his final days.

In The Next few weeks on the Rewind we will pay tribute Mixx-It and Cameron Paul.. Cameron has left us for the other side and this is the obit for the services coming up April 20th Cameron Paul Graubart, born and raised in San Francisco, CA passed away in peace with Christ on March 26, 2018 in Tulsa, Oklahoma. Cameron was a music producer and legendary DJ who, under the stage name Cameron Paul, revolutionized club music and introduced the world to a new form of entertainment, "Mixx-It". Cameron's music could be heard on the legendary Bay Area radio stations KSOL and KMEL-FM, and he earned gold records for his remixes of iconic songs like Salt n Pepa's "Push It" and George Michaels' "I Want Your Sex". In the 1980's and 1990's, his music drew enormous crowds to San Francisco dance clubs like City Nights and Studio West where the masses danced the nights away to his unique style of music. Cameron's irreplaceable contribution to the music industry resulted in him being inducted into the Legends of Vinyl DJ Hall of Fame, solidifying his reign as an artist whose music will inspire others all over the world for generations to come. Cameron was preceded in death by his loving sister Laura Graubart. He leaves behind his loving parents, Larry and Caroline Graubart of San Francisco, CA; his devoted sister Suzanne (Cole) Sack, and her husband Steve; his niece Kirsten Pegeron; two nephews: Brandon and Jordan Cole; and many cousins. A Memorial Service will be held from 12-3pm on Friday, April 20, 2018 at Sneider & Sullivan & O'Connell's Funeral Home, 977 S. El Camino Real, San Mateo, CA. Cameron had a compassionate heart and shared his love for animals with his sisters, Laura and Suzanne. In lieu of flowers, he requested donations be made to Alley Cat Allies, a charity that assists shelters in saving cats and kittens around the US. Donations can be made under Cameron's name directly to donate@alleycat.org or to the Porta Caeli Hospice House in Tulsa, Oklahoma where he was lovingly cared for in his final days.

Captain Blood was a game released in 1988 and was a direct inspiration for The Long Journey Home, a game that has been developed and published by Daedalic. Based on the concept of a crew of a space craft that was to make its maiden voyage at faster than light speeds to Alpha Centauri and back they end up being flung across the galaxy. The player must guide them back to Earth all while avoiding certain death at the hands of aliens and natural phenomena. http://media.blubrry.com/caneandrinse/caneandrinse.com/sausage/TSF_Episode153.mp3  

Jay and Jack are in together again in Studio West thanks to Jack’s major Internet issues. Be sure to join their Facebook page at www.facebook.com/groups/jayandjackgroup. Support Jay and Jack on Patreon! Click here for more information. Subscribe (MP3) l Become a Patron l Join Our Facebook Group