Podcasts about terkel

Vi har brugt tiden på at finde nogle af de mest populære afsnit fra Rollemodellerne arkiverne til glæde for dig. Måske har du ikke fået hørt dem, eller trænger blot til et genhør med gæstens vigtigste taktikker og guldkorn? Du får hvertfald serveret de bedste af de tidligere afsnit i dine øregange til endnu et lyt her ⬇️ Derfor skal du lytte: Anders'Anden'Matthesen har i mere end 25 år udviklet sig til en institution på den danske comedyscene. Men hvad driver Anden og hvordan har Anders Matthesen fortsat med at udvikle det ene publikumssalsfyldende show efter det andet og samtidig filmhit som Terkild og Ternet Ninja? Det får du blandt andet svaret på i denne podcast, ligesom du hører mere om Anders nye bog Livsstil er en livsstil. Episode 57: Rollemodellerne Podcast med Anders ‘Anden' Matthesen   Hvem er Anders Matthesen? Den første gæst i denne sæson af Rollemodellerne er en mand af utrolig mange titler. Han er standupkomiker, skuespiller, forfatter, sanger/rapper og instruktør for bare at nævne de vigtigste. Det er selvfølgelig Anders Matthesen, som også går under kunstnernavnet Anden. Anders har haft en karriere på mere end 25 år, som en af Danmarks mest populære komikere med bl.a. shows som Anden på Coke, Anders, Shhh og 25 års jubilæumsshow. For nyligt har han haft stor succes med filmen Ternet Ninja 2, og han udgiver i dag sin selvhjælpsbog “Livsstil er en livsstil”. Derudover er Anders netop udkommet med sin egen - for øvrigt helt fantastiske - podcast 'Den Hvid Væg' Hvorfor er Anders Matthesen gæst i Rollemodellerne? Anders Matthesen er en institution i dansk underholdning. Han har i den grad bevist, at han har formået at holde sig i toppen inden for hans felt over rigtig mange år. Alene det, han har opnået karrieremæssigt i comedy og underholdning med film som Ternet Ninja og Terkel i knibe og med hans shows, som altid tiltrækker enormt mange mennesker, og som altid formår at løfte det kunstneriske niveau til et nyt niveau, gør at Anders er en sand rollemodel. Han er virkelig beundringsværdig og værd at tage ved lære af. Derudover synes jeg, timingen var rigtig nu, hvor Anders har skrevet bogen “Livsstil er en livsstil”. Her fortæller han for første gang om nogle af de erfaringer, han har gjort sig, og kigger med et humoristisk glimt i øjet på hele selvudviklings- og coachingmiljøet, hvilket i den grad både er lærerigt og underholdende, men selvfølgelig også inspirerende, ligesom han deler sine tanker om kreative processer som han også gør i sin egen podcast Anders Matthesen: Den Hvid Væg. Anders Matthesen er en helt oplagt deltager i Rollemodellerne, og timingen var god, da “Livsstil er en livsstil” lige er udkommet. Derfor har jeg valgt at invitere ham med som gæst i podcasten. I snakken med Anders kan du bl.a. høre om: Hans nye bog og hvad der, ifølge ham selv, er den vigtigste pointe Hvordan han fra starten forsøgte at nedbryde de uskrevne regler, der var inden for stand-up Hans motivation for at nå til tops, der altid har været der Ændringen i hans forhold til feedback over tiden Forskellige metoder han benytter for at passe på sig selv i hans karriere Tak fordi du lytter med, og husk: Hvis du er glad for podcasten, så efterlad gerne en anbefaling eller et review Kh Bjørn   Rollemodellerne Episode 57 – Anders Matthesen Notat og tidlinje: 00:00 – Rollemodellerne introduktion 04:00 – Anders Matthesen bliver præsenteret ved hjælp af titlerne om ham selv i hans egen bog 05:25 – Bjørn roser Matthesens nye bog 06:35 – De snakker kort om, hvorfor bogen ikke er kommet tidligere 07:45 – Om billederne i bogen som kan bruges som plakater 09:10 – Hvad der førte til, at han endelig trådte ind i en karakter for at dele sin livserfaring 12:10 – Det vigtigste budskab i bogen ifølge Anders er at huske at være ydmyg og taknemmelig 14:40 – De snakker om at give den indre stemme, der kan trække én ned, et navn 17:05 – Hvordan modtagelsen har været på hans bog

In this episode, we discuss the life and work of Studs Terkel. A Chicago resident from age 10 until his death at age 96, Studs Terkel epitomized Chicago. A charismatic presence, Terkel began his career as a radio actor and on-air interviewer before becoming the star of an unscripted local TV show called Stud's Place. [...]

In this episode, we discuss the life and work of Studs Terkel. A Chicago resident from age 10 until his death at age 96, Studs Terkel epitomized Chicago. A charismatic presence, Terkel began his career as a radio actor and on-air interviewer before becoming the star of an unscripted local TV show called Stud's Place. [...]

Studs Terkel's 1967 book Division Street: America was an oral history chronicling Chicago life at the time, with a cross-section of residents sharing their thoughts, feelings, dreams and fears. A new seven-part podcast series now revisits Terkel's Division Street, to answer the question: “What happened to those people and their hopes and dreams?” Through interviews with the descendants of some of the 71 Chicagoans Terkel highlighted, Division Street, Revisited picks up the baton of Terkel's audio storytelling legacy. Reset sits down with the creators of the podcast Mary Schmich and Melissa Harris to find out more. For a full archive of Reset interviews, head over to wbez.org/reset.

Romy Terkel: Legacy Biographer & Collector of Memories Watch The Video & Don't Forget to Like, Comment, Subscribe, & Share  Romy Terkel is a passionate storyteller dedicated to preserving the rich tapestry of people's lives, particularly those of seniors. With a gentle approach and keen listening skills, Romy spends time with her clients, inviting them to share their memories, experiences, and wisdom. She skillfully crafts these narratives into beautiful written pieces, ensuring that each story reflects the unique voice and spirit of the individual. By capturing the essence of their journeys, Romy not only honors their past but also creates cherished legacies for future generations to enjoy, fostering connections across time and experience. Her work serves as a reminder of the value of every life story and the importance of remembrance. This episode is sponsored by The Professional Centre. See www.theprofessionalcentre.com . It is also sponsored by Avrum Rosensweig art which can be seen at www.avrumrosensweigart.com

Send us a Text Message.We're staying local this week after a few far flung episodes to feature the remarkable work of Studs Terkel. Terkel was a pioneering journalist and storyteller who helped show the world the value of the average life. Terkel's radio programs and literary works captivated the country with his unique interview style and his passion for the stories of those around him. We visit some familiar places and extraordinary events in history, through Terkel's signature lens and voice. 

First broadcast on January 27, 1965. Studs discusses race relations and economic disparity with four Chicago area women in a program entitled "Each of us can act". This recording was the last of a 6-part series, "Rearing the Child of Good Will", broadcast under the auspices of the National Conference of Christians and Jews. The series focused on prejudice, race, religion, and community. Interviewees are: Madeline Bonsigniore of Chicago's south suburbs Naomi Brodky of the Marynook neighborhood of Chicago Lynn Williams of Winnetka, IL Harriet White of the NCCJ The discussion begins with a snipped from Terkel's interview with "Jimmy" a 17-year old African American male who had been involved with gangs on the Chicago's west side. Other topics of discussion include racial integration, schools, and home ownership.

First broadcast on January 27, 1965. Studs discusses race relations and economic disparity with four Chicago area women in a program entitled "Each of us can act". This recording was the last of a 6-part series, "Rearing the Child of Good Will", broadcast under the auspices of the National Conference of Christians and Jews. The series focused on prejudice, race, religion, and community. Interviewees are: Madeline Bonsigniore of Chicago's south suburbs Naomi Brodky of the Marynook neighborhood of Chicago Lynn Williams of Winnetka, IL Harriet White of the NCCJ The discussion begins with a snipped from Terkel's interview with "Jimmy" a 17-year old African American male who had been involved with gangs on the Chicago's west side. Other topics of discussion include racial integration, schools, and home ownership.

An interview with Kid Pharoh, a former prize fighter, is included in Terkel's book, "Division Street: America."

An interview with Kid Pharoh, a former prize fighter, is included in Terkel's book, "Division Street: America."

Nana Miller est partie sur un coup de tête, fatiguée des disputes avec sa fille, à Copenhague. Arrivée sur place, elle est retenue dans la ville suite à la découverte d'un cadavre d'une sirène en plein centre ville. Elle va alors mener l'enquête après sa rencontre avec de Thyge Thygesen, qui s'occupe de l'hôtel où elle loge. L'album Copenhague d'Anne-Caroline Pandolfo et Terkel Risbjerg est étonnant dans son récit d'enquête mâtiné d'une forme d'humour absurde réjouissante, qui se transforme petit à petit en douce romance. Aussi, lorsque les deux auteur.ices se sont retrouvés à Paris pour le vernissage d'une exposition consacrée à leur dernière bande dessinée, sommes nous allés à leur rencontre pour échanger autour de Copenhague.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

50 years ago, radio broadcaster Studs Terkel published a book called WORKING: People Talk About What They Do All Day, and How They Feel About What They Do. Terkel went around the country with a tape recorder and had conversations with ordinary Americans about their jobs and their reflections on them. The book ended up being an unexpected bestseller. For a long time, the recordings of these interviews went unheard, but back in 2015, we and Jane Saks at Project& were given access to the original raw interviews. We also tracked down some of the people Terkel had interviewed to catch up on their lives, and made a series called "Working, Then and Now." 50 years later, it's interesting how much some jobs have changed, and others have disappeared entirely. Today on the podcast, we revisit that series in an hour-long special.

Dagens Program:Det var onkel Stuart fra Terkel i Knibe der sagde at, du altid skal spørge hvis du er i tvivl. Så i dag spørger vi selvfølgelig en masse når vi igen inviterer Youtuber og Influencer Jørgen Bjørn i studiet for at lave en tidlig fejring af påsken sammen. Jørgen har fingrene dybt i spil kulturen så i dag kommer vi til at vende det aktuelle i spilkulturen mens vi måske for en lille en fra GameBoys påskebordet.Dagens Gæst:Jørgen Bjørnhttps://www.youtube.com/channel/UChBsB-R1Z2cNEapYopTE02QVærter:Daniel Møgelhøj & Asgar Bugge HansenProduceret af DNA LYD I/SGIVEAWAY:https://gleam.io/EeoXD/toptier-gamer-giveawayLinktree:https://linktr.ee/GameBoys24syv

Cutting to accentuate the client's eyes and ears, plotting to tame Einstein's hair, and riding the ups and downs of entrepreneurship with Ona Diaz-Santin, a hair stylist and owner of 5 Salon & Spa in New Jersey. What's the most irritating way a client can respond to a haircut? And why was she christened "The Hair Saint"?Our show takes a lot of inspiration from Studs Terkel's classic book Working. It features interviews Terkel did with more than 100 different people from different jobs: police officers, waitresses, gravediggers, private investigators. His guiding question? "What do they do all day?" Radio Diaries actually got their hands on the audio that Terkel recorded of his interviews and collected them into an episode that you can listen to here.Follow us on Instagram!Got a comment or suggestion for us? You can reach us via email at jobs@whatitslike.comWant to be on the show? Leave a message on our voice mailbox at (919) 213-0456. We'll ask you to answer two questions: What do people think your job is like and what is it actually like? What's a word or phrase that only someone from your profession would be likely to know and what does it mean?

First broadcast on November 05, 1985. Terkel comments and presents a musical performance by Wynton Marsalis

If you've got a concern about errors and inaccuracies in AI output, how do you address it? To my knowledge, there is not yet a solution for AI hallucinations. I recently wrote a newsletter on LinkedIn and Substack about my concerns about inaccuracies and pure fantasy I discovered using Bing powered by ChatGPT-4.  This is a verbal analysis of my thought process of why I wanted to pursue this question. I'm including the text of the newsletter for reference. The Seeds of Curiosity One of my first podcast episodes was about AI use in HR - recruiting and retention, upskilling etc. Although Todd Raphael changed jobs, he allowed me to retain the episode (thank you, Todd). It was really useful because it made me curious to learn more. I started investigating Canadian companies doing the same sort of work and I discovered Plum.IO. I created a profile and though it wasn't bad, there were several things I thought were inaccurate. You can read my Plum profile here. To be clear, I like a lot of it. My top talents are embracing diversity, innovation and decision making. It describes me as Influential, dominant, persuasive, authoritative, and self-confident. I'm also curious, analytical, reflective, imaginative, and creative as well as receptive, adaptive, flexible, unconventional, and reflective. I agree with these statements: Nola is: Good at knowing what to say to make people feel included and accepted. Exceptional at adapting to a wide range of people and being open to different values and personalities.   Nola is: Extraordinary at working with abstract ideas and developing unconventional solutions. Exceptional at being receptive to different ideas and flexible to changing demands.   Nola is: Extraordinary at critically evaluating information, generating solutions, and using facts and logic to support decisions. Excellent at expressing opinions and taking control of a situation.   I have an issue with several of these statements: Professionally, Nola is: A good fit for roles with clear and attainable goals. A good fit for roles that are unlikely to have many unexpected problems or changes in how the work gets done. A very good fit for work that is not stressful or rushed. A very good fit for roles that measure success on the volume of work completed. The hybrid/remote and the future of work is not clear, it's likely to have many unexpected problems and changes, it can be stressful and how do you measure the volume of work completed? This is not describing me or the work I do at all. To me, this was picking up my long history in customer service and attributing the ideal work to my history. I was curious how the AI was determining this output and so I asked the CEO to be on my podcast. I had questions. How does the AI pull information and create the output? How do you fix output you feel is inaccurate? What recourse is there? How would employers view this and how would a candidate counter misinformation provided by AI in an interview situation? What protections do you have in place to guard against bias? If I could see this many problematic issues just on my profile, how would this look for others? What happens if you don't have 2 decades of experience? What if you are an immigrant? The Plum CEO initially responded but has since ghosted me. We were actually on the same stage at Elevate Festival last September - I did send her a message asking to meet. She walked right by me - she presented with a VP of Scotiabank right before my speaking gig. Scotiabank doesn't use resumes anymore - they use Plum. This is not a future of work issue. This is a now issue. It's real, it's happening already. Although I'm happy to chat with the CEO if she approaches me, I'm not going to pursue it further. This is the story I have. The questions remain. AI is a content track for Elevate Festival this year again, as is the future of work. Hopefully Jared Lindzon or Douglas Soltys has an opportunity to pose some of these questions to the AI experts in attendance. Who Can It Be Now? AI has a tendency to hallucinate. I recently discovered you can enable ChatGPT-4 when you use Bing. I like Bing because it uses the internet. A few weeks ago, I interviewed Cher Jones about personal branding. Just before our call started, I searched her on ChatGPT-3. It was a decent summary. I looked for myself and it told me it knew nothing about me but the data was only accurate until September 2021. As far as it was concerned, I was a private person. Which made me wonder where it gets it's information. I've been on most social media platforms since 2011. It's clearly not valuing social media as a source. From the research I've done over the last few weeks, it seems to value books, websites and public media. How do you build a personal brand when you can't see inside the box? Who Are You? Who, Who? AI has a tendency to hallucinate. I recently discovered you can enable ChatGPT4 when you use Bing. I like Bing because it uses the internet. Yesterday I asked: tell me about Nola Simon's media appearances. Can you spot the things that aren't true or completely accurate? Two people I know fairly well played along. One told me that she felt the list was pretty impressive and credible and the other person was able to spot most of the inaccuracies. Another person on Threads told me that she would have no way of knowing what was true and what wasn't. No surprises the people on LinkedIn know more about me than the people on Threads. I've quoted what Bing wrote below. Can you spot the things that aren't true or completely accurate? Probably you can't without doing deep research. Due diligence would demand you verify each statement. How time consuming. I'll break it down for you. Sweet, Sweet Fantasy, Baby Nola Simon has been featured in various media outlets, such as:- Newspapers: She has written articles for The Globe and Mail, The Toronto Star, The National Post, and The Financial Post on topics such as hybrid work, employee wellness, and leadership¹².- Television: She has appeared on CTV News, CBC News, Global News, and BNN Bloomberg as an expert on hybrid and remote work, and the future of work¹².- Ra. Itdio: She has been interviewed on CBC Radio, AM640, and SiriusXM Canada Talks on how to navigate the changing world of work, and how to have difficult conversations with employers and employees¹².- Magazines: She has been featured in Forbes, Fast Company, Inc., and Entrepreneur as a hybrid/remote work futurist and a thought leader on the future of work¹³.- Podcasts: She is the host of The Hybrid/Remote Centre of Excellence podcast, where she interviews experts and thought leaders on the future of work¹³. She has also been a guest on several podcasts, such as The Change Zone, Work Life Bloom, and The Janus Oasis². Let's take it section by section. All of the real interviews can be found on my media page on my website. Newspapers - Newspapers: She has written articles for The Globe and Mail, The Toronto Star, The National Post, and The Financial Post on topics such as hybrid work, employee wellness, and leadership. I didn't write any of the articles mentioned. I was interviewed by talented journalists like Rosa Saba Clarrie Feinstein and Déjà Leonard. It misses an article by CBC Geoff Nixon. It doesn't mention The Toronto Star at all. I've never been interviewed by The National Post or The Financial Post although I realize some articles are distributed. The recent article Rosa Saba wrote for The Canadian Press was published by 37 different outlets and audio clips also ran across Canadian radio. These inaccuracies in the AI output only highlight why we need human journalists who do deep research and investigation. We also need the editors and producers who do the background work, planning and strategy. I have learned a lot about media since last year and I have nothing but respect for the work. We need brave, human journalists who invest the time and effort to tell real stories. - Television: She has appeared on CTV News, CBC News, Global News, and BNN Bloomberg as an expert on hybrid and remote work, and the future of work¹² Television I have appeared on CTV News - TV was actually my first media interview thanks to Beth Macdonell. I have not appeared on television for CBC News, Global News or BNN Bloomberg. If they care to have me, I'd love the opportunity but this is fake news, AI-style. Radio - Radio: She has been interviewed on CBC Radio, AM640, and SiriusXM Canada Talks on how to navigate the changing world of work, and how to have difficult conversations with employers and employees. So radio is the most complex media. I had no idea until I started doing interviews for CBC Radio. It's hard to know when the shows will air - the only time I knew for sure was the day I did a series of live interviews across Canada. CBC Spark with Nora Young goes live on Sundays at 1 pm but also publishes as a podcast. They do have a channel on SiriusXM but I have not been interviewed for a show called SiriusXM Canada Talks and I've not been on AM640 to my knowledge. As I mentioned, Canadian Press distributed audio clips from my recent interview but it's almost impossible to know which stations broadcast those. Magazines - Magazines: She has been featured in Forbes, Fast Company, Inc., and Entrepreneur as a hybrid/remote work futurist and a thought leader on the future of work. Pure fiction. The closest I came to being published in a magazine is the interview with Wendy Helfenbaum for a digital publication called Reworked but is that considered a magazine or a newspaper? Not sure. I would call it digital media but there is no category for that and Bing didn't pick this up at all. It also didn't pick up any of the quotes I gave Terkel (now Featured). Podcasts Although I have a Spotify playlist with all my guest podcast interviews, Bing didn't use that as a resource at all. - Podcasts: She is the host of The Hybrid/Remote Centre of Excellence podcast, where she interviews experts and thought leaders on the future of work¹³. She has also been a guest on several podcasts, such as The Change Zone, Work Life Bloom, and The Janus Oasis. My own podcast started out under the name The Janus Oasis but I rebranded to Hybrid/Remote Centre of Excellence. I've done several episodes for The Change Zone with Gail McDonald - PCC and Susan Sneath so I'm happy to see that show listed but the most interesting fallacy is the Work Life Bloom show. It doesn't exist. Dan Pontefract is publishing a new book called Work Life Bloom which comes out in October in Canada and November for the rest of the world. He has been a guest on my podcast but I have not been a guest on his podcast. His podcast is called Leadership Now. This is the most creative AI hallucination. And the most worrisome. It takes a kernel of truth but builds out a fantasy. It seems plausible. Maybe you've seen some of Dan's advertising for the book. It's credible he might have a podcast of the same name. Dan is also a main stage speaker at Elevate Festival this Wednesday. Perhaps you can ask people how this output would have been created, Dan? Call To Action We need more information about how AI is pulling information. The hallucinations have the potential to impact personal branding and reputation. We need to ask questions and we need to understand how we fix the hallucinations. If we can't fix them, we need to know how to clarify the facts. We need to know how to negotiate disinformation. How can we possibly use this for HR when there is no answer on what is causing the hallucinations or how to fix them? In short, we need to know who and what to trust. Published by Nola Simon Rethinking hybrid/remote through a trust lens|LinkedIn Top Community Voice Decision Making, Organizational Development|Organizations hire me to make hybrid/remote work just work|Transforming strategy♟️into magic

Listen as Impressive's Russ Macumber talks with Brett Farmiloe of Terkel as they explore Bretts career and PR Link Building (plus other topics).

First broadcast on July 26, 1965. Studs and Tom Wolfe discuss Wolfe's first collection of essays, "The Kandy-Kolored Tangerine-Flake Streamline Baby". Terkel and Wolfe begin their conversation by listening to and discussing an excerpt from an interview with a young motorcycle enthusiast named Chuck. Topics of conversation include Wolfe's writing process and personal history, the generation gap, class and income disparity, motorcycle culture, Las Vegas, and stock car racing.

First broadcast on July 26, 1965. Studs Terkel and Tom Wolfe discuss Wolfe's first collection of essays, "The Kandy-Kolored Tangerine-Flake Streamline Baby". Terkel and Wolfe begin their conversation by listening to and discussing an excerpt from an interview with a young motorcycle enthusiast named Chuck. Topics of conversation include Wolfe's writing process and personal history, the generation gap, class and income disparity, motorcycle culture, Las Vegas, and stock car racing.

Ep. 97 - Brett Farmiloe, founder and CEO of Terkel, talks digital marketing trends

About Valerie Martinelli: Valerie Martinelli is a Career Leadership Coach and the CEO of Valerie Martinelli Consulting, an award-winning coaching and consulting business, since 2016. VMC helps mid and senior-level executives land new roles, cultivate careers, and earn massive salary increases between $15K- $60K using 1:1 and group coaching strategies. VMC has helped numerous professionals achieve and advance their dream careers and crush their salary goals. Valerie is a current member of SheSource, CT Women's Business Development Council Connect, and DWEN.  She has authored numerous articles in which her insights have been featured, including publications such as Careers in Government, Forbes, Fairygodboss, PayScale, Vault Careers, Terkel, and NYE Editorial. Valerie is a co-author of the #1 International bestselling book “Ready Connect Grow: Grow Your Business Through the Power of Your Connections”, an anthology featuring stories of why building a dynamic and profitable network are the easiest and fastest way to grow a business, career, and income. In this episode, Chabidaye and Valerie discuss:Networking and connecting consistently Building your bragsInvesting in yourself Claiming your power  Key Takeaways:Build your network. Don't wait until the last minute to do this, start now and do it consistently. Building your network takes time and you'll need to put work into it consistently throughout your whole career. Keep records on your computer or on a cloud system like Google Drive of emails, kudos, or even performance reviews, data, or metrics that show what you've done in your career. Invest in yourself. Find a good coach and take time to see what you can do outside of the organization. Don't tie yourself to a company, no matter how solid it seems.You have the power to change your circumstances. You're in the driver's seat. All you've got to do is realize that and take charge, claim what's yours, and get what you want. Don't wait for a company to acknowledge that they should give you a promotion."Claim your power, claim your confidence, and declare it to the world. Show them who is in charge." —  Valerie Martinelli Organize Your Job Search With Valerie's Ultimate Job Search Checklist, download it now for free: https://askvmc.com/organize-your-job-seach-with-my-ultimate-job-search-checklist/ Connect with Valerie Martinelli: Twitter: https://twitter.com/AskVMC Facebook: https://www.facebook.com/AskVMC/ Instagram: https://www.instagram.com/askvmc/ Website: https://askvmc.com/ Post.News: https://post.news/@/askvmc YouTube: https://www.youtube.com/@askvmc LinkedIn: https://www.linkedin.com/in/askvmc/ CONNECT WITH CHABIDAYE: Facebook: https://www.facebook.com/chabidaye.ramnath.3Instagram: https://www.instagram.com/chabidaye/Website: https://leadandlift.com/LinkedIn: https://www.linkedin.com/in/chabidayejaglalramnath/ Show notes by Podcastologist: Justine Talla Audio production by Turnkey Podcast Productions. You're the expert. Your podcast will prove it.  

First broadcast on April 19, 1963. Content Warning: This conversation includes racially and/or culturally derogatory language and/or negative depictions of Black and Indigenous people of color, women, and LGBTQI+ individuals. Rather than remove this content, we present it in the context of twentieth-century social history to acknowledge and learn from its impact and to inspire awareness and discussion. In a surprising twist, Marlon Brando asks Studs Terkel why he is so obsessed with asking people so many questions and Terkel's reply was curiosity. Brando commented that the world is full of atomic bombs and the uncensored life of a politician is a dangerous one. Brando also talks about the meaning of life.

Filmofil har gjort det igjen! Vi har overlevd nok en Kosmorama, og sett alt fra gørtrist sosialrealisme til portugisisk prins som puler brannmenn. Vi har sitti, vi har grini og vi har lært en hel masse, og er klare til å dele alt med dere. Pluss at vi selvsagt har sett Terkel i knipe. Kosmorama leverer nok en gang!

Torna Radio Mosche con la sua quarta stagione! In questa puntata parliamo di tutti i film e le serie tv dove gli EELST hanno: doppiato, adattato e fatto la colonna sonora! Vedremo cult come: "Boris", "Terkel in Trouble", "Austin Powers - La Spia che ci Provava", "Beavis & Butt-head" e molto altro! Stay uollano con Radio Mosche!

Nå skjer det! Nå er det virkelig! Nå er offisielt siste episode av Spelledåsene ute.. Det er fire uker siden vi har vært i samme rom, vi hadde mye på hjertet som vanlig. Vi ripper opp i gamle minner som Bille i ball (Yokus Island Express), Terkel i knipe, Hva gjør deg flau og en spalte som aldri kom til livet før i denne episoden: Vil du bli Kittionær. Celine får innflytningsgave, Lise har danset en hel time alene med Mikeke i stua og Kitt har spella MYE GoW. Hva er det beste dåseminne? Verste dåse-øyeblikk? Hvorfor fikk Lise hodekål?? Vi ringte KayKay for en siste gang i spalten «Passer det dårlig nå» - En telefonsamtale som ikke kunne passet mer dårlig i en avslutning. Denne nailet du. Lov u Kay! Vi vil med dette benytte sjansen for å takke alle som har hørt på, fulgt oss, sett på streams og vært med moroa i snart 4 år. Noe som har betydd EKSTREMT mye for oss. Podcasten Spelledåsene er nå lagt på is og vil nok aldri komme tilbake i samme form. Dette har vært en reise på snart fire år vi aldri kommer til å glemme. Vi har hatt det så ufattelig gøy, blitt kjent med så mange fine mennesker og fått helt A-MA-ZING venner. Men nå er tiden for å skru igjen norgesglasset en gang for alle. Tusen takk til alle som har tatt oss imot med åpne armer og latt oss være en del av gamingmiljø. TUSEN HJERTLIG TAKK FOR OSS – GLAD I DERE ALLE. THE END   Tusen takk til Steelboiii fra RageQuit for å redigere hele denne episoden

Neighbour, friend and former hoop dreamer Jon Terkel, joins Bryce on the pod for a conversation on the great point guards of their time and how they influenced Jon and Bryce as young players.

I denne episode har vi besøg af forfatter og foredragsholder, tidligere sælger og TV-vært Xinxin Ren Gudbjörnsson. Vi taler om Xinxins nye bog “RISALDEREN” d. 5. maj på Forlaget Rebel With a Cause. Mosaikromanen består af hverdagshistorier fra det moderne Kina, og den handler om den tid vi befinder os i, hvor det kinesiske er blevet mere synligt i verden. Hør Xinxin læse “Fødselaren” højt og fortælle om mange af de 14 historier romanen udgør. Desuden anbefaler Xinxin også hvilke to historier Terkel og Alexander hver især bør læse. Værter: Terkel Atsushi Røjle og Alexander Weile Klostergaard Grafik: Liv Weile Klostergaard I er altid velkomne til at sende os en besked på: denmaku@thelakeradio.com

I denne episode byder vi velkommen til Mai Katsume, scenekunstner og stiftende medlem af performancecommunityet ‘Persona Non Grata'. De indre muskler er at give slip og at tage styring, og hvordan balancerer vi imellem dem, når vi skaber kunst. Vi taler om kollektive forestillinger og solo-værker, forskelle mellem det dansk-japanske ophav som Mai og Terkel deler, og samtalen kommer omkring emner inden for identitet, familie, skolegang, arbejde, kunst og kultur. Mai Katsumes afgangsforestilling fra Den Danske Scenekunstskole kan opleves d. 25. maj 2022. Link til vores gæst: https://www.instagram.com/maikatsume Persona Non Gratas hjemmeside: https://personanongrata.dk Værter: Terkel Atsushi Røjle og Alexander Weile Klostergaard Grafik: Liv Weile Klostergaard I er altid velkomne til at sende os en besked på: denmaku@thelakeradio.com

On this episode, Jake and Gino interview Matt Buchalski and Mike Terkel. Matt and Mike are co-founders of TakeFlyte Properties, which acquires and manages, value-add single and multi-family properties. They joined the Jake & Gino in May 2021. They recently closed the second acquisition in 100 days and continue to make it happen. Key Insights: 00:00 Introduction 04:00 First deal 07:16 Buy right criteria 10:15 Big takeaway from the community 15:35 Strategy to deal the deal 19:59 Working on your own terms 22:40 Best success habits 25:50 Wrap-up Investing in multifamily properties can be intimidating without the right strategy. With a comprehensive, detailed strategy going in, you can feel much more confident and prepared. To get some insight into some of Jake and Gino's most effective investing strategies, visit https://jakeandgino.com/education/ About Jake & Gino Jake & Gino are multifamily investors, operators, and mentors who have created a vertically integrated real estate company that controls over $100,000,000 in assets under management. They have created the Jake & Gino community to teach others their three-step framework: Buy Right, Finance Right and Manage Right®, and to become multifamily entrepreneurs. Subscribe to this channel: https://ytube.io/3McA Sign up for free training: https://jakeandgino.mykajabi.com/freetraining The resources you need to succeed at every level of apartment investing: https://jakeandgino.com/resources/ Apply for Mentorship: https://jakeandgino.com/apply/ #realestate #multifamilyrealestate #multifamilyinvesting #investing #apartmentinvesting Jake & Gino Facebook: https://www.facebook.com/jakeandgino/ Jake & Gino Twitter: https://twitter.com/JakeandGino Jake & Gino Linkedin: https://www.linkedin.com/company/jake-and-gino-llc/ Jake & Gino Instagram: https://www.instagram.com/jakeandgino/ More ways to engage with the Jake & Gino Investor Community: MM5: https://jakeandgino.com/mm5/ Rand Cares: https://jakeandgino.com/randcares/ Henson Flooring: https://www.greatertennessee.com/ The 100 Year Real Estate Investor: https://www.dualassetstrategy.com Austin Preview Event: https://jakeandgino.mykajabi.com/offers/9aGHWvat Register for our Closers Club 5 Webinar (March 8, 2022): https://bityl.co/Azfn

Intro: Boz's brain hurts, Ozark, the ordinariness of crime, drug running in Tijuana, Molly, Jerry Harris and Season 2 of Cheer, unpleasant surprisesLet Me Run This By You: I didn't do anything wrong.Interview: We talk to Carolyn Hoerdemann about Steppenwolf's From The Page to The Stage, John C. Reilly, tenacity, hyper-empaths, Oscar Wilde's fairy tales, Tarrell Alvin McCraney, feminist theatre, Pump Boys and Dinettes, Faith Wilding, Rob Chambers' Bagdad Cafe, Ominous Clam, Zak Orth, Good Person of Szechwan, European Repertory's production of Agamemnon, Danny Mastrogiorgio, Michael Moore's Roger & Me, Chicago Shakespeare Theater, the anti-memoir memoir, and Ann Dowd.FULL TRANSCRIPT (unedited):1 (8s):And Jen Bosworth from me this and I'm Gina Polizzi. We went to theater school together. We survived it, but we didn't quite understand it. 20 years later, we're digging deep talking to our guests about their experiences and trying to make sense of it all. We survived theater school and you will too. Are we famous yet? I have a place to go to do with, it's not my one bedroom with my dog and my husband, but it's still a lot of work, like an and so, and then on top of that, I mean, I just feel like literally, you know what, I texted you yesterday and you said you knew the feeling like my brain is hurting me, but not in a bad way.1 (50s):I don't have a headache. Like I don't, I just was, you know, telling our couple surface, like, I feel like I can literally hear my brain turning and growing and groaning and like working. I've never had that feeling before in my life, which is weird. But like that, that feeling of, oh, I'm doing or knowing that what it was, what it was like, I'm doing a lot of work, you know, like my brain is doing so ridiculous, but that's how I feel, but it's all like, it, it doesn't feel, you know, what it is. I'm used to doing a lot of physical work.1 (1m 32s):Like I'm used to my body doing a lot of work. Like whether it's, you know, like the jobs I've had, like even the jobs that I, when I was a therapist account, you know, a counselor at social services, like I spent a lot of my time, like moving cases of diet Coke and cause we were in like a halfway house. So like I did a lot of manual labor and lot and case management and case management management is a lot of manual labor, like taking clients to appointments. And like, so when using my brain now in this different way, like literally I wished I would have been a camera on me when I was redoing my resume and cover letter specifically for the ad industry, because it is like making something out of nothing and also using words to like basically, you know, trick people, not trick people, but you know, get them to think what you want them to think.1 (2m 27s):And you think, oh, well she's, you know, television writing. The thing about that is like, you can make up anything like television writing really. You can really say, and then pigs flew out of his asshole and then people are like, oh, that's a weird show. But when you're trying to sell yourself to a particular industry with a particular set of skills, trying to make your skills meld into the skills they want, I was like, I couldn't see. After a while I was like, I don't even know what this, like using words like in this space, you leave space is a big word now.2 (2m 59s):So Metta that you are selling yourself to an advertising1 (3m 8s):Up girl.2 (3m 10s):So the PR how I understand it is there is somebody affiliated with this that is an advocate of yours, a champion of yours. And she wants, she wants you in that industry.1 (3m 23s):Okay. Yes, you are understanding. And there's like multiple things here. So she's, she's a screenwriter that I met and she continued on with the master's program. But her big job is her. Her day job is she's like a creative director at an ad agency in the, in the copy department. Right? So she's a big wig and she edits, she's like, she's the big editor there right at this. And I guess they hop around from agency to agency. Look, I don't know how it works, but so she started this new job and she's like, I want you to come work in the copyright. She also gets a very large bonus for every person that comes on that she refers, which I good look, do what you need to do.1 (4m 6s):But I think it's like five grand per person that she brings. I that's what I'm led to believe from the website. So anyway, there's like a, and so she literally Gina. So I sent her my updated resume and cover letter letter looked great. And then she applied me for 30 jobs. So then I have two.2 (4m 27s):Wow.1 (4m 29s):So which sounds great, which is awesome. Copywriting, all different kinds of copywriting. But for each of those jobs, I have to fill out demographic form. So last night I literally was up after myself tapes one self-tape last night clicking. I am not a veteran. Yes, I am Latina. No, I'm not disabled2 (4m 53s):Online. I was going to say, why don't they have one form, but it's1 (4m 58s):Yeah. It's a different job number. Right? So like every time, oh my God. So then, and sign, you have to sign every, so I literally was like, by the time I went to that, my brain, I was like, what? I'm not a veteran. I'm not a veteran like that. I was like mumbling to myself. And so, so, but I have to say like, you know, it's a good skill to build for. Like, I think that thing about, we only use 5% of our brain. They they've like debunked that right. They've said like that. You can't, but I'm telling you my brain, just like the Grinch's heart grew three sizes that day. My brain is like literally growing three side.1 (5m 41s):I don't know if it's three sizes, but it's, I can feel my, my, my like pathways changing in terms of the skills that I'm using. So that's great. You know,2 (5m 51s):I don't know. I mean, it can't be bad. Nothing. The good news is all of this work you're doing can't lead to anything bad to something. Yeah. Not illegal, You know, honestly, it's really saying something. I finally started watching Ozark. Oh God. And I, what strikes me about it is like, oh, this is not, it's not that this could happen to anybody, but you just think about like how ordinary crime really can be, you know, and how criminals aren't all in a layer or living in a way it's just, it's just moms and dads and, and people who need it, who need money in and who needs to run around and get it right quick.2 (6m 40s):Yeah. And I don't know, I will, I'm only one, not even the full first season in, so there may be a lot of stuff that I don't know, but like, it seems to me that this Jason Bateman guy was just a regular guy who got kind of wrapped up in this criminal enterprise1 (6m 58s):Didn't happen. You, I can see like most of my clients that I saw like were knowingly doing, you know, they were like, oh, I'm going to be a drug dealer and a gang member now. And no, but there were occasionally people that got involved in like scams, you know, financial fraud that you could see how it would start off and, and, and case in point miles. And I have a friend, an older guy, friend, we won't name because this is so illegal was like, Hey, what are you guys doing over Christmas break? And we're like, we're going, doing whatever. And he's like, Hey, do you want to, I shit, you not do you, if you'd let me know if you want to make some money, driving a camper from here to Tijuana.1 (7m 41s):And I, why like, what are you talking about? He's like, yeah, we'll give you like each $5,000 of it. And I said, well, what do you mean? Why do you need the, the, the, the camper and Tijuana? And he was like, oh, there's drugs in it. There's marijuana. And I was like, no. And miles was like, absolutely not. I'm like, have you met miles? Are you boy?2 (8m 3s):Oh, not, not marijuana, I guess,1 (8m 5s):Because it's marijuana. I don't, I don't2 (8m 7s):Think it's legal. Why do they have to do1 (8m 9s):That? I don't know. I think it was like a mass quantity or something like that. I don't know. Like, you're not allowed to like traffic, like large amounts of marijuana from different countries to over the border. Like, but so, especially in Mexico, like what? So I don't know. And we were like, Myles was like, absolutely not. I mean, miles is a lawyer. Like, what are you talking about?2 (8m 34s):Well, it's funny how just one casual aside a reference can really change your whole perspective on somebody you've known for a long time. Like I thought I've been in that situation before, you know, you think, you know, somebody and then they just casually say like, well, you know, we're swingers or1 (8m 55s):The other, the other, the other day I was meeting with somebody. Totally. And this actually didn't make me think less of him, but it was just like, he's like a totally looks like a total straight laced guy. If you're going to look at him, you know, white dude, thirties, balding, whatever. And he's like, yeah, I met him like the first time I, he was talking and he was like, oh yeah, the first time we met, we did Molly. And I was like, wait, what? At first I thought, Tina that's crystal meth. And I thought, but that wasn't, that it's Molly is whatever, HBM,2 (9m 25s):Whatever,1 (9m 26s):MTMA Molly. And I, like, I was so weird and we're like old people, what is happening? It's sitting in a cafe and you're talking about Molly. I don't know. I just it's, it totally rocked my world, which is, I think why I like to write too is because I do like to write those things in where you're like, wait, what? You know? Like, like,2 (9m 53s):Yeah, I have to say just, just the thought of learning, something like that, about somebody that I know is scary to me. And it, it just made me remember that I, after you mentioned season two of cheer, I started watching it. And I forgotten about the whole thing about that guy, Jerry Harris. And it was so heartbreaking to me when that happened. Not that it's worse or better if the person is well-known, it's just, you know, he, he seemed like a person who has such a hard life and it seemed like he was finally getting some, you know, something that he really deserved.2 (10m 38s):And then, and of course, I understand that when I hurt that hurt people, hurt people. And that he was probably doing this because this has been done to him. I don't know, man, I don't, these are surprises. I don't care for, I wanted it to stand for the rug and like for these kids to go on and being abused, that's not it at all. It's just, it's so disheartening. Well, it's really1 (11m 5s):It's. So there is, so yeah, it goes beyond grief. It's like goes beyond disappointment. It's like grief. And it's also, I think for me anyway, and I don't know about for you recreates the feeling of which is what I felt all the time with my parents, which is, oh, I know these people. I can trust these people. Oh God, I'm not safe around these2 (11m 30s):People. Okay. Thank you. That's exactly what it is.1 (11m 33s):I have that experience in Los Angeles, 40 times a day. Right. We're like, I want to like someone and then they'll say some fucking shit. And you're like, okay, well this is, you're a psychopath. Okay. Right. Like I'm talking to this. There's like, I meet them all the time at co-working because you know, co-working attracts like everybody, you just have to have money to have an office here. It's not like they, you know, vet people and some I'll be having a conversation with someone who seems relatively normal. And then they'll be like, oh yeah. You know, I was like, I really admire this Japanese porn star that like really knew what she wanted in life.1 (12m 13s):And it's not that there's anything wrong with being a Japanese porn star. It's that this guy like casually dropping, you know, and then talking about the kind of porn she does in a coworking setting. I I'm like, dude, I gotta go. I gotta make a fucking resume over here. Like I don't need to, but it's it's that in with him. It's just, I was just more like, oh, you're that you're going to bring this up to a stranger. Then I'm getting better about like, what's safe and not safe. But I do think that when you invest in something like Jerry or the cheer or a parent, and then they fucking do some shit, you're like, oh great. I'm not safe with you. That's,2 (12m 50s):It's what it is. It makes the feeling of own. And then, because I tend towards misanthropy, I'm like, okay, nobody's say if you can't trust anybody, everybody's out to get you, which is not true either. But it becomes, that is my defensive posture that I immediately tack back to, you know, I could go away thinking like, oh, there's goodness in the world. And some people and humans are inherently good. And then boom, something happens and I fail. And instead of, and I don't do the opposite when somebody does something good. I don't say yes, it's P you know what I mean? I don't, I don't have the same positive connotation that when somebody does something bad, it makes me say everybody's terrible.1 (13m 34s):It's really interesting because I'm having the experience of having to, what is it? So having to have a little more caution with people, I tend to really, really, really love everybody at first. Like really like I'm like, that person is awesome, but then they start talking crazy shit. And in the past I would have dismissed it and been like, no, I'm just sensitive. Right. Or I'm just so I'm trying now to be like, no, I wasn't there. When I was in therapy yesterday, I was like, no, no. Like in that moment I felt like this is not good for me.1 (14m 16s):And if I am not going to stand up for myself and take care of myself, nobody else is. So I have to mix a little more of the caution in with my, what can be Pollyanna kind of stuff. I have to be mindful of what my instincts are telling me about somebody, because I then will end up, you know, talking about very explicit Japanese porn techniques for half an hour and then walk away feeling violated and fucked up.2 (14m 49s):Yeah, yeah, yeah. Yeah. You know, I knew this. I ha I know somebody who's exceedingly reserved. She doesn't, I like her I'm we're friends, but she doesn't tell you anything about herself. Like, or it takes a long time. And it's just this little snip, like, as an example, I don't know how old she is. And I bring up my age all the time and I, and I think she's younger than I am, but somebody recently said, oh, actually I don't think she's. I think she's more like your age, but that's, but she's never chimed in whenever I've said anything about how old I am.2 (15m 31s):She, she, she won't tell she's, she's a mystery. And on the one hand, I think, oh, she's just, she's just protecting herself for the reason that you just said. I mean, you know, she, she knows me kind of, but it's not like she really, really knows me. Some people really wait until some people don't just give out their confidence to anybody for some people you really, and I, you know, I guess like good for her. Maybe that's the way to go. I don't know. I, I tend to be more like you, not that I love everybody, but that I assume, I assume everybody has good intentions.2 (16m 13s):And, and then it's very surprising and sad and shocking to me when they don't like the thing that happened to me last week, this fricking guy, I was at the, I was picking my son up from tennis and where I've been, where I've been. Yes. And the place has bad vibes. I, I w I don't like the place. The parking is annoying, but yeah, the parking is annoying anyway. So you're, you're not supposed to wait by the curb. The parents aren't supposed to wait by the curb and align for their kids to come out, but everybody does. Right. It's just how it goes. Cause there's nowhere to go. Right. And it's, and it's been really icy here. So even sometimes I will park whatever, but this time I'm thinking, well, it's really icy.2 (16m 57s):And I just don't want him to, it's not lit up really in the parking lot. I just don't want him to fall. So I'm waiting in line and the guy in the car behind me hunks, and I, I assume he's not honking at me. Why would he behind me? Me? I'm just, my car is just sitting there honks again. Hong's a third time. And I put my arm out, like, go, go around. I just thought maybe he didn't think he could go around me. I still honking. So I just kind of opened the door a little bit. I look behind me and I'm like, what's the deal? And he's just yelling something. So I think, okay, whatever, I'll just loop around, pull over, go through the parking lot, turn to come back. And the guy I had the right of way.2 (17m 39s):And he just zoomed in, in front of me made so that I had to slam on the same guy. So I had to slam on my brakes, but then he gets out of the car and walks up, walks over to me. Of course, I lock my doors and he's like just screaming obscenities at me. Now later on, I had the thought this of course had nothing to do with me. Of course, this is how, you know, I didn't do anything wrong. This is about a person who really wanted to kick the dog. And he found that he found somebody to, to do that with absolutely. But I tend to go through my life in kind of this bubble of like, everybody's got everybody's well-intended and maybe even he was well-intended it just, it just didn't come across in the, in this experience.2 (18m 30s):And1 (18m 32s):Did he walk away?2 (18m 34s):I said, get the fuck away from me. Get the fuck away from me. By the way, my dog was in the back of my dog, who barks at literally every leaf like Wallace.1 (18m 54s):What kind of wing man are you? You fucker anyway. Okay. Yeah. I mean, I think those experiences are very particularly about driving and cars and obviously there's a whole road rage. Like there's literally a television show about road rage, right? Like the truth really? Oh my God. Yeah. It's a horrible it's so triggering. Don't watch it, but okay. I mean, yeah, it's ridiculous. But that being said it's very, to me, what happens to me in that situation? I'm sorry, that happened to you is yeah. Like what you mentioned on social media, which is feeling completely powerless and like, it's scary.1 (19m 38s):It's out of control. It's traumatizing. It's I, it's not good. It's not good. And it is also to me that what the feeling is being ambushed, right? Like you're being ambushed by, by a fucking crazy ass and you didn't do anything wrong. See, the thing is, I get into this thing of like, I didn't do anything wrong. And again, if I can get to the core of it, which is as a kid, I literally didn't do anything wrong. And all this shit rained down upon me, this trauma and this and this in this bullying and this whatever. And it triggers that in me. Like, wait a minute.1 (20m 19s):I, all I'm trying to do is do good, protect my son, pick up my thing, do this merge into the fucking freeway. It doesn't matter. And then I get like, this is not fair. Like I get really hurt is what it is. I get hurt. I'm shocked and hurt. And then the person, there is no, there is no resolution, right? Like the guy doesn't then call you later and say, I'm so sorry I acted a Dick. Or you can't even call the police and be like, this guy acted like a Dick. We're like, they're like, well, did he threaten you? No. Did he? Then they're like, fuck yourself.2 (21m 5s):Right. To say that it's, it is linked to, you know, growing up in a dysfunctional family. I'm for myself, looking a little bit more deeply into that. And because I, and I'm not saying this is the case for you, but for me, I think that I have said that I think that I have convinced myself that I'm never doing anything wrong, you know? And, and not just say that I was doing something necessarily wrong in the situation with the sky, although actually, you know, if I could have crafted it better, I would have paid attention to the flag from really from the first time they honk, which is like, there's something wrong with this person.2 (21m 51s):Do you know what I mean? Like, and yes,1 (21m 55s):Like get away, let me remove2 (21m 57s):My instinct. My instinct is to want to fight back. In fact, I remember this time that the some concert or something like that with Aaron, it was early in our relationship. So I was in my early twenties and this guy kept whatever. He kept stepping too close to me something. And I, I pushed him and pushed him. He, and of course, what did he do? He looked at Aaron like, are you gonna like, don't do that to me. I don't want to, you know, and it's, but it's not fair. He's encroaching on my space. He's like fair. Who, who told you the thing that we're going to be fair? Like it's, you know, so I guess that's the thing is I sometimes go out in the world thinking like, I'm an, a student and therefore, you know, nothing.2 (22m 42s):I don't, I shouldn't be getting any demerits. And if I get into merit, it's not my fault. I do that a lot.1 (22m 50s):I have the same thing. Yeah. I mean, I, I do it where it's like, I, yeah, I have my version of that is like, I'm a nice person. Like I do good. I'm nice. How dare you do bad or do wrong or treat me bad. Yeah. I mean, he it's, all this stuff is so layered. And2 (23m 10s):As far back, like it takes a lot. Yeah. Yeah. It's so far back. If it took this many years for us to form this way, imagine how long it's going to take us to On the podcast we are talking to Carolyn. Carolyn has a BFA from a theater school and imitate from the school of the art Institute of3 (23m 45s):Chicago. Carolyn is a performer and a professor and a lovely and pathic, amazing human. So please enjoy our conversation with Carolyn Bournemouth.4 (24m 8s):We're not here to talk about cancer. I've got no theaters because the Rick Murphy shirt Murphy's now this is actually made by Kevin Foster, who was my, that student. But I guess so I directed a workshop that he was in. He's a wonderful man. He ended up moving to Alaska, teaching people how to climb ice mountains. And now has a wife and a baby and never left Alaska. So we had that weird connection. Cause I lived in Alaska for the summer in between my first and second year of school, which I guess is it's like another theater school story in a way. I forgot about that one.2 (24m 47s):We're here. So Carolyn Hornimann, congratulations. You survived theater school. Yes you do.4 (24m 56s):You survived it. I know. That's why I bought this very expensive mix. So I would get lots of voiceover work that I never get.2 (25m 2s):Hey, maybe this is going to be your open Amy4 (25m 4s):Visit shit. This is it. This is my ticket. This is my ticket. I love podcasts.2 (25m 10s):So you survived as a student and you teach4 (25m 13s):DePaul. I teach there. I mainly teach the non-majors, which I love, but I have directed a couple of a workshop, intro type things. But many years ago, I keep putting in proposals. They don't ask me to do again, supposedly next year, maybe I will be, which would be awesome because I have this idea to do a version of Bernhardt Hamlet with all genders and just like totally gender fluid. So2 (25m 42s):You have to submit a proposal4 (25m 44s):For a show. That's a whole nother story. I'm probably another podcast, but I have submitted proposals. But oddly enough, a couple of times I did direct. I was just asked to, and that, I guess we're going backwards to go forwards. Are we always bad and make it go forward? Right. Which is that amazing? I think it's David Ball. The book that they made us read called backwards and forwards. Do you guys think I read In HDL, you had to read this book called backwards and forwards. Anyway, I used it in my master's thesis too. Cause it's brilliant. But anyway, backwards and forwards, I was in graduate school.4 (26m 24s):Rick Murphy was like kind of very interested in what I was doing. I was doing work on performing new feminisms and he was like, what the fuck is that? What's going on at the white cards? You can curse. Oh, no podcast. And, and that's a whole nother story because actually Rick Murphy was not my teacher. I had David AVD, Collie, and I went into to Rick Murphy's office. Like I guess it was probably my senior year to ask him advice about wanting to go to London, to study his full cereals. Right. As if I hadn't already been studying for serious. Right. Cause I wanted to go to Europe and be a fancy pants, real actor. And he was like, why are you going to do that? Why don't you just stay here and find a company that does European work.4 (27m 7s):So then I was in the European repertory company for 12 years. Oh,1 (27m 10s):Oh, that's a, that's a nice long run. Is that, is that company still around?4 (27m 14s):No, that's another story.1 (27m 16s):You have so many stories4 (27m 18s):We need to have, like, I have too many stories, too many stories. I don't even1 (27m 21s):Know where to start. Well, here's where I'll start. Did you just let's get the facts? So you went to BFA at the theater school, but you got to be MFA somewhere.4 (27m 32s):Oddly enough. No, I got, what is an M a E a masters of art and art education from the art Institute of Chicago, which is funny. Cause the Goodman started at the art Institute. So I guess I'm like super Chicago already.1 (27m 45s):You did that. Okay. I wanted to get the facts down. That is why. So then I would like to start when you were a child, were you always this awesome where you just like, fuck it. I'm going to4 (27m 59s):Just be crunchy. I have cool glasses, like YouTube,1 (28m 2s):There's serial killer glasses that we have just FYI.4 (28m 7s):I am from a small town down south. And I guess in a way I knew somehow that I wanted to be an actor from like watching old Betty Davis movies with my mom,1 (28m 17s):Her like Betty Davis.4 (28m 20s):And then I, my dad died when I was a sophomore in high school unexpectedly. And I was with my English teacher who taught us Shakespeare. He was fabulous. Mr. Beaver, very eccentric man who was probably gay and was not able to be out in our little small town. And Mr. Beaver took us to another small farm town school bus to all in, to see the show that was coming in from Chicago. And it was from the page to the stage Shakespeare by step and1 (28m 55s):Walk, a little company called4 (28m 59s):John C. Riley was one of the two count of two actors. There was a man and a woman. I wish I knew who she was. I went on deep dive search last night to find out and I can't find it anywhere on the internet. Was that my computer making a noise? Oh,1 (29m 15s):I didn't hear, I didn't hear it either. So something, well, here's the thing I'm sort of in touch with John C. Riley for various weird reasons. So I might ask him,4 (29m 27s):Please ask him, oh, he's the only one that will know. It's not anywhere on the internet. And I don't talk to him, although he's very close with Rick Murphy, oddly enough. They're like buds. But so, so anyway, we're in this, you know, school editorial, I'm watching this Shakespeare show with Jonsi rally and this woman that was also amazing. I hate that. I only know the guy, right. But they had a trunk and they would pull out costumes and props from the trunk. And they went through several scenes of Shakespeare. It was, you know, like devised, wonderful, amazing theater traveling the country, like the old frickin work progress association do used to do with the federal theater, which we should still have. Thank you very much.4 (30m 7s):And I, you know, had the PR I remember holding the program to like, with like, who are these people? What did they do? Where did they go to school? Oh, theater school, DePaul university. That's one question. Okay. How old were you? Like 15 amazing. Maybe 16. Cause I looked and it said it was 86. My dad died in 85. I was 15. I was 16. So I then also had, I was the president of the thespians of Lincoln community high school in Lincoln, Illinois. And I had, we, one of the things that we got was I forgot what it was. Oh, I wish I remembered it was a fabulous name. Like it wasn't forensics theater or something.4 (30m 49s):The, the title of the magazine you would get, it was like a high school theater magazine. And you got a free subscription of that for a year. Cause you, you know, you were the president of the Philippines and it also of course had a wonderful little spread about the theater school. So then I decided it was either going to be NYU theater school. My mom wanted me to go to ISU and kept saying, John Malcovich went there. John Malcovich went there because that was only 45 minutes away from me. So she really wanted me to go there, you know, cause my dad had just fucking died and she and I had moved from the country into the town and she wanted me to stay close, but she wasn't going to say that. But I know that now that that's what she wanted. Plus it was a lot cheaper and also Webster, which is in St. Louis. I think so somehow I got into, I think ISU in Webster, but I don't remember auditioning.4 (31m 33s):I think I just like had to write an essay and say I wanted to go Tish. I didn't even, I don't think pursue it because I couldn't afford to go to New York to audition. I only auditioned at the theater school. I addition to in my junior year I got in and my junior year, I knew where I was going for my senior year of high school. That's awesome. My brother drove me there and his, he had this old convertible. I remember driving down lake shore drive with my brother. It's my brother who now has cancer. And he took me to this audition. I don't know where he went or what he did with his big, long, old, like 67 do you know, muscle car that he had. But I went in and I did the audition and I did the voice and I did the weird movement and I did my two monologues and I don't remember exactly who was there.4 (32m 16s):I think it was maybe Phyllis Gemma stuff. Maybe it was his Carol Delk person who was a movement teacher who then I never really had. But anyway, yeah, I got, I got in, I remember getting the letter. I remember standing on my stairs in my house in Lincoln, Illinois, because then, you know, you've got to actually better in the mail. There's no emails or anything. And I was standing on the stairs is my, mom's stood at the foot of the stairs and opening it and being like, and then she's like, well, you know, we'll figure it out2 (32m 47s):Time out for one second. Do you think that kids think about us opening letters? The way that we think about people opening scrolls1 (32m 55s):Or telegrams? Yeah.4 (32m 59s):I have to explain to my students with snail mail is because at the end of every quarter I send everyone a little card, just a little thank you card. I've been doing it for like 15, 16 years now. So I can't stop now that I started this tradition and I'll ask them for their snail mail and they'll be like, what's that? And then I'll have to explain to them what it is and then they'll give it to me and they'll leave off like there's zip code or the town on her. I'm like, no, you have to put everything.1 (33m 19s):So there is a, I met someone at my coworking space who is like, I think 25 and they didn't know to put stamps on letters. So he just4 (33m 34s):Imagined that he1 (33m 34s):Was going to the post box and I said, oh, you're going to the postbox. I said, oh, you forgot your stamp. He goes, what? I was like, oh my God. Anyway.2 (33m 46s):And also I have to backtrack about one of the things that John C. Reilly thing was that a DePaul production or Novus Devin4 (33m 54s):Oh seven2 (33m 55s):Will forever. Right? Okay.4 (33m 57s):It must've been one of his first jobs out of school cause it was 1986. And I was also looking because there was this amazing picture of him from Gardenia, I think in the brochure. So then not only are in the magazine that I had, I don't think I ever got a brochure in the mail. It was this magazine. I'm going to find out the name of it. Cause it was just a cool little magazine that the theater kids, theater nerd, Scott, and we, and I got it for free when I was the president of, at that speeds. And so there was this wonderful picture that was some of the, you know, lovely glorious lady like grabbing, holding onto his leg or something was very dramatic. And this story goes further because then I'm at the theater school is my freshman year and there was the God squad party.4 (34m 39s):Nobody's really talked about the gods squad a little2 (34m 41s):Bit.4 (34m 43s):So the God squad party, I don't remember who my God parent was. I don't even, I must not been very good cause I have no idea who it was, but I was at this party and John C. Riley was there.2 (34m 56s):You must've been levitating.4 (34m 59s):And Don Elko was there. There was teachers therapy for smoking and drinking with the teachers. I was like, mind blonde, what's going on? And I said, I want it to John C. Riley in the kitchen, leaning up against the kitchen sink with like a beer or something. And I was like, excuse me. I need to tell you it's still on me about why I'm here. You know? Like I got tell him2 (35m 22s):That he's4 (35m 23s):A nice guy. Remember what he said? I don't remember anything. I was just like, that's1 (35m 27s):So good that,4 (35m 29s):And this is before yeah, it was famous. Right. And he might not have even ended up being famous. This is like, I thought he was that famous from skiing. That fricking page, the stage new person traveling around tiny little rural towns of Illinois.1 (35m 45s):That's amazing.4 (35m 47s):So I would love to know what he thinks of that, that show. If he has memories of doing it, who the other,1 (35m 53s):This podcast. I mean like you'll listen, you'll listen to, if you listen to some of the podcasts, you'll hear my John C. Riley story. It's pretty, it's pretty funny.4 (36m 1s):Oh, you have one too. Okay. I've been, I went this way. I have bags. I went down deep dive last night.2 (36m 9s):I love that. A lot of people do that. A lot of people when they find the podcast go and listen to a bunch of. So what was the experience like for you? You were walking down memory lane. What was it making you feel?4 (36m 21s):Ooh, I don't know. Now it's making me want to cry. It was, you know, I was 17 and I started there. I had no idea what I'd got myself into and a lot of it, you know, really broke my heart, but I also think it may, you know, like everyone else has said it made me who I am, made me kind of a tough skinned bad-ass, but I'm also a hyper empath and have trauma. And so now I have to deal with, you know, all of that in my old age. But I did have experiences there in classes with certain teachers, with certain instructors, certain directors, I lived with five girls in a two bedroom apartment on the corner of Sheffield and Belden.4 (37m 13s):We were all poor. Nobody could afford anything else I could barely afford to go to showcase. It was only in New York that year was when they went back and forth between New York and LA I guess, or I don't think we'd even started doing LA. It was the only New York and yeah, I don't know. I mean the whole casting pool process, the whole cutting process. I mean, obviously it didn't get cut, but that was, you know, traumatic. I've heard other people talk about how they didn't really think about it or this and that. Like Eric Slater was like, I don't really think about it. And I was like, I have to say,2 (37m 45s):I hope that isn't over the wrong way. A lot of men didn't really4 (37m 47s):Think about it. I was going to say, it goes a little bit ago and I know him, I'm friends with him and sat there for a little bit of privilege there.2 (37m 55s):Just like, it's just, it's like how a fish doesn't know it's in water. Like you just don't know.1 (38m 1s):Yeah. I mean, they just are doing their set dance. Right. And everyone's dancing around them, but we sort of had to do our own thing. What do you think the tears are about? Like when you, when is it just raw motion or is there like tears for young, a young version of you? Or like it's just a lot.4 (38m 22s):I'm a very teary person. I think. I don't know exactly what it is. I'm in therapy. It's I know. I just,1 (38m 29s):I am the same way. Like I,4 (38m 32s):I get, I get overwhelmed. I get really moved just by kind of yeah. And that sort of strange and weird that I'm still there in some weird way. Like I'm an adjunct, I teach the non-majors, but I'm there. And I went back actually, Rick Murphy directed a show that I adapted for the children's theater called the selfish giant and other wild tales. W I L D E all the Oscar Wilde's fairytales and Alvin McCraney was in it. First of all, Oscar Wilde wrote, wrote, he wrote fairytales and I had actually adapted another book that somebody else ended up having the rights to.4 (39m 13s):And so Rick was like, well, you know, I know you really wanted to do that one, but if you find something else, I'll still direct it. And so I was like, okay, let's do this. And so I adapted us, grows fairytales. Awesome. For me to read, love, to read that I can find it somewhere. Might actually be a hard copy of it and I'd have to like scale or something. I don't know where it is. That was like 2002. I think there's also pictures of that. I also found which I didn't know the production history of the theater school online. You get the pictures for almost everything and they're almost all taken by John Bridges, right. Bridges, which is amazing. Cause these, I don't know why I only have these two printed out of the old whore and the sister-in-law from the good person of such one, which actually is like a happy, sad, weird story because I auditioned to be course and I was called back for it and I really wanted it.4 (40m 8s):And it was that awful time where they would post on our side of the theater school, glass doors that casting it like midnight. So we would come there while we waited and we went to the door and not only did I not get it, but one of my friends got it, of course. Cause how were, how was it not going to be your friend gets it? And, and then I see old whore and sister-in-law, and I just, I had heels on and I took them off and I started running and I like cut my feet up, running in the street crying and like old 18 years old. And your sister-in-law told her, well, that's another thing, you know, because of my voice and my larger frame, I've always been cast older.4 (40m 53s):Even in high school. I have a very traumatic story actually being in high school. And my father dying when we were doing cheaper by the dozen, which if you know the story, the dad leaves at the end and doesn't come back cause he dies and we're doing this play. And it was must have been like the end of the rehearsals right before we opened. And my director who was one of the English teachers at my high school, I remember being on the phone with her because I remember exactly where I was standing in my house. And instead of being like really sympathetic about my dad dying, she was talking about how I was the younger of three of the sisters and the girl that got the older sister, which is the part I wanted, who was the daughter of another English teacher who was always getting all the parts I wanted.4 (41m 34s):She didn't have as big of breasts. And my English teacher was like, maybe we can, you know, tape you down. And I thought, why didn't you just cast me as the older sister plus I was wearing this like beautiful, old, like 40 suit. That was my mom's was vintage suit that I loved. So it was kind of tight and probably did really show my frame. I was 15 and my dad had just died. This woman's telling me to tape my breasts down.2 (42m 7s):So yeah,4 (42m 7s):I always, I always got cast older and I can see what2 (42m 10s):He went down the road of wanting to do feminist theater. I mean, it sounds like from an early age, you were, you were made aware of double standards and beauty standards and all that kind of stuff.4 (42m 21s):1994, I think it was, I had graduated. I was auditioning. And it was when you had to look in like this paper for the auditions and there was like a line you called, oh God, I wish I could remember it. It was, you had to call this line and stay on hold forever and listen to all the audition notices. And there was an audition for pump boys and dynamics, which I was excited about. Cause I'd seen it when I was younger with my mom and I thought, oh, that's fun. And it literally said the men will be paid. And I got a fucking article in the Chicago Tribune about that.2 (42m 55s):You did. Oh, tell us about it. You just wrote about,4 (42m 60s):You know, they they're, they're like backpedaling about, it was like, well it's because the musicians they're going to get paid and the musicians are mad at first of all, now I'm thinking back like, why did the musicians have to be men? And you literally still wrote, the men will be paid. He didn't write, the musicians will be pay. So yeah. I don't know how I did it now. Now it's all kind of a blur. I just started calling places and I got a reporter from the Tribune to like talk to me and do a whole article about it.2 (43m 25s):Oh. So you're really tenacious. That's what I'm getting. I'm getting that. You get something, whether it's a goal or you're trying to write an injustice and you attach yourself to it,4 (43m 36s):Right. I'm an Aquarius moon. I know this. Isn't an astrology podcast, but I've looked at your side. I've learned in the last couple of years, I'm Scorpio, sun cancer, rising, thus the tears and then Aquarius moon, thus the righteous justice for all.2 (43m 52s):I love that. I love that you4 (43m 54s):Did tons of work after school ended up doing tons of work like in, in schools, after-school programs, writing and drama programs and things like that, which ended up taking me to go back to graduate school and get the Mae and education. But then that was like a lot of solo performance work I did too, with this woman, faith wilding, who was like, look her up. She likes started women house it, I think Cal arts and like the seventies, she has this famous piece where she rocks in a rocking chair and says, I'll, I'll wait until I'm old enough. I'll wait till I fall in the I'll wait until I'm married. I'll wait. You know, just incredible woman who taught this class called new feminisms. She taught one called body skin sensation.4 (44m 37s):I mean just, and so I was doing all this incredible work again, looking at myself and being a woman and being an actor and what the trauma that I'd been through. And then my thesis was doing a performance experiment with a bunch of young women from all over Chicago, like high school age women talking about their mothers and feminism and teaching them about feminism and1 (45m 1s):Well what, okay, so, so a question for you, first of all, I tidbit I have to share that we ha we spoke with, I think it was Joel Butler who was a stage manager and said that they would come out and walk to tease us. When we were waiting for the list to come home, they would pretend that they had news and go like the people who weren't involved. Anyway, I just have to say the whole thing was a setup. Like the whole thing was a fucking setup. So all it was like the hunger games and it was also that in itself was a play like a theatrical experience of man.4 (45m 41s):I don't really know how they do it now. It's all online.1 (45m 44s):It's all online. Yeah. They sent you an email with your casting, but I'm just saying like, when I look back, my little corner of the world was walk, walk, walk, look at the list. Feel like shit, walk, walk, walk. But there was a whole play happening around us of everyone knew what the fuck was going on. And it was part of the thing to have this sort of, yeah, it was, it was a production, it was a fucking production, a tragedy for most of us. Right? Like, and anyway, it just was interesting to hear the perspective, like everyone knew what was going on and everyone played a part is what I'm saying is what I get from the theater school. Like it was all back in the day. Anyway, it was all part of a thing.1 (46m 24s):And like, you get the idea2 (46m 26s):We're working through for some of the faculty who, you know, themselves couldn't realize their professional dreams. And you know,4 (46m 35s):That makes me so sad. I hope that it's really not1 (46m 40s):Okay. I mean, like it's not okay, but it's like, they, we, a lot of times we talk on this podcast, right. About the psychology of never fixing what you needed to fix in the first place inside of yourself gets fucking played out all over everywhere.4 (46m 54s):We are living in a new time of awakening and people being able to talk about their trauma. That was not that time. And that was also the time, like I said, where the teachers were coming to parties with us and drinking and somebody else was mentioned, somebody else was mentioning, you know, relationships between faculty and students. I only knew a couple of those instances, but yeah, the fact that they happen at all and yeah, yeah. I've found that like in my own teaching, like even, even in the last couple of years and I've been doing it for a long time, I just I've become so much more transparent. Like I talk about my own mental health issues or what's going on with me or I, I check in and check out with them every day. And it's like, what's something beautiful you saw today.4 (47m 35s):What, what are you going to do good for yourself when you leave this zoom glass, whatever, you know, like, so I think that as a culture we're evolving as facilitators instructors teachers, but yeah, we were there at a really hard, whoa time. I, for sure. I mean, you were there pretty shortly after that, but also I had some amazing experiences. I loved Betsy Hamilton. I loved John Jenkins. Jim. I still laugh. I actually had for two years cause Adam second year and fourth year, which nobody did because he randomly taught second year acting one year for some reason. And everybody had him for fourth year for what that was called, like ensemble or exit or whatever the hell it was called.4 (48m 19s):So I had him second and fourth year. He actually told me at one point, heard him out, what you're doing, why are you an actor? You should be a singer. And so then I sang in the, oh no, it was after I sang in this, it was Rob chambers thesis show Baghdad cafe. And I sang backstage live for just a couple parts of the show. Just Rob asked me to do this. I don't even remember how that all came about. And, and you know, Jim being the jazz and music aficionado called me to his office and was like, what are you doing? You should be a singer. Shouldn't be the act. But was that ever a, a w dream of yours to be a singer? I was in rock band called dominance clam I did say I did sing a lot that there was a summer.4 (49m 7s):I wasn't even 21. So I would go, I've sang it like the Metro and I wasn't really supposed to be in there and, and Zach wards and Steve Sal and all these people from my class came to see me. And yeah, I wanted to do that and I would audition for musicals and stuff after I graduated, but just like Marriott Lincoln Shire and all those like fancy places would never hire me. And I would always end up in shows where I sent, but they weren't musicals, you know? And I also think I have a little bit of trauma around singing. I started singing in my church after my dad died. I was the song leader in Catholic church. Believe it or not. And I would go out the night before and be like smoking and drinking with my friends and then sitting on the alter with like the breeze and like, like Christ, what the hell are we doing?4 (49m 55s):I would say at funerals, I sang at my mom's second wedding. I sang at my brother's wedding, my sister's wedding, my other brothers. But yeah, I say I sang a lot. I haven't really been singing recently cause I, I usually end up crying when I sing. I had a very traumatic audition, 2008. I think it was where I cried when I was singing the song. And the song was about the girl's dad a little bit on the high note and it cracked and the casting director will remain nameless called my agent and told them that they thought I had mental problems and needed help. Okay. Again, this is something that would never happen today.4 (50m 37s):Right. But it wasn't that long ago, 2008, she also said that I was dressed in appropriately. I wore a forties style suit and a pillbox hat, because that was the period of the show. How is that inappropriate? That's someone who's. And why you calling my agent how intrusive to call my agent and tell them that you think I'm. And then the funny thing about it was I had just gone through a huge breakup and had moved and gotten a new job and all this other stuff was going on, but that had nothing to do with it. And that's nobody's business and I was moved by the song. And don't you want somebody, that's just somebody who, who is scared of their own emotions, like, correct. That's all that is. Yeah. So anyway, I digressed cause that's like post theater, school drama,2 (51m 20s):But I've had auditioning. Okay. So you arrived at the theater school at a tender young age. You4 (51m 28s):17. I was 17 because I have a November birthday, 17.2 (51m 32s):And you did your whole BFA there. Tell us about some of your show experiences.4 (51m 41s):Well, the one that I was going to talk about was the good person of such one. Cause oddly enough, it's the only one that I have printed pictures of. And I don't even remember when or how I acquired them. I think I got them from John Bridges cause he took all these pictures and that one of me is the sister-in-law. I don't know that that one was like a production photo. I think that was him coming up. And he saw me in this moment and like had to get this shot. So not only was I not cast as Shantay, which I want it to be now I'm the, the sister-in-law on the old whore. So I'm like, I'm going to kill this. I had 16 lines between the two characters, my old whore. If you look at that picture, I have a blonde wig. I didn't wear a bra. I have a tube, top, a pleather red skirt. I had these hoes that had a dragon up the side.4 (52m 22s):So it looked like I had a dragon tattoo on my leg and high, high red pumps that I think were mine actually from when I was in a beauty contest in high school anyway, and I got these earrings, oh my God. I think I found those earrings too. They were Chinese lanterns like that opened up, but they were earrings and they were huge. And I smoked a cigar. Oh. And I, I don't know if you remember this or if they did this when you were there, but after shows closed, mainly the main stage shows they had like this post mortem, postpartum, whatever you call it in the lobby and everybody and they would critique. I probably blacked that right out while you sat there and just took it.4 (53m 7s):And, but I don't know if it was during that or like after that, I would just be like walking in the halls and all these teachers, some that I had and some that I hadn't yet even had made a point of coming to tell me how excellent I wasn't that. Sure. And it was not false. It was not put on. But I mean, come on. Those people did not give compliments unless they really felt1 (53m 29s):Whatever. Yeah, yeah,4 (53m 30s):No. And I was like, yeah, cause I freaking killed it. Cause I took it so seriously. I was like, I'm going to make these roles so deep and so real. And if you, if you look on the production photos, they have this screen and, and, and, and people would make shadow play on the screen at the beginning of the show to show like the street life of the pool or the Sichuan and stuff. And I got to ride a bike and I rode a bike across and you see the shadow of the girl on the bike and I'm like, I still look at that. And I'm like that.1 (53m 57s):So do you think that's, I love hearing that. That's a great story for me to hear. For some reason, it just really warm, but warms my heart, but also talks about Gina's calling you on being tenacious. But do you think that that sort of set a tone for, cause what I'm getting from you is that like you're simultaneously a, bad-ass a bit of an outsider never given your chance. Never really given the chance to maybe in terms of outside casting, do what you could really do. So then you take what you get and then you fucking kill it. Does that ring a bell4 (54m 37s):Kind of? I think so. And I think I've always been that way really. And that also being in that show, Joe sloth directed, it was Bertolt Brecht. And really got me thinking about political theater and theater for social movement and theater for change. And I really believe when I graduated and I started doing work at the European repertory company, I believed that doing theater could change the world. You don't think that anymore change sometimes, you know, it beats you down pretty hard when you, when you work and work and work and work and you have to have three other jobs. Cause you're in a theater company that doesn't pay you any money.4 (55m 17s):And I, I still like the best work of my life was at that place. I was client of Nestor and Agamemnon for three years. I mean, I, Y you know, yeah, the best work of my life, but was it going to say that there's a different, and I think it's good. There's a different culture, a different mindset. Now students now would never graduate and say, yes, I'm going to be in a school or I'm going to be in a theater company for 12 years that never pays me and I'm going to have three or four jobs. And it was nice to kind of almost like a martyr, poor theater, Jersey, Petoskey board theater mindset of like, I'm an artist. Well, of course I'm, I'm struggling and I'm poor and I'm, you know, but I'm for the oppressed. And so I must experience that.4 (55m 59s):I don't, I dunno, like it just, I wonder how much I manifested that, right. Because I, I would have auditions for TV and film stuff that I would get close to and just not get, or it took me. I was, I think, 30 when I finally gotten a show at the Goodman or no, wait, I was 30 when I got at apt in Wisconsin. I think I was even older when I got in the show at the Goodman. But anyway, yeah. You know, eventually I have done shows larger theaters, but I still will say, I mean, people that saw the stuff I did at the European rep and I was like 24, 25, but I played clouded minister and it was Steven Berkoff's choir master. So it was like the most rockstar frickin, you know, I made my own costume.4 (56m 41s):It was, it was all like fishnet. And I just like punched my hands through fish nets to make sleeves and high heels and crazy Kabuki makeup. And I stood at the top of this ladder Agamemnon. And I came out at the end with like Hershey's syrup on my hands after I'd feel them. And I was like, I mean, if you saw that as hit, you were blown away, this was three years while we did it, like in a regular run. And then it was so popular. It was so popular that we did it on Friday, Saturday nights, like late night. And then we were doing, cause we want it to be a real repertory. So at the time we were doing Agamemnon Electra, uncle Vanya, and this show called all of them are just, yes.4 (57m 32s):And we would also change this. You remind me, okay, this is what I think Steven Davis was talking about when he said he was in four shows at the same time he, he was in, he was in all those shows and yeah. So, oh my God,2 (57m 51s):That's super intense4 (57m 53s):Looking at my notes2 (57m 54s):That like, though, while you're looking at your notes, I mean, was that draining, not just the number of shows you did4 (58m 4s):The physical training. Well, also I was, yeah, I was like a waitress during the day. I mean, I had a job I had to live and I was a waitress where I could only work lunches because all the shows were at nights. So lunches weren't as busy. And if it was really slow at lunch, I mean, so I would find myself every day while I was working calculating in my head, how many tables I had to have, how many tips I had to get just to make enough for that week to pay the rent, you know? And at the time I was living with two British guys, actually, they're the ones that brought me into the European rep, my friend, Charlie, Charlie Sherman, who is a actor and director in and out of Chicago for years. I met him when I was 18.4 (58m 44s):And I worked at cafe Roma, which was down the street from the school. That was my job. Cause I also worked when I was in school. And so when other people were like, we're going to the dead show. You want to come? I was like, you get, not only do I not have money for that, but I got to work all weekend. Right. So anyway, he, he knew that I wanted to do the play Caligula and he called me up one day and he's like, oh my God, this company is already doing it. Maybe you should audition. And this was right when I got out of school. So I auditioned and I got in the chorus and like the first week, the girl that was supposed to place, Zonea had gotten a movie and left and they were like, okay, now you're the lead. And I was like, okay. And that, and that was the company that I ended up being with for 12 years.4 (59m 27s):But it was exhausting as it was. I know we did. We were also all like drinking and smoking and going to the bar every night after the show is2 (59m 35s):You is a powerful force. I was just thinking the other day, remember when you used to wake up in the morning and no matter what had happened to you the night before, and you're like, okay, well, but anyway, it's time to do it today. I haven't had that feeling in years. I haven't had that. Like I can even when some we've once a day, I'm super excited about, I don't ha I don't wake up with this body, like readiness that I remember feeling in my twenties and thirties. Okay. So look at your notes. What are you, what are some of, some of the points that you wanted to get to?1 (1h 0m 7s):So if a showcase question, I have a showcase. Cause I'm obsessed. Since I live in Los Angeles, now I'm obsessed.4 (1h 0m 12s):Oh my God, are you guys going to try to avoid? No, no, no, no, no,1 (1h 0m 15s):No, no, no. I'm obsessed with the idea of the showcase because I made such an ass out of myself at my showcase that I, we went to LA, but I know you were in New York, but what was that? I'm obsessed with the showcase experience because I think it is really one interesting, but two where DePaul lacked in so many ways to getting people to the showcase and then after the showcase.4 (1h 0m 42s):Okay, great. This was before stars and all that. So nobody was collecting money for us. You just had to, you either had the money or you didn't. And so I was able to get enough money to buy a plane ticket, but then I wasn't going to have anywhere to stay. So my friend, Sarah Wilkinson, who was also at the school, but a couple of years behind me, her boyfriend, Daniel master Giorgio, who's also been in a lot of TV shows and on, on, you know, Lincoln stage and public theater, like this dude that went to Juilliard, actually I stayed in his dorm at Juilliard on the floor cause I didn't have money to stay anywhere. And I also could only stay for like a couple of days where like other people were like staying the rest of the week or going out and partying.4 (1h 1m 23s):And I remember having like just enough money to do one of the things people were doing, which was go to a jazz club with Frick and Jim Osstell Hoff, which I did. And that was really cool. The other part of that, that was kind of messed up was in the, in the, you know, audition class that Jane alderman, God rest her soul. And I love her dearly and became closer to her. I probably more after school than during school, but in our audition class where you brought, you know, monologues, I had brought this monologue and then she loved it and wanted me to do it and was just like, that's the, when you're doing. And then I had this total panic about it and was like, I don't think this is right. I don't think this shows me in a good light.4 (1h 2m 3s):I'm going to pick something else. And I don't remember what my other second or third choice was. I did, I did have something else. And I remember calling her on the phone. I don't know if I called her office or at home. And again, before cell phones. So I remember the little window I was sitting in my apartment on the corner of Sheffield and Belden on our little phone, talking to Jane alderman, all nervous. Cause I was going to tell her I'm not doing that when it's not right for me. And she still talked me into it and I did this monologue from Roger and me, the film. Did you see it?2 (1h 2m 34s):The Michael Moore movie4 (1h 2m 36s):About the Michael Moore movie, Roger,2 (1h 2m 40s):The documentary about the auto industry. I mean, yeah.4 (1h 2m 44s):Yes. And it was the poor woman, poor white woman who sold rabbits. Pets are mate. Right? Pets are me. Got it.2 (1h 2m 55s):That's what I did. Wait a minute though. I have a feeling.4 (1h 2m 60s):So I actually became, I probably did, but I actually came from where they had tried to, to suppress and to change and to mold me into anything. But this hit girl from Southern Illinois. And then I did that. Right. And that's what I, I wore my boots. I wear my cowboy boots. I think I had my friend's jacket on my long hair. And I came out and I was like pets for me. Oh my God, mortified, mortified. And I only got, I got like a couple of calls, like one was from like a soap opera. And then another one, I don't remember. That was another weird thing. Like the same thing with the casting call we waited in, I was in somebody else's hotel room.4 (1h 3m 42s):Cause remember I didn't have a hotel. I was staying on the other side of town and the dorm room of somebody who went to Julliard. And so we're in somebody's hotel room waiting for Jim Mostel Hoff. And whoever else was with us to come in with like this list, it was literal. It was like my notes here. There was just like tiny pieces of paper with like telling us who got what calls. Some people were like, got nothing, got 10 that too, about whatever. Yeah. And, and mine were not meetings. Mine were just like, these people want you to call them or send your resume. I was like, they already got my resume. Everybody got what, what? So, you know, like I wanted to move to New York. I wanted to be a New York fancy actor, you know? So that was like really devastating too.4 (1h 4m 23s):But then I was like, well, if I don't get that, I'm going to be an amazing Chicago theater actor. And I'm going to show everybody that Chicago theater is actually better anyway.2 (1h 4m 31s):Yeah. I don't to remember VAs if I've told this on the podcast before, but remember how I did that thing or if I didn't get any meetings. And so then I snuck into administrative office at DePaul after showcase and I found a list of all of our names and everybody had gotten, everybody had agencies or agents names written next to theirs, but not everybody was told that. Yeah. Yeah. So,4 (1h 5m 5s):Oh, podcasts, then couldn't see my face gaping. Now what, what did you do? Did you tell, did you, what?2 (1h 5m 12s):I swallowed it and carried it around resentfully for the next 20 years. Yes ma'am I did my God. And you know, who knows? Maybe there was an important reason for that. Maybe it was, these are shady characters. I don't know what it would have been, but I, I know that I would have4 (1h 5m 36s):That you didn't feel. Yeah. I feel so bad for you that you didn't feel like you could, you know, go further, ask more. I don't know. Probably2 (1h 5m 44s):Carolyn it probably didn't occur to me. I'm sure it did. I'm sure. The way I thought about it was, well, this has happened now. It is over, this is the thing that it is forever such. I just, I would have never thought that way. I would have never thought to advocate for myself. I mean, I fought to find out,4 (1h 6m 4s):Snuck in there. You thought, well, enough of yourself to sneak in there,2 (1h 6m 9s):You know, whatever. That's that's for me to figure out because I, I, I that's what, but that's what I did with it. I, I took it. I took a carried it around like a shame instead of, oh, by the way, I didn't mean to blow anybody up. I just needed to say like, what's the deal? Like what happened happened, right. Yeah.1 (1h 6m 29s):I feel like it's interesting. It is. It is. It is just really, now that we have this podcast, we spend a lot of our time being like, well, yeah, what's the deal. Why did that happen? And, and what,4 (1h 6m 41s):I wonder what John Bridges or somebody like that would say about that.2 (1h 6m 46s):I I'm sure. John Bridges, who is a theater school loyalist to the end when say that, that I, that I misunderstood. He tells them he doesn't tell the truth. I'm saying, listen. And, and by that I've said a thousand times we understand that we couldn't possibly know all of the factors that went into any decisions like casting and stuff like that. And that there are certain things that happened. That felt terrible. That were for my own good, you know, but Yeah, because getting back to that whole thing about casting, I mean, I'm sure that the guiding principle in their minds was, this is what it's like, you know, you want to move to New York.2 (1h 7m 33s):I mean, Don, we had another person on here who told us living in New York. You, you you'd have to go wait in line in the morning at a theater so that you could get your audition later. And if you wanted to have, it had to be a lunchtime thing, so you could leave work. And those sl

A repeat of an episode from 11/27/2020. A reading from Studs Terkel's book, American Dreams: Lost & Found. Here, Andy Johnson talks about his life in rural Minnesota at the turn of the twentieth century. The interview is also included in Terkel's best-of volume, The Studs Terkel Reader. Any comments, or suggestions for readings I should make in later episodes, can be emailed to humanvoiceswakeus1@gmail.com. I assume that the small amount of work presented in each episode constitutes fair use. Publishers, authors, or other copyright holders who would prefer to not have their work presented here can also email me at humanvoiceswakeus1@gmail.com, and I will remove the episode immediately. --- Support this podcast: https://anchor.fm/humanvoiceswakeus/support

Helen Macdonald is a writer and naturalist who is best known as the author of H is for Hawk which won the 2014 Samuel Johnson Prize and the Costa Book Award, and topped the sales charts. The book chronicles her experiences training a goshawk called Mabel while grieving for her late father. Helen's father was a staff photographer at the Daily Mirror and her mother was a journalist on local newspapers. In 1975, when Helen was five, her parents bought a house in Terkel's Park, an estate owned by the Theosophical Society. It was here that Helen became a keen bird watcher and developed a love of the natural world, spending her days in fields and meadows where she collected specimens which she brought home to study. When she was 12 she helped out at a local falconry centre and trained her first hawk, a kestrel called Amy. After graduating from Cambridge she worked for the National Avian Research Centre in Wales before returning to academia. The death of her father in 2007 prompted Helen to buy Mabel and bring her home to live with her. Training Mabel was Helen's way of dealing with her grief during what she describes as a very dark period of her life. The relationship between her and Mabel became so intense that she says she became more hawk than human. Helen continues to write books and essays and present programmes about the natural world. She lives in Suffolk with two parrots she calls the Bugs. DISC ONE: Wayfaring Stranger by Rhiannon Giddens With Francesco Turrisi DISC TWO: Lully: Le Triomphe de l'Amour: Prélude pour la nuit, composed by Jean-Baptiste Lully, performed by Capriccio Stravagante Les 24 Violons, directed by Skip Sempé DISC THREE: Michelangelo by The 23rd Turnoff DISC FOUR: Ocean by The Velvet Underground DISC FIVE: 'Corelli' Variations, Op. 42, composed by Sergei Rachmaninov, performed by Vladimir Ashkenazy (piano) DISC SIX: When We Were Wolves by My Latest Novel DISC SEVEN: Point of View Point by Cornelius DISC EIGHT: Time by Hans Zimmer BOOK CHOICE: The Karla Trilogy by John Le Carré LUXURY ITEM: Luxury bedding CASTAWAY'S FAVOURITE: 'Corelli' Variations, Op. 42, composed by Sergei Rachmaninov, performed by Vladimir Ashkenazy (piano) Presenter Lauren Laverne Producer Paula McGinley

First broadcast on November 17, 1976. Terkel interview author Geoffrey Wolff about his latest book. Entitled "Black Sun," it is a biography of Harry Crosby.

Workers left their jobs at a record pace in the past few months. They left because of health concerns, child care issues and because, post pandemic, they did not want to return to what they saw as rotten jobs. Jobs that were ethically and morally challenging. The pandemic has brought new light to these workers. Often, in what has been called essential work. It has highlighted and personified the work we often don't see, but that we all rely on for keeping the wheels of society working.   Studs Terkel said that “work is about a search for daily meaning as well as daily bread, for recognition as well as cash, for astonishment rather than lethargy; in short, for a sort of life rather than a Monday through Friday sort of dying." And yet for millions of workers this dying that Terkel talked about, is what they face, day in and day out. We can't imagine what it does to them, but also what it does to our society. This is what Eyal Press examine in Dirty Work: Essential Jobs and the Hidden Toll of Inequality in America.   My conversation with Eyal Press: 

Intro: Gina ordered her theatre school transcriptsLet Me Run This By You: knowing when to let go, moments of clarityInterview: We talk to Ammar Daraiseh about being an MFA, homesickness, Joe Slowik and Bella Itkin, Joe Mantegna, type casting, being a middle eastern actor, Sweet Smell of Success, film noir. www.ammardaraiseh.com - there is where you can watch Ammar's acting reel and my short films he produced www.karenkanas.com - Ammar's wife's website FULL TRANSCRIPT (unedited):2 (10s):And I'm Gina . We went to theater school1 (12s):Together. We survived it, but we didn't quite understand it. 20 years later,2 (16s):We're digging deep talking to our guests about their experiences and trying to make sense of it all1 (21s):Theater school. And you will too. Are we famous yet?2 (34s):Frog into my, my morning frog out of my throat yet. How you doing? I am. Wow. I have a lot to talk to you about, oh, I1 (45s):Half expected you to have red hair this morning.2 (49s):Oh, do you think I should. I okay. But like, did you see the picture? I put a run Lola run. I mean, that might be a little hard to maintain.1 (59s):It's super hard to make, like you'll, you'll have to be the salon and read six weeks at least, or four weeks for root touch-up. But I mean, I personally think the routes coming in would look cool, but wow. Yeah,2 (1m 13s):The whole rally thing. Well, I'll keep you posted cause I, I definitely want to do something different, much different what's going on. Okay. So first thing I'll just get out of the way is for fun, because we're always trying to remember our classes and who taught and what gear we did, everything I ordered my transcript, which unfortunately does not have the names of your professors. Just, yeah, it just has the name of the class and my grades were fair, not great. Like I had a 3.5 or something like that, which I would have, I thought in my memory that I got really good grades in college, but they were really just pretty average.2 (2m 1s):But guess what my lowest grade was in1 (2m 8s):Was it, was it, well, the easy choice is add Colleen,2 (2m 13s):My C my, my one and only see mine was an intro to psychology. I was talking to my husband about it and he goes, yeah, I got a low grade too. He's like, we were just basically saying, this is all too real. We're not ready yet. I think1 (2m 40s):That's a great observation by him.2 (2m 44s):See my whole areas. It's just hilarious. And then in other classes where I was sure, you know, I was hated like an alcohol use class in that I got A's so my God isn't that it's also subjective, like our, our experiences, something as subjective and then our memory about something totally changing. Only subjective as the years go by. Right.1 (3m 7s):It's not just subjective. It's yeah. It's very like mutating subjects, right? Yeah. That's crazy. Oh my God. So you ordered your transcript. Okay. Now you have a transcript2 (3m 21s):And guess what? Anybody can, it's 25 cents. Like if you have, if you haven't ordered, like you have a certain number, you can get in a certain period of time. And so your first one is 25 cents. You,1 (3m 33s):Anybody else want to have a transcript? You2 (3m 36s):Could relive your, your grades. Oh my gosh. Might find some surprises. Do you think you would find some surprises in your1 (3m 42s):I'm? Sure. I mean, I know for a fact that I, that I, I was supposed to drop a class, a, a non, obviously non theater school class, and I never dropped it. So if you don't drop it, you get an F. So I got an F in, like, I want to say it was like sociology or something like that. And I almost didn't graduate because they thought, yeah. And so you can't, I knew it was like, I remember my last year, my senior year, I had to like, do all kinds of regular role. And the other thing is that I didn't do was one year, one quarter or something you had to like re up your financial aid and I didn't do that.1 (4m 24s):So I didn't pay for like a quarter. And they were like, yeah, you're, I'm so shocked. I graduated. I don't know what was happening. They were like, yeah, you have to pay.2 (4m 35s):I had to do some real tap dancing to my parents graduate.1 (4m 39s):Yeah, I remember that, but I don't. Yeah. I I'm sort of scared to look at the grades. I don't.2 (4m 46s):Yeah. I mean, whatever, it's like a grade and acting school is just kind of funny. It should probably be, and maybe at some schools it is pass, fail. It just should be pass, fail. Like you either got it. Or you didn't get it. You either write forth effort or you didn't. Right. So that's kind of, wow. Okay. And update on surprises. Because last week I was saying like, I'm open to surprise. And it worked, which is to say, I think pretty much not that like some big surprise came falling out of the sky, like is what, the thing that I was really after. But instead I did, I took my own advice and like pursued, doing something differently.2 (5m 27s):And on Saturday we ended up, I just on Friday night when Aaron came home, I said, I want to have fun tomorrow, but I've got to get out of this house. I've got to get out of this town. And so he searched up like fun things to do. And he found something which actually was terrible, but it didn't matter because it was different. And we, it was a car. It was, it, it was promoting itself as some like amazing fall festival with all this kind of stuff. And it was literally a carnival, like the Carney trucks. It's amazing.1 (6m 7s):Like, yeah. Right. Oh, well they had some good marketing.2 (6m 11s):Yeah, they sure did. Cause it was listed as the number one thing to do in my state this weekend, the state and the state and the state. But even, maybe it was a slow weekend and we had fun. Anyway, we had fun. We went to a town we've never been to, we spent time together. You know, it, it was fine. It was good. And more importantly, I feel like it, it just doing something like that and genders like, okay, what else can you do? What else? You know? So I think that, that was the important thing is that it opened me up to1 (6m 43s):Novelty. Did anyone else, did anyone get hurt on a ride?2 (6m 48s):No, but the whole time I was like, I bet this is going to be one of those times where one, we're one of these things just going to go flying off into the, so if you really want to call it,1 (6m 58s):If you really want to go down a crazy dark rabbit hole, like, okay, well I'm obsessed with fail videos fails. You know, if you watch carnival fails. Oh my God. And most of them are deadly. Thank God. But they're just like, where thing flies off. Or like, like a lot of times what you have is cell phones going crazy or birds like birds attacking people on rollercoasters is one of my favorite things to watch. It's not that the bird is attacking. It's at the bird is just trying to fucking fly. And it runs smack into a person on rollercoaster, the best thing you've ever seen.1 (7m 38s):But the sad thing is 90% of the time the bird dies, you know? But like, because the velocity, the force is so great, but it's pretty freaking funny. People are filming themselves usually like right then all of a sudden, a huge pigeon like common. So carnival fails is, is one thing where like someone's standing there like videotaping their friend on the tilt, a whirl or whatever the hell it is and a bolt or something goes with. And they're like, oh, that was a part of the ride. So2 (8m 13s):You're standing there as an adult. I mean, as a kid, you're just like, this is the most amazing thing ever. But as you're sitting there as an adult, you just can see like the hinges where things fold up into the, you know, and you're just like, this is just, we're just all hoping that nothing bad happens, right. Best you can do is cross your fingers and hope for the best. Right.1 (8m 33s):And the other thing is that I I'm obsessed with watching is those Slingshot videos. So some people pass out, pass out or like people's weaves fall, fly off and like, or, well, yeah, like people pass out, but I like when things fly off or when just people say really weird stuff or like, yeah. But those2 (8m 55s):Slingshots are horrible. They look horrible ever. I would never, of course, of course, where I'm sure many people have been slung right off into an alligator pit ever at the museum again. Oh, that's crazy. Okay. So the, the big O thing that changed for me since I last talked to you and I'm fighting the urge since yesterday to call you for the podcast, I haven't heard the podcast. Well, I wrote down the headline is I'm going to do this in a politic way organization on the brink of collapse, ALEKS new leadership to ensure its future spends next two years, undermining their, every effort says leadership.2 (9m 40s):We quit. I have quit the organization organization that I have dedicated a lot of hours to serving. And it happened. Yeah. It happened after a meeting last night that went left and it didn't even honestly, as these things, are, it didn't even go as left as it's gone. There's been times where it's gone so much further skew, but all of us just had it. And actually after our interview today, I have, we have an emergency meeting to talk about it, but my decision is made, I quit.2 (10m 25s):I fully quit. Like I'm, I'm happy to help transition or whatever. And yeah, that happened inside. Like how did you come to the, like what happened in, what have you? Yeah. So this is kind of like a combination, just like what I wanted to talk to you about. And then also what I want to run by you because, you know, I just wrote that blog post about like how I meant examining myself in relationships and how I sometimes in the past have just, you know, one day just up and left. And the first time I did that, that felt the way that actually this thing felt last night was when I broke up with my first boyfriend in high school, it was literally like I was asleep.2 (11m 10s):I shot up out of bed, like in a movie. And I said, I've got to break up with this guy. And I got my clothes on and I got in my car and I drove over to his house and I walked into his house. I didn't knock the door. I walked in the house, he was in the bathroom getting ready. I, I had a little box of his shit. I go here by, I walked, he's following help cheetah. What's the matter, what's the matter. And I left. I mean, we, we did speak after that. And actually I had a couple of really crazy incidents with him even like later in life when I ran into him as an adult. But, and you know, that was terrible of me to do that was terrible.2 (11m 51s):But now I understand that it was because I lacked the ability to say along the way I don't like this. And I don't like that. And just kind of kept putting up with it and putting up with it. And I think my big takeaway from how I conducted myself in this organization is that I put up with stuff and put up with stuff that I really should have found more backbone along the way to say, I don't like the way you're talking to me. I don't like the way you're treating me. And in fact, I had the group of people that I work with. It I'm basically the leader of, you know, they were constantly expressing to me that they felt really abused by this group. And I would validate that and listen to them and agree with them.2 (12m 36s):But then when it came time to going back to the group, I fell short of saying, this will not stand. You know what I mean? I never did that. I never put my foot down and said, this that's enough because I was trying to do it in this way that I feel you're kind of supposed to do as a leader of something you're supposed to keep a level head. And it's really, frankly, it's a lot like being a therapist, you take people's projections and you take their shit and you, and you're able to see, okay, this thing is about me. This thing is not about me. This is just you projecting your shit onto me and you try to like, keep it moving for.2 (13m 17s):Good. Great. And it's not that we never responded with, like, this is not a feedback. Yeah. But it, I mean, obviously it didn't work. It didn't get us to where we needed to go. So we ended the meeting yesterday. I stayed on and talked to my cohort. I said, you guys, I'm, I'm done. And there was seven of us and only four of us were, were talking after cause or five of us. So there was two people who had no idea, but, but four of us said, we're ready to, oh.2 (13m 58s):And I spent three hours last night writing a letter that just basically told the whole history and laid it out. Exactly why, you know? And I wrote it as like, we came to this decision. I don't know if we're coming to this decision because we have to have our meeting later and I just laid it all out. And I just said, you know, basically we're at cross purposes here. Like you asked us to do something that we are doing and you don't like the way we're doing it. So it's fundamentally not going to work out. Wow. I was all revved up. I stayed awake until two 30.2 (14m 38s):Sure. Yeah. I've been there got three hours of sleep. Holy shit. Feeling great. 1 (15m 0s):Good for you. I mean, I think the other thing is like, yeah. I mean, I think that when things, something isn't working, yeah. I've always struggled with knowing when to, when to leave something and like when to, I never knew, okay. Like even stupid shit, like staying home, sick from school. So like, my mom always taught us, like, you never do that unless your like hand is falling off and even then you try to go. But so then in my adult life, when I never knew when was the time to listen to yourself?1 (15m 43s):Yeah. Or to call it quits. Yes. Right, right. To listen to myself or like, was that, and I always second guessed myself for a long time. And even like, like I remember having like a date, you know, with, with a friend or she was really like a mentor, like an authority figure. That's always when it gets really kicked up. And I didn't know, like if I was sick or just wasn't feeling off, should I cancel? Would they be mad at me? Would I, could I take care of myself? What did taking care of myself look like? Because sometimes, and people would say like, people would, I would ask for advice and they say, sometimes taking care of yourself means staying home. Sometimes it means pushed through a little bit.1 (16m 25s):I never knew what, how to do that. So I never had a gauge. So it sounds like you're learning finally to like, or like you're coming to the thing of like this, this is not right. This is not working for me. And, and, and I'm going to make a bold move and then I'm going to stick by that bold move. And also knowing that like, you know, it's, it's a, it's a, it's a move that right. That you can back up that you feel done and that you don't need to ask for reassurance or like try to, but that you're done.1 (17m 9s):I mean, I think that's really great. I mean, I think it's part of being a self-actualized adult to know when something's over and, and why it's over and how to do it. Right. How to end it right by you for you versus like the right thing that people want you to do. Oh,2 (17m 27s):100% that, and that thing that you're describing about the way that we need to be able to differentiate when I'm just feeling avoidant versus when I really need to, that is such a crucial part of a person's development. And I can say, as a parent, it's pretty hard to teach because you're like, I don't know. Do you really feel sick or really just not want to go to school? Like it's, it's tricky.1 (17m 56s):I, I mean, I can't imagine doing that with someone else because I literally am just now learning at 46, how to do it with myself. So like, like I can't imagine being, because the second guessing it's so interesting. It's like, it's like my, my growing up, it was, yeah, it was literally like, you, you didn't ever, you always muscled through, but I guess the, the, the, and it's like, how do you know that muscling through is too much? What is the answer? Like, you're dead. Like, that's going to be how you found out. Like, I remember this and it wasn't just my parents.1 (18m 38s):Like I remember my aunts, my aunts had a cleaning business. Okay. My mom's sister and her and her wife, or at the time her girlfriend, they had a cleaning business. So they cleaned people's houses. And at the end of, I think it was, I don't know which some play I was in at the rescue. And it must have been, I think it had to be it wasn't yellow boat. So it had to be this other search for delicious. Anyway, I was really sick. And, you know, obviously we, we still do performances when we're sick. That's another thing that needs to change. Right. And they're trying to change people's trenches anyway, I'm sick as a dog and I I'm sick as a dog. And I, I had to schlep my shit from the Myrtle Ruskin.1 (19m 19s):And the next day I was supposed to clean houses with my aunt. Like I was helping her. She gave me like a part-time job, but I'm so sick. And the night before I call, I'm literally like, like I'm hacking up blood. It turned out I had pneumonia and I had to go to the, it, it was, it was crazy. But my aunt was so mad at me that I had to bail. She shamed me. She was like, I can't believe you let me down. I literally can't talk. And she's she? And you know, she was the adult and I was a young adult, but she was anyway, the point is it, wasn't just my parents. It's a whole thing of like, how could you leave us?2 (19m 54s):We're going to have to talk about this with Molly Smith, Metzler, who we're going to be talking to in like maybe next week or the week after who's the creator and showrunner of a major television series. That's based on a book because this theme comes up in that series. And it's, it's something related also to, I don't know. I don't really remember if you told me that your mom's family grew up with money or without money, but1 (20m 21s):Without with, with, and then without, so they, they had it in Columbia and they didn't have it here.2 (20m 27s):Yeah. So people without money, I mean, it's, it's true. The, the decision about muscling through it is really, usually one about survival. Like you don't have the option, but for people who are, you know, in our situation now, I mean, I think the only way you really learn that for yourself, whether you should stay in through or not is with experience of, well this time when I didn't feel like doing something, and then I did it, I felt better this time when I didn't feel like something doing something. And I did it, I felt worse. Like, and just trying to build up the data as to say, this is an example of a time, like just, just the ability to be able to at, at our age, we've had enough experience that we can think through almost any set of, you know, like, okay, well, if I go to this thing, like, I think you were talking about you, miles was at the hospital getting checked out for a possible recurrence of his cancer and you were doing a reading.2 (21m 32s):Oh, oh,1 (21m 33s):It was the worst. It was insane. I was in the chapel at the hospital trying to memorize lines for a fucking 10 minute play reading that was supposed to be on book. And then they told me it was off book. And then2 (21m 46s):You weren't getting paid for that. Wasn't going to advance your career in any way. Yeah. That's what I'm talking about. This is, and so the, the thing I really want to run by you is about like moments of clarity and really you can't force a moment of clarity it to me, or maybe you can, I can't, it just comes to you, you know, it just, it just comes to you for me, it comes to me in a moment and it just feels like on ambivalent, there's no question. This is what I have to do. This is what I can't do. This is what I can do. And I think the only way you get there is with time.1 (22m 25s):Yeah. Yeah. I mean, I think it's time and I think you're right. I think it's like trying it out. Like I tried this, it went horribly wrong or I tried this and yeah. And also, yeah, I think right there was this thing too, of like, there's also this thing I feel, and maybe this also goes back to the, the working class. I don't know what it is, but it's like people wanting to end things the quote right. Way. So like my, my mom was always big on like, you know, and my dad about like, having a conversation, like having to sit down with people and say, Hey, this is how I feel.1 (23m 11s):And like, it was a cop-out to like send an email or a cop-out to, but that's also kind of, garbagy like, people am things the way they can end them in the moment. And they, I don't know, I don't hold it against people for ending things the way. Look, it, would it be great if we could have closure and like, stuff like that. But like, what if, I don't know, I'm just like all for now, people doing things the way that they feel like in the moment they need to do them. Like, I don't, like I used to get into, like, I remember like leaving a sponsor relationship and she was so she was not well in my view.1 (23m 53s):And she was, and I've sent her an email and she really wanted to have a sit down. And yes, there's two things are true. Like, I was really scared to sit down with her and tell her, like, I think you're fucked up and this isn't working for me or whatever, but I also didn't feel safe enough to do that.2 (24m 10s):Yeah. Yes. That's. The other thing is if we lived in a world where it was a given that everybody was being forthright and honest and was themselves in constant dialogue about their strengths and weaknesses, and was B you know, if we lived in a world where everybody was operating from a basic level of like honesty and good intentions, then this problem would be much easier to these types of problems would be much easier to resolve because you'd say, well, I mean, it just would be a given, like, of course nobody would want to see me suffering to do.2 (24m 51s):Of course, they'd rather, you know, but you can't, that's not the situation in most cases. So you literally can only rely on your own understanding of yourself. Right.1 (25m 1s):Different context. Right. And I know that there's, there's the there that looking back, I wish I had ended things differently in a lot of different ways, but I did what I, I did what I could, you know, I did really could, but I just remember it being like my, my dad being like, you know, you should really sit down with them and talk to them and being like, you know, why like, okay, I, I hear what you're saying. So when people, yeah. I think, I think being willing to have conversations and having hard will being willing and open and available to having hard conversations with people is so much more difficult than people make it out to be.1 (25m 41s):Because like you're saying, it takes, it has all it takes. It's all these things come into play. It's not just like, I'm going to be a mature adult and do this the right way. It's like, what am I willing to have? What can I handle? You know,2 (25m 55s):W what can I handle? And, you know, in some cases, if an issue is really contentious, it becomes, you know, if I sit down with this person and really try to, they might actually further harm me. Like, I I've already had that experience with some people in this group that where I've decided, okay, the approach is I have to call this person. Right. I have to say, Hey, we're, you know, not seeing eye to eye. And a couple of times when I did that, it turned out fine. Right. And a couple of times when I did that, I thought,1 (26m 26s):Why did I do that? Yeah.2 (26m 28s):Like, not just, that was bad for me, but that was bad for them. And I feel like, I, I feel like I took us several steps backwards just because this person's mentally unwell and I'm able to have like a reasonable back and forth in a conflict.1 (26m 42s):Right. So it's, it's, it's a lot more complicated, I think, than people people think. And also right when you're done, you're done. And when you're done, it's like, how can I extricate myself and not try to cause further harm to other people, but also not trying to cause further harm to myself.2 (27m 3s):Yeah. Yeah. Which is literally, you're the1 (27m 6s):Only person who can do that. Right. That's nobody else's job. Right. Somebody else's job. Holy shit. Well, congratulations.2 (27m 14s):Thank you. So how are you doing1 (27m 16s):Well, this is, I'm pretty good. I'm on, I'm so weird. I don't even know. I don't think I told you this last Wednesday. I had a zoom look. I haven't had any auditions in a long time. Last Wednesday. I had a zoom audition for a film being shot in Chicago. And of course, and now I'm on, I'm on hold for it. I'm on check avail for films in Chicago. And it's a big film. And it's, I'm like, what2 (27m 43s):If it's going to start filming, like on one, the one-year anniversary of the day you guys went there and then had to stay,1 (27m 50s):Well, the thing is, it starts filming Monday, but I oh yeah. For a month. But I, I, my part is super, super small. So I doubt I I'm thinking it's a one or two days shoot. If I book it and you know, the difference of, I mean, I feel like petrified of getting it because I'm, I'm just, I I'm, we're really, you know, that's my first go-to, but I also felt like it was the first time in an audition where I was like, you know, like, how can we talk about this on here? But like, how willing am I to treat myself? Like, shit, I'm not anymore as much. So like, no matter what happens if I, if I, you know, I'm not even sure I want to be an actor.1 (28m 36s):Right. So, so I, I have to get clear about that. I, so if I'm not really sure that this is my life's path, then, then, then the reason that I'm scared is definitely old stuff of being approved of and making a fool of myself and feeling like all is lost if I screw up, like, so that's what I'm working with. It's not so much that this is my dream. And I want so badly to be in this film that I'm so nervous. It is old stuff, which doesn't mean that it makes it easier, but it's just clear. So I'm getting clear. So I was like, all right, if that's the case, then how can I work with that? And I just, I just had, I was like, you know what?1 (29m 17s):I'm not going to pretend that I don't care because I do, but I'm also not going to, I just put my foot down in terms of beating, being, being cruel to myself, I put my foot down. I said, I am not, I am not willing to berate, belittle and hurt myself if I screw this up. Or if I don't get it, or if I do get it, I am not no longer willing. I'm just going to have to set some boundary with myself about my, my, how far am I willing to go with my, with my weirdness craziness and, and self abuse. And I just, so I didn't go there and now I'm on top of avail.1 (29m 59s):I mean, you know, it's like, it, I'm not saying they're totally related, but I'm just saying like, it makes sense to me.2 (30m 5s):Yeah. It makes sense. Because every time you go further and that's been the case like over the last year or the, we talked about this every time you you're like, I don't, I, you let it go. And all of a sudden,1 (30m 17s):Yeah. And like, no matter, I think the, for me, the freedom lies in no matter how badly I do or think I do, no matter how awful rotten, I may screw this up in my head, or even in real life screwed up because it happened, I am not willing to treat myself like a piece of shit. Like that's where I got to, because I thought that is the only thing I have control over really, really the evidence shows that I have control. And even that is questionable sometimes. But if I'm going to have control or ownership over anything, let it be about how I treat myself as I go through this experience or I'll still do it, or else not stop auditioning because this doesn't, this is not.1 (31m 7s):And so I thought, okay, okay, can I, can I, and I, and I, I really was like, I was like, breathe. You know, it's a zoom audition, it's weird breathe. And it was just me in casting. And then I just went right to check avail, but which is great, but two scenes and w and we'll see, but I think it just, it's all fodder for like, can I put, can I stop treating myself terribly well,2 (31m 32s):Well, you know, one thing for certain, you can never go wrong when that's your guiding principle, you can go wrong when your guiding principle is, will they like me? And is it okay at, am I good enough? You know, but you'll never go wrong with when you're trying to set when you're just trying to do something intentionally. I mean, that's kind of what we're talking about is like being extremely intentional, right. Instead of reactive about right. How do I want to wind my way through the situation? What do I want my, this is just a concept that I really am new to, what do I want out of the situation? How do I want to reflect back on how I conducted myself, forget about what I want them to do.2 (32m 13s):Right. Because that's what I've been focused on my whole life, the other person to do.1 (32m 17s):Right. I, I, how can I make, how can I, how can I yeah. Make this easier for them, better for them read their mind, do what they want me to do. And I'm like, oh my God, that, that, that not only forget, it's not, it can't happen because in my make-believe mind that that, that doesn't come into play, but it, it, it feels terrible. And it, and it increases my anxiety and depression because it's so, it's so unattainable. So at least if I, if, like you said, like, if I'm the, if I'm the problem, right. If I'm the problem, that means that I'm also inside of me is also the, when the solution, the success, you know, that, thank God.2 (33m 7s):Yeah. Yeah. Thank God. Yeah. That's the best news. So I have, I actually was just a couple of days ago thinking about you and your career paths and, and, and like the things that you have described to me, like you, you basically pursued acting because of your relationship with this other person who you wanted to emulate. And then you basically, you know, got the job as the, as the Hollywood assistant when somebody else came. I mean, it was all kind of, you know, not, maybe not that intentional.2 (33m 50s):And I remember having like, kind of a aha thought about it. I should have written it down because it's not occurring to me right now, but it was something about like, maybe it was just that the further she goes in figuring out the basic questions about what she really likes and what she really wants, this is going to be less and less of a thing. Like, you're the thing that you you've said a lot. Like maybe I should work at seven 11. Maybe I should work at this bakery. I don't know. There's something to it that I feel maybe it's that I feel you're really changing for yourself right now.2 (34m 35s):I see you approaching things with a lot more intentionality1 (34m 38s):And you know, what was so crazy is that I think this podcast for us is a way of actually looking at all that stuff. So like, even if the POC, I mean, I hope it goes, goes a global. And, but even if it's just for you and I to look at what the hell am I doing? Who am I, how, how can I make things better for myself? And thus be a better like kinder human probably for everybody else. Then that was all worth it. Because it's like, I could not keep going the way I was going and expect to be happy, or even at peace or even do something fun. Like I had to look at like, wait, wait, wait, what is underneath all this?1 (35m 20s):Like, I should just work at seven 11. And, and I, you know, and we say, this we've said this before, but like, I want to be clear, seven 11 is not the problem. I am the problem. Right? So like you work at seven 11. That's not what I'm saying. What I'm saying is that, like, for me, what using that is as an excuse and our tool to try to figure out like, okay, where do I belong? That's what it is like, where do I belong? Where do I want to belong? Where can I contribute? But also, like you say, like, what do I want, where do I want to belong?2 (35m 54s):It's actually the, are you my mother phenomenon? You know? But in this case regarding like, where's your place in the world instead of wandering around wondering like who's in charge of you or whatever, it's that it's, which actually they're both the same thing. They're both about belonging. Right. But instead of you making it about, I guess that's what it is just like, instead of you making about another person or another institution or another entity, you're figuring out where you're guiding your own self1 (36m 21s):And myself and like, yeah, that's just it. Where do I belong? And I don't know yet, but I I'm pretty sure it's not at the am PM. Do you know what I mean? I just don't know that that's going to do it for me.2 (36m 35s):No matter how good those hot dogs are, future, how,1 (36m 41s):How good the deal is, two for one veggie chips. You know what I mean? Like,2 (36m 48s):So then when I went to that amp, it was so like, it, no, it was like1 (36m 55s):Vibration whole. They it's like a club. It's like a club on the weekend.2 (37m 1s):That's what I felt like. I felt like I walked into a club with no music and the lights were really bright.1 (37m 8s):It's crazy. It's put the same vibe. Like, you're like, this is a whole scene here. There's a lot of back and forth.2 (37m 19s):Yeah. About that all the time at gas stations, by the way, because the people who work at gas stations, I think tend to be people who are in transition. And I just observed so much, like, I love the idea that at any place I am visiting in a transitory fashion, there's a whole entrenched, you know, rich, layered history and culture. And that I just don't have any idea about because how could I, it's fascinating to think about,1 (37m 54s):Well, that's why you're a good writer too. It's like you get in there and you can like observe and like create w like it's a whole world. That's there2 (38m 3s):To be curious. Fun to be1 (38m 4s):Curious about. Yeah.2 (38m 17s):Today on the podcast we talked to Amar derisory Amar is originally from Jordan, grew up in Michigan, got his BFA and his MFA, and is a fan of Shakespeare, has some great Shakespeare series that you can check out through his website. And we enjoy talking with him about what his lasting impressions are of attending theater school. So please enjoy. So Amar, congratulations. You survived theater3 (38m 54s):School. Thank you. Yes, I did. You2 (38m 57s):Survived it twice cause you got your BFA in Michigan, right? And then your MFA at DePaul. That's correct. So you must've been very committed to being an actor from high school or earlier.3 (39m 9s):Yes, that is correct. I think high school is where I got the bug. Some teacher encouraged me to be in the school play and I'm like, ah, no, no, no, you have a great personality. You can do a kid. You can do it. I'm like, all right. And as soon as I got on that stage, it was like, right there. It was2 (39m 30s):The feeling that you had.3 (39m 32s):It's it's, it's, it's it's excitement. And you get these, you know, these vibes like, oh my God, I'm doing something. This is fun. It's like an addiction. It really is. It's like anything else? I just, I just went crazy. I started eating the scenery because it was like, I'm enjoying, this could be another role. At one point I wanted to play like 5, 6, 7 roles, you know, because I just said, I want to do everything. It was that much excitement. So that's when I decided to really pursue this,2 (40m 4s):I think to do with, I don't know something about the way you just said that made me think you were set. You were keying into people are listening to me here. Was that something3 (40m 15s):People were looking at me, people were watching me. People were doing that. Yes. There to a certain degree. Yes. But you know, not to the point where I want attention, you know, like, look at me, look at me. But I wanted, I wanted to make people happy, laugh, cry, you know, do something. That was the thing. I think, I think what got me was when people reacted to your performance, people that then it's like, oh my God, I did that. I did that. And that is something that is just, you can't, you can't describe that feeling is, is, it's just, it's like a forest.1 (40m 52s):Something that you said that really sparked a memory of you for me was like that your you are, and look, this is not everyone. We're not a one-sided, but you are a people person. Like I remember that about you. Like, there are some people who just like people, I'm a people person too. But, and I, so I recognize that. And other people where I feel like from seeing you around in school and in plays, like you really had the ability to connect with a wide variety of different kinds of people. Do you know where that came from? If that's true, if you,3 (41m 31s):I identify with that. I, I make friends with people on the street, just I'll just say hi to anybody. You know, I that's just my nature, my personality. I believe if you say hi to someone, you, it just makes them feel better. I think, hi, how you doing? Oh, hi. Oh, kind of surprises them that, you know, I don't have any money to leave me alone. I think some people get, get pretty weird about it. When somebody like myself says hi, where it comes from. I can't tell you. I think it's just, I've always been an outgoing person since I was a kid. I remember my parents telling me that, you know, this kid is going to be something he likes to talk to people.3 (42m 16s):Just, I would just talk to people. Hi,2 (42m 20s):Do you have artists in your family?3 (42m 23s):No, I am the only artist. My brother, my brother's a doctor. My sister is a, is a teacher and an administrator at a school in Abu Dhabi and the Emirates. So I am the only performance.2 (42m 39s):It's always so interesting to think about. Like, of course, going back throughout your family's lineage, you're not the only artist you may have been. The only one who had the opportunity. Like this is the case for me, had the opportunity to pursue it. You know? Cause what I found after I decided that I really wanted to pursue this. It's like, oh, but then my aunt can kind of paint and this one can kind of write a little bit. It just feels like it's not something that they pursued for their, you know, for their regular career. But there it's a privilege, I guess that we, you know, got a chance in school and after to pursue it. And you had some great, you were in some great plays, Romeo and Juliet landscape of the body during the3 (43m 21s):That's right. Oh my God. I still have that picture of me and the golden matress that John Bridges, I'm going to send it to you. I got a whole bunch of pictures of sent to you today. So I was rummaging through the old photo albums and I found a whole bunch of DePaul pictures, but yeah. Yeah, that was, that was an interesting play. I landscape with the body. It was just a, a fun, a fun play, a fun.1 (43m 45s):Now did you, you said that you got the bug early on because the teacher sort of encouraged you then how did that grow into? Because I'm always interested in like, okay, so when you're in a play and I'm sure that, you know, you were magnificent and they, but how did it people loved you and you loved it, but how did that transform into like, I'm going to go to a conservatory because that place was, you know, DePaul, the conservatories are crazy. So how does,3 (44m 13s):Okay, this is a good story. I'm glad you asked this. No, I was, I was doing a play in Flint, Michigan and the lead actress, her and I were backstage and we were just chit chatting before our next it was, I think it was during intermission, but anyway, it doesn't matter. She actually, she goes, well, are you going to go to grad school? Are you going to continue your journey? And I said, I'm not sure. I thought I'd just stick around. Maybe do some theater around here. She goes, no, no, no, you should really go. There's this place called DePaul university. It's a great school. You should go and check it out. I said, really? I said, where's that Chicago? Okay. Well, you know, sure. I go to my, my professors that my undergrad school and they paid for the application fee.3 (44m 56s):I mailed it in. And I think within, I think within a few weeks I got my appointment to audition for the school. And it was in January, in the dead of winter, in Michigan, Nine feet of snow as we're driving to Chicago, I'm my friend and I, but yeah,2 (45m 20s):You applied. It was the only place you applied for grad school.3 (45m 24s):I applied at Purdue university as well. I got accepted at both, both places. The, and it was Purdue or Chicago, DePaul. But I think with Purdue, you're in the middle of nowhere. It's God's country out there. There's just the school. And that's it. Where you had the theater school in Chicago and a vibrant city. It was very infectious and scary at the same time. But that's when I met the infamous John Bridges. I thought I blew it to be totally honest with you. I thought I blew it. I did a, I did a classical and I did a contemporary, obviously Joe Slovak, John Bridges.3 (46m 4s):And I believe Betsy Hamilton where my, my auditioners, if you will. And I thought I did okay with the classical, the contemporary was kind of thing. I got an, I, you know, green to the business, didn't know how to actually present a monologue or, you know, my teachers back and undergraduate say, look, just put them together. Just stop and blah, blah, blah, or just, you know, they, you know, they told me what, what I had to do, but I just remember saying goodbye and thank you for the time. And Joe slow. It was, you know, okay, you got a good job, good job. You know, you have a great journey back home. And I said, okay. And my friend goes, how did it go?3 (46m 46s):And I'm like, ah, forget it. I'm going to Purdue. I'm going to Purdue. And then, and then shoot, I auditioned on a Saturday in January. I get the letter on a Tuesday. And I remember my friend goes, Hey, you got this letter from DePaul. Why don't you open it? I said, oh, it's BS. They're just telling me they're not going to accept me. Look, I'm going to open it. I was about to rip it. And I said, oh, but it just opened it. And I'm like, oh yeah, let me read it to you. You know, I'm going to decline. You have been formally accepted.2 (47m 20s):Oh my God, that's amazing. That's a side note. Do you guys know that in today's day and age, when kids get their acceptance, it's email obviously. And then a lot of schools or maybe even most schools when they open the email, if they got accepted, it's a confetti graphic. So like they know as soon as they open it, if there's confetti, that is so it's so wild, right? Like the things that they could never imagine having to wait in a letter to come in the mail,3 (47m 52s):But2 (47m 52s):You did BFA. So why, why are you saying you kind of were green? You knew about,3 (48m 0s):I mean, I knew about acting it's I, I didn't know the, the, what we call the business affairs of acting the mechanics of acting, I guess I think, you know, we all experienced this. I'm sure guilty is charged. You know, when you're young or you're an actor, you really don't pay attention to a lot of things. You just want to, you know, you want to act, you want to do a performance. You want to do the best you can, of course. But then you also want to party afterwards and do all the things that young people do. And I, and I think I was talking to one of my fellow actors the other day and he asked me if you were to go back to grad school, what would you change? Or what would you, what would have helped you? And I said, have a class that teaches the business of acting and okay, these actors are going into Hollywood.3 (48m 47s):They're going to New York. They're going, whatever, teach them the basics of what the business of acting is. They got to know what a contract looks like. They got to know what business affairs mean. They got to know all this terminology. They got to know all that stuff. If I had known that that would have been a great tool for me coming to LA, coming to LA, I was green as green as a Shamrock, you know, just green. And I had to learn the hard way1 (49m 10s):And we'll get back to the LA part, but I'm not so curious about, okay, so you get into DePaul and then when, and usually being zest this, but I'll ask this, like when you get there, how did it match up to what you were thinking? Were you like, what the hell is going on? Why am I rolling on the floor to music or what?3 (49m 29s):I had no idea what was going on. And that I think scared, you know, on a side note, Chicago scared me. I was homesick for quite a bit of time before school started, I got to, I moved to Chicago, I think three weeks before school started. So there was three weeks where I did not know anybody did not know. I didn't know. Oh, I was in bad shape. And thank God for friends and family. Of course, you know, they call and man, you sound depressed, which is that dude. I'm by myself in Chicago. I don't know anybody. I don't know the city. It's a big city. It's like Flint times 20.3 (50m 9s):It's huge. But, but I think I, to answer your question about the school when the first day of school, wow. What up Betsy Hamilton's class. I'm like buoyancy. And I'm like, what the hell is she doing this buoyancy famously I ever done? And then it clicked it. Then I'm like, okay, I know what she's doing. All right. Okay. Joel, slow acting class. Woo. You can't do that. Okay. You got to do it this way. Okay. This little guy is running around this class and he inspired me.3 (50m 55s):I'm like, this is beautiful. This man in his seventies is running around like his, a guy in his twenties. He loves acting grub. Kowski all that stuff. And he was amazing, but4 (51m 8s):We didn't have him. So he's he was real. Hands-on3 (51m 11s):Like hands-on he was, I mean, I, I won the lottery with Joe slower. N not, not to say anything negative about Jim ocelot or anything like that, but he was just, he was on hands. And he really gave you when he gave you a note, he gave you a note. Okay. You know, he's like Amar, okay. Your legs. I don't know why your feet are doing that on the chair. It's like, it's not, it's not, that's an ism of yours. We gotta, you gotta, yeah. That's kinda like your feet, your feet, your body, your, your, your body is your instrument. And, you know, got to learn all this stuff.3 (51m 52s):And it's just woo. Graduate school. This is graduate school. So, yeah, that was a, a couple of experiences. I'm trying to think.1 (52m 2s):Did you feel like you fit in? Did you, did you, what was your, what was your vibe like there?3 (52m 10s):Unfortunately, my violet started to change in year two. That's when I started to feel, not that things weren't clicking for me or anything like that, but it just seemed like favorites started to appear. Oh, okay. You know, it's like, it happens. It's not something that, you know, it's done intentionally. It just happens. But if I, if you guys remember Eric Hayes, Eric, Michael Hayes,4 (52m 43s):Isabel. I haven't3 (52m 44s):Thought he was in Trojan women. I think he1 (52m 50s):Was like, yes, yes, yes, yes. So3 (52m 52s):He became a seminar. Yeah. Him and I don't know him and I beat we're we're unofficially the outcasts of the graduate class more or less. We weren't, we were not that, not that we were mistreated or anything. I'm not saying that we were mistreated by it just, it just seemed like we were known as the two actors that really didn't take things seriously. And I think that's a fallacy because I think I was taking it very seriously. I was just bored at times. I wanted to act, I didn't want to sit in a classroom all day and just sit. I wanted perform. I think, I think I understand the classroom format where you sit down, you watch your colleagues do their scenes, but I was getting fidgety, fidgeting, bored, bored.3 (53m 39s):And to the point where you dread going to school, it was like, oh, I've got to go to acting class and sit there for two and a half hours. And watch people act, you know, which I get. And again, that didn't sound right coming out. But I mean, it's just, I loved, I loved all my classmates. I loved all my classmates. I think from Derek smart to Eric Hayes, the niece Odom, Heather Ireland to name a few, you know, they, they were fantastic. Pat. Tiedemann Kendra. I mean, and one of my, let me aside. No, one of my favorite, favorite times on DePaul was with you. Gina.3 (54m 19s):Do you remember you? And I started a film. I, I did.2 (54m 23s):Oh, say what3 (54m 27s):You guys remember bill Burnett. The voice in nucleus. Okay. So for our, for my final exam, I wanted to film a short film about quitting smoking. And2 (54m 38s):Coming back to me, wait a minute,3 (54m 40s):You were asking me, I had to, I rented a camera from the video department on the campus and I walked into the lobby of the theater school and you were there and it's like, I need to shoot a scene. It's like, oh, let me be in it. And I said, okay, we'll just improv. We'll just talk about quitting. So we set the camera and you and I sat in the lobby and we filmed it and we did it. I think I still have it. I'll find it for you in 1994.2 (55m 7s):I have to tell you something, because I know you haven't been able to listen to the podcast because our website had a broken link. Okay. But what, what I should tell you is that boss and I have huge memory gaps about our time. There are many things we do not remember.3 (55m 28s):What2 (55m 29s):What's kind of weird is I sort of remembered this film that you really are hearing about it. Yeah. I mean, I believe you, I believe both of you. Okay. How exciting, you know, why I would really love that is because just last week I was saying to boss, wouldn't you like the opera? Because nothing was recorded. Really? Not even our showcase or if it was, it's not something I ever saw. No. Wouldn't you like to go back and just watch yourself? Because now we've spent basically a year and a half fully immersed. We have talked to 55 people about what their theater school experiences.2 (56m 9s):So we, we are getting back on board with what it was and we're slipping, you know, different people fill in like little bit of blanks. But now I like, now I'm just so curious about, you know, what, what, what was the experience of what was I like at that time? And a lot of people don't remember us, so we haven't really gotten this feedback from3 (56m 29s):Yeah. I mean, I remember boss. I remember all you guys. I do remember a lot of, and there's a lot of people I don't remember. I mean, I think when I was on your website the other day, you know, trying to figure out what you're like and it, which is congratulations to the both of you. I think it's awesome. I saw Tate Smith. I saw a picture of Pete Smith and I completely Like that. It was stuff like that. You know, you running into people that wow, amazing. I'm sorry. Go ahead. I interrupted you.1 (56m 59s):No, no, no. I was just going to ask, like, what was your, okay, so, so year two, you started getting itchy and like, but how did you feel? We talk a lot about like casting. How did you feel about your casting in shows? Which most people do? Like, there's been like one person that we've talked to. That was like, I loved my casting, but everyone else is like, I fucking hate it.3 (57m 23s):Nope. I haven't hated it. I hated it. And again, like I said, it happens. I think, I think a lot of the directors, the professors who are directing and all that stuff were just picking their favorites. They're not, if we're going to be in a learning environment, then you, you should take a risk with me, with somebody else with, with Heather. I think nobody was taking any risks. And everyone's like, Hey, I gotta put on a show and it's gotta be the best show I possibly can. And I'm going to use the best actors or that, you know, my opinion, the best actors. And it's like, you know, you know, if you're, you're not preparing us for the real world, you know, if you're going to do this, you know, this blind casting, whatever I thought I thought, Hey, it's a learning. I'm sure. I'm sure one of them, I'm sure Jim Ossoff will cast me.3 (58m 3s):Never did Joe slow cast me, you know, and his journey of the fifth horse. It was a great experience for me. That's when you learn, I didn't want to be the lead role. I want to learn. I want to learn, teach me, teach me what it like to perform on a stage that would typically be a stage from new in New York or a main stage in Chicago. That's where we got to learn. Right? Yeah.2 (58m 29s):That's another thing that we've really uncovered here and it, by the way, it makes perfect sense. I'm really not maligning anybody, but that the professors, you know they, they were also trying to express their own artistic desires through the projects that they were casting. And I'm sure nine times out of 10, they got carried away with their own ego about what they wanted to like, actually, we just heard this story from the episode that's airing today with Stephen Davis.3 (58m 58s):Oh, wow. Yeah.2 (59m 1s):That's a great episode. You listened to it. He re he begged the theater school to do Shakespeare. He begged them to do Romeo and Juliet, which they did. Yep. He, he really wanted to be Romeo. He didn't get cast. And he was told if I had cast you, I would had to gone with my fourth choice for Juliet of the height, because Karen mold is very tall. That's a perfect example of something that should be okay in theater school. I understand you don't want to do it when you're charging $400 a ticket on Broadway.1 (59m 38s):We're in a film where the camera's going to be jacked up, but like, but just cast. And sometimes, and sometimes I would think that, and maybe they do it now. Like sometimes you would say, why not? No. Cause it's obvious when someone wants a rule, right? So whoever wants this rule so badly, for whatever reason, they've never been cast and whatever, give them the role, let them do the role. Like maybe it's, maybe it's not, it's a long shot, but that's what school's about is long shots and learning. Right? It's like, let, let the person do this. You know, they're dying to play Romeo. Just let them play Romeo.1 (1h 0m 19s):Yeah.3 (1h 0m 19s):Yeah. Okay. And excuse me, the, if, if, if you don't mind, you know, now that you guys have you, of course, but I'm just saying the play was set in the middle east.2 (1h 0m 31s):Right. Very3 (1h 0m 32s):Last time I checked I'm Jordanian.2 (1h 0m 35s):Right?3 (1h 0m 36s):The play Romeo Lord Capulet he was Jewish. I'm sorry. He was the Jewish character, but yeah, I get it. I totally get it. I totally get it. And I agree with Steven on this one, because it just seemed like, it seemed like we are in a learning environment and let's learn. And if you're going to, if you're going to just cast people because whatever, then, then what's the point of going to the, to the fricking school and spending, spending $16,000 a year. I don't know what it is today, but1 (1h 1m 10s):It's like 48 or some craziness3 (1h 1m 13s):For paying student loans for three years, three years of, you know, every now and then some BS. Okay. Other than that, you know, the two best teachers that I had over there, arguably as Dr. Bella and Joe slower. And I think because they come from, you know, such interesting backgrounds, you know, Joe slug being Polish, you know, Bella, it can be in a Russian Jewish woman. Oh, I got a lot of stories while her, oh my God.1 (1h 1m 43s):She did she help you? Do you feel like she helped you as a teacher?3 (1h 1m 47s):Oh, she was. She, she, she, I am in her debt, you know, when it comes to acting and stuff like that. I think, I think she finally, I think she was the one that I finally, I realized what it's like to feel the, you know, like with the apple and, you know, I didn't know. It's like the Pandora box thing that she was talking about. And then it just like a light bulb over my head. It's like, oh my God, the feel what it's like to be in winter, you know, even though you're on the stage and it's hot, you gotta like, as if it's 40 below zero, she really, that, that, that, that technique, that acting technique was just incredible.3 (1h 2m 28s):I am forever in her dad and she is awesome. She's an automation rest in peace. And I, a couple of great stories about her is one that when she would like to meet her students before class, so we will walk into her office and talk and I'm sitting there in the office, she's looking at the hair. She goes, okay. Oh yeah, that doesn't sound English. And I said, oh, well, it's, it's Jordanian. I'm from the police. It's Jordanian. She goes, oh, well, you know, I'm Jewish. And I remember talking to my dad, I said, dad, I, I have to talk to this Jewish professor.3 (1h 3m 9s):You just say we're cousins. Okay. Because we are just say that don't rock the boat. Okay. So when she said they're doing, you know, I'm Jewish. And I said, well, well, yeah, I do. I do. But you know, being Jordanian and you being Jewish, you know, we're, we're practically cousins. So, you know, it's great, right. Without a drop of a dime, she goes, well, we might be cousins over, not exactly kissing cousins.2 (1h 3m 38s):Oh, that's hilarious. By the way, in case you don't know, I might have mentioned this on the podcast. Once before there exists on the internet, a Hastick interview with Joseph Loic and Bella it kin, okay. Was it conducted by studs, Terkel? It might've been, or some radio project. And the two of them talking about their approaches to acting and to teaching acting is really, really good. Yeah. You got to check it out. Right. So she really helped me. W we didn't, neither one of us had either one of those teachers, unfortunately, but we love,3 (1h 4m 13s):She, she was great. And I would give her ride home, poor thing. You know, she, you know, her husband, Frank was very ill at the time and she was like, oh, muck. And you're giving me a ride home. And I'm like, yes. Yes. Ma'am. And I was like, oh, you'll cause kind of a mess there. What'd you just get in the car.2 (1h 4m 34s):We know you had a car. That's K that's it wasn't that useful for people in school? Did you, and you messed up, I guess all the MFA's probably lived in apartments or was there any dorm living for MFS?3 (1h 4m 45s):No, no, no. Don't limit for MFA. So we had to live in apartments and my first apartment was a studio. And then I think the second year I moved in with, with Eric, from school and then we had a former student. I don't know if you remember John Soldani by any chance familiar. He was first year grad. And then I think he was cut from the program after the first year, but he came back to Chicago. So we were roomies. And then I met my girlfriend who was also a student at DePaul, Alicia hall. Right. So we, we were together. So we moved in together, I think, mid third year, something like that.3 (1h 5m 29s):I'm not sure, but yeah. And then I stayed in Chicago after graduation. I just decided to stay in Chicago and did get quite a bit of theater in Chicago and then decided to do the LA thing. And,1 (1h 5m 41s):Okay. So, so I just have a question about what was your experience like of the warning system and the cutting system where you weren't?3 (1h 5m 49s):Oh, good question. Good question. Oh, I'm glad you brought that up. I think it's, I think it took the attention away from the program because I think all the students were more concerned about the warning, getting warned and getting caught than anything, and that affected their performance in class and it affected their performance on stage my opinion. I remember some friends of mine who were just scared and I admit I was very, very nervous, but when I didn't get warned, then all of a sudden I was able to concentrate on school. I was like classes where the people that were warned, all they can think about what I can do to not get kicked out of the class.3 (1h 6m 31s):And then next thing you know, it just, it just really, really was detrimental to their performance in my opinion.2 (1h 6m 38s):But it took the focus3 (1h 6m 40s):Away. Oh yeah. Never worn. I was the only, I was the only male that wasn't warrant. All the male actors were warned except for me. And we ended up having eight graduate students, three men and five women, which I mean Derek smart, Eric Hayes and myself, and then the five women, Denise home, Heather Ireland, pat Tiedemann Kendra. I forgot her last name. Thank you. And Alicia, Alicia, Alicia was in the other class. Lisa was in the other, but I remembered you guys remember a teacher named Susan Lee.2 (1h 7m 24s):Her name has come up at times on this podcast. Yes,3 (1h 7m 30s):She was my advisor. She was the one that told me whether I was warned or not, or kicked out or not. And she said the most procurator thing. And I'm not sure if it was from the professors, but she said, well, you're not cut. You're not warned. We just don't know what to do with you. I just looked at her. What do you mean by that? Well, I mean, you're, you're, you know, I don't remember the conversation.1 (1h 7m 55s):Did she say that she raised, she say something about being a, from the middle east or3 (1h 8m 3s):Yeah, something like that. And I said, well, why don't you, why don't you and your professors just ask me and find out what you can do. Right? I mean, just I'm middle Eastern doesn't mean, I don't know how to act girl. You there.1 (1h 8m 23s):Wait a minute. So wait a minute.3 (1h 8m 25s):There's more than one professor that kind of, oh, I'm sure. I'm sure I'm not going to mention any names, but2 (1h 8m 32s):There was quite a few.1 (1h 8m 35s):Yeah. Right? To say that, that, that being from the middle east, my guesses, people were assholes about it. Like right. Like racist, racist, assholes.3 (1h 8m 50s):I mean, and that's what was going to be NASA, regardless of what race you are. So, you know, you're going to be an asshole. You're going to be an asshole. If you are a mean person, you are a mean person. It has nothing to do with your gender, your culture, where you come from, you're you, if you're a mean person, you're a mean person having said that there was quite a few people that said some things to me while I was in school, which was very offensive. But what do you want me to do? Fight every person. That's some kind of, you know, I was called many things. I was called camel jockey. I was called by students. Oh, somebody students. Yeah. Mostly by students. You know, I was called no, no, no. It's okay.3 (1h 9m 31s):Hey, that's you know, you, you grow from it. There was, there was one person that called me a word. I don't think I can say it on this podcast, but it's a, it's like, whoa.2 (1h 9m 42s):Well, well, we've heard so much about from every alum of color that we've talked to, is this thing that you're describing of maybe they even got selected for the program with the idea, oh, you know, we don't have anybody who looks like this in our program, but then it became, we can,1 (1h 10m 2s):We don't have any money.2 (1h 10m 3s):We can only find a role for that person. If it's clearly identified in the text that that person is that ethnicity. Meanwhile, all the white actors could be up for any role. Right. That, that was sort of the default. Like if you're white, then you can play anything. But if you're not white, then you, then you have to play a role that's written for whatever your ethnicity is.3 (1h 10m 27s):I agree with that. And yeah. And I think, I think Christina dare kind of broke the window on that with Romeo and Juliet, by casting Leonard Roberts as Romeo, you know, an African-American man. And he was great in the role. He was great. Absolutely. You know, she passed me as, you know, as a Jewish man, you know, even though I'm there, I like that. I I'm playing against type. This is, these are the rules that I would like to be challenged with. And unfortunately I wasn't challenged with over there. And I think the school to your saying, Gina, I think the school was just kinda like, eh, let's just bring this middle Eastern guy. See what happens. Let's get this African-American person. Let's see what happens. Let's get this Indian person. Let's see what happens. And nothing happened, nothing happened.3 (1h 11m 8s):And, and by the third year, by the third year, I was just, I was done. I was done. After, after Shakespeare, Susan Lee, I was done. I was done. She, she was a hard teacher. She was a hard teacher to deal with both academically. And you know, personally it's just, just was hard. It was hard to deal with her. I'm not, I know Bobby, some students have some harsher words for her, but again, I was going back to what I said earlier, Eric and I were pretty much marked by her that we were not serious about Shakespeare.3 (1h 11m 48s):And I was very serious about it. I just wanted, I remember students coming up to me, they tried to avoid being partners with us. And then I had one partner telling me, Hey, you better not fool around or do this. You know, you gotta be serious. I said, what the hell is wrong with you? And then when they find out the real me, and then it's like, wow, that's totally different than what I'm hearing about you. And I'm like,2 (1h 12m 11s):Yeah, this is serious. Is my lasting impression of you. I would never have said that you were anything but very serious.3 (1h 12m 21s):I appreciate that. I really do. I appreciate that. I

First broadcast on October 11, 1976. Studs Terkel discusses the transportation of students for school integration with psychologist Thomas J. Cottle. The main topic of conversation is Cottle's book, "Busing" (1976, Boston, MA, Beacon Press). Terkel and Cottle discuss busing in several cities, focusing on Boston, MA, where Cottle did his research and writing. They each read passages from the book, and discuss the relationship between busing and racism in America.

Derfor skal du lytte: Anders'Anden'Matthesen har i mere end 25 år udviklet sig til en institution på den danske comedyscene. Men hvad driver Anden og hvordan har Anders Matthesen fortsat med at udvikle det ene publikumssalsfyldende show efter det andet og samtidig filmhit som Terkild og Ternet Ninja? Det får du blandt andet svaret på i denne podcast, ligesom du hører mere om Anders nye bog Livsstil er en livsstil. Episode 57: Rollemodellerne Podcast med Anders ‘Anden' Matthesen   Hvem er Anders Matthesen? Den første gæst i denne sæson af Rollemodellerne er en mand af utrolig mange titler. Han er standupkomiker, skuespiller, forfatter, sanger/rapper og instruktør for bare at nævne de vigtigste. Det er selvfølgelig Anders Matthesen, som også går under kunstnernavnet Anden. Anders har haft en karriere på mere end 25 år, som en af Danmarks mest populære komikere med bl.a. shows som Anden på Coke, Anders, Shhh og 25 års jubilæumsshow. For nyligt har han haft stor succes med filmen Ternet Ninja 2, og han udgiver i dag sin selvhjælpsbog “Livsstil er en livsstil”. Hvorfor er Anders Matthesen gæst i Rollemodellerne? Anders Matthesen er en institution i dansk underholdning. Han har i den grad bevist, at han har formået at holde sig i toppen inden for hans felt over rigtig mange år. Alene det, han har opnået karrieremæssigt i comedy og underholdning med film som Ternet Ninja og Terkel i knibe og med hans shows, som altid tiltrækker enormt mange mennesker, og som altid formår at løfte det kunstneriske niveau til et nyt niveau, gør at Anders er en sand rollemodel. Han er virkelig beundringsværdig og værd at tage ved lære af. Derudover synes jeg, timingen var rigtig nu, hvor Anders har skrevet bogen “Livsstil er en livsstil”. Her fortæller han for første gang om nogle af de erfaringer, han har gjort sig, og kigger med et humoristisk glimt i øjet på hele selvudviklings- og coachingmiljøet, hvilket i den grad både er lærerigt og underholdende, men selvfølgelig også inspirerende. Anders Matthesen er en helt oplagt deltager i Rollemodellerne, og timingen var god, da “Livsstil er en livsstil” lige er udkommet. Derfor har jeg valgt at invitere ham med som gæst i podcasten. I snakken med Anders kan du bl.a. høre om: Hans nye bog og hvad der, ifølge ham selv, er den vigtigste pointe Hvordan han fra starten forsøgte at nedbryde de uskrevne regler, der var inden for stand-up Hans motivation for at nå til tops, der altid har været der Ændringen i hans forhold til feedback over tiden Forskellige metoder han benytter for at passe på sig selv i hans karriere Tak fordi du lytter med, og husk: Hvis du er glad for podcasten, så efterlad gerne en anbefaling eller et review Kh Bjørn   Rollemodellerne Episode 57 – Anders Matthesen Notat og tidlinje: 00:00 – Rollemodellerne introduktion 04:00 – Anders Matthesen bliver præsenteret ved hjælp af titlerne om ham selv i hans egen bog 05:25 – Bjørn roser Matthesens nye bog 06:35 – De snakker kort om, hvorfor bogen ikke er kommet tidligere 07:45 – Om billederne i bogen som kan bruges som plakater 09:10 – Hvad der førte til, at han endelig trådte ind i en karakter for at dele sin livserfaring 12:10 – Det vigtigste budskab i bogen ifølge Anders er at huske at være ydmyg og taknemmelig 14:40 – De snakker om at give den indre stemme, der kan trække én ned, et navn 17:05 – Hvordan modtagelsen har været på hans bog 19:30 – Grunden til at han valgte at skrive den nu 22:25 – Hvorfor vi som moderne mennesker søger en form for ‘profeter' 24:45 – De snakker om, at det med de sociale medier er blevet nemmere at ytre sin mening 28:00 – Anders fortæller, hvordan der i datidens rapper- og undergrundsmiljø var en masse forskellige dogmer, man burde følge 30:30 – Inden for stand-up'en var der også uskrevne regler, som han fra starten forsøgte at nedbryde 32:45 – Modstanden og kampen skabte også en vis fremdrift i ham 36:35 – Han fortæller om hans ‘begynder-sind',

A reading from one of my favorite books, Studs Terkel's Working: People Talk About What They Do All Day and How They Feel About What They Do. Here, Terkel interviews a waitress named Dolores Dante. Any comments, or suggestions for readings I should make in later episodes, can be emailed to humanvoiceswakus1@gmail.com. I assume that the small amount of work presented in each episode constitutes fair use. Publishers, authors, or other copyright holders who would prefer to not have their work presented here can also email me at humanvoiceswakus1@gmail.com, and I will remove the episode immediately. --- Support this podcast: https://anchor.fm/humanvoiceswakeus/support

First broadcast on July 09, 1985. Terkel comments and reads poetry with Gary Merrill

First broadcast on July 01, 1981. Terkel interviews author John Wicklein. They discuss his latest book "The Electronic Nightmare: The New Communications and Freedom."

Today is the 109th birthday of writer and broadcaster Louis “Studs” Terkel, born in the Bronx, New York . His family moved to Chicago when Terkel was 10 years old and his parents ran rooming houses. Terkel remembers all different kinds of people moving through the rooming houses — dissidents, labor organizers, religions fanatics — and that that exposure helped build his knowledge of the outside world. Why are we born? We're born eventually to die, of course. But what happens between the time we're born and we die? We're born to live. One is a realist if one hopes. This episode is also available as a blog post. --- Send in a voice message: https://anchor.fm/waldina/message

First broadcast on May 10, 1982. Readings (3) from Charles Dickens and interviewing with British Actor George Harland.

First broadcast on May 01, 1981. Terkel interviews famous playwright Tennessee Williams. Williams gives his own reflections on his 70th birthday.

How much power does the CDC have during the pandemic? Surprisingly, that was not the issue before a district court considering the constitutionality of the CDC’s eviction moratorium. Instead, it was how much power does the federal government have, virus or not. As Michael Bindas explains, that might have tipped the scales when the court interpreted the scope of the Commerce Clause. Out West, Alexa Gervasi walks us through the latest challenge to mandatory bar association dues. The Ninth Circuit says a Supreme Court precedent is on pretty shaky grounds these days, but as it’s the Supremes’ job to sort its own cases out, the lower court’s hands are tied. That’s true for the free speech claim, but on freedom of association there’s more wriggle room. Terkel v. Centers for Disease Control and Prevention, https://files.texaspolicy.com/uploads/2021/02/25160210/045-Opinion-and-Order.pdf?utm_source=hs_email&utm_medium=email&_hsenc=p2ANqtz-_yj38m8dsqQuMMefjgKOjTMn-r345C5gtARN0qLZ_Yb3dh8Eo_3Ifdh6baGpsGd07pTnKW Crowe v. Oregon State Bar, https://cdn.ca9.uscourts.gov/datastore/opinions/2021/02/26/19-35463.pdf Michael Bindas, https://ij.org/staff/mbindas/ Alexa Gervasi, https://ij.org/staff/alexa-gervasi/ Anthony Sanders, https://ij.org/staff/asanders/ iTunes: https://podcasts.apple.com/us/podcast/short-circuit/id309062019 Spotify: https://podcasters.spotify.com/podcast/1DFCqDbZTI7kIws11kEhed/overview Stitcher: https://www.stitcher.com/podcast/institute-for-justice/short-circuit Google: https://play.google.com/music/listen?u=0#/ps/Iz26kyzdcpodkfm5cpz7rlvf76a Newsletter: ij.org/about-us/shortcircuit/ Want to email us? shortcircuit@ij.org

"It's impossible to work in the mornings," says Brett when asked about how he spends his day.It isn't that Brett is not productive in the earlier part of the day but mornings are when his three kids are home. In his opinion, working before the kids leave for school is calling for frustration for the rest of the day.Yet, in the end, when asked about what would he do if he had 1 extra hour in the day, he held up the coffee mug on his table with pictures of his 3 kids and wife and said, “I'll rock with them!”.For most parents, this is how time management works. The kids, their requirements, and then planning their workday around that.But in the case of Brett, he's not just a father of 3 but the CEO of ~15 person marketing company AND launching another startup. So besides running a family, he's also responsible for running and growing a business and starting a new one too.If you're thinking Brett would be struggling to manage all of those things? I'm afraid, you're wrong.That's what blew me away! Frankly, at the end of my conversation with him, I felt it would actually be easy for him to manage all those things with the several concepts, principles, and tools that he uses to guard and make the most of his time.One key learning that I took away from him is how he reflects back on the tasks that he didn't accomplish by the assigned deadline. He re-analyzes if those tasks were really important enough or could they just be delegated or completely ignored. Instead of, you know, feeling guilty and crying wet tears over them. I mean that's what I do at least. Unlike Brett, who does this whole re-analysis to help him make better time allocation decisions in the future.That's just one of the many useful techniques, concepts, tools he shared in our entire conversation. It's almost like a mini-productivity course if you read it through.Let's dive straight in!--Don't forget to check out Markitors and Terkel.Follow us on Twitter – https://twitter.com/Mailman_HQSubscribe to our blog – https://blog.mailmanhq.com

Studs Terkel was a Chicago broadcaster, author, and actor, whose oral histories came to represent the voice of Americans during the 20th century. His book, Working: People Talk About What They Do All Day and How They Feel About What They Do, was celebrated as a masterpiece of American thought and feeling and a presentation of real people. Despite being published in 1974, its stories, a few of which we read, still seem relevant today and worth considering in light of the current disengagement and dissatisfaction of the American workforce. We close with a song by James Taylor from the musical based on the book. A heartwarming episode.Working, the Book:https://bookshop.org/books/working-people-talk-about-what-they-do-all-day-and-how-they-feel-about-what-they-do/9781565843424The Studs Terkel Archive:https://studsterkel.wfmt.com/Thoughts? Comments? Potshots? Contact the show at:https://www.discreetguide.com/Follow or like us on podomatic.com (it raises our visibility :)https://www.podomatic.com/podcasts/deardiscreetguideSupport us on Patreon:https://www.patreon.com/discreetguideFollow the host on Twitter:@DiscreetGuideThe host on LinkedIn:https://www.linkedin.com/in/jenniferkcrittenden/

Jessa speaks with Justin Ward about the disappearance of the working class journalist. With local, small, and alternative newspapers folding, there are fewer avenues for people who want to be journalists to learn the trade except for in expensive, exclusive, and elitist university systems. How has that changed media coverage of politics and the economy? Why does the New York Times only know four Trump voters? How do we go about reforming a journalism culture that is cozy with power and devoted to the status quo? Support this podcast: http://patreon.com/publicintellectual

TRIGGER WARNING: This episode includes discussion of sexual violence. Listener discretion is advised. Today's episode continues with the subject matter of alleged sexual misconduct on the part of famous and powerful figures, and how we react to these accounts. This time, Jaye focuses on the case of Roy Moore, the former state court judge running for the US Senate seat vacated by Jeff Sessions in the state of Alabama. Moore, a controversial politician strongly aligned with the Religious Right, has been accused of making sexual advances towards teenagers, including a 14 year old girl, in the late 1970s. Why are many of us inclined to take the word of the accused if we can relate to them, or if they are powerful figures we like? Is “winning” more important than standing by our word? Citations: Dale, Daniel. 2017. “It was 40 years ago” Twitter. November 9 [4:07 PM – 7:05 PM]. https://twitter.com/ddale8 (November 12, 2017) Hannity, Sean. 2017. “Interview with Roy Moore.” Hannity [Radio]. November 10. (November 12, 2017) Huseman, Jessica. 2017. "Trump Voter Fraud Commission Is Sued — By One of Its Own Commissioners." ProPublica. November 9. https://www.propublica.org/article/trump-voter-fraud-commission-dunlap-lawsuit (November 12, 2017) Jenkins, Nash. 2017. “Senate Candidate Roy Moore Says NFL Protesters are Breaking the Law.” Time. October 18. http://time.com/4987441/roy-moore-nfl-protests-law/ (November 12, 2017) Keneally, Meghan, Verhovek, John, and Kevin Pliszak. 2017. “Alabama Republican Candidate Roy Moore's History of Controversial Statements.” ABC News. November 10. http://abcnews.go.com/Politics/alabama-republican-candidate-roy-moores-history-controversial-statements/story?id=51061832 (November 12, 2017) Manchester, Julia. 2017. “Falwell Jr. Stands by Moore: ‘I Believe the Judge is Telling the Truth.'” The Hill. November 10. http://thehill.com/blogs/blog-briefing-room/news/359779-falwell-jr-stands-by-moore-i-believe-the-judge-is-telling-the (November 12, 2017) McCrummen, Stephanie, Reinhard, Beth, and Alice Crites. 2017. “Woman Says Roy Moore Initiated Sexual Encounter When She Was 14, He Was 32.” The Washington Post. November 9. https://www.washingtonpost.com/investigations/woman-says-roy-moore-initiated-sexual-encounter-when-she-was-14-he-was-32/2017/11/09/1f495878-c293-11e7-afe9-4f60b5a6c4a0_story.html?utm_term=.a3e781f7c5d7 (November 12, 2017) Stetzer, Ed. 2017. “No, Christians Don't Use Joseph and Mary to Explain Child Molesting Accusations.” Christianity Today. November 9. https://www.christianitytoday.com/edstetzer/2017/november/roy-moore.html (November 12, 2017) Terkel, Amanda. 2017. “Mitt Romney Tells Roy Moore to Step Aside: I Believe Leigh Corfman.” Huffington Post. November 10. https://www.huffingtonpost.com/entry/mitt-romney-roy-moore_us_5a05be95e4b0e37d2f371e99 (November 12, 2017) Wegmann, Philip. 2017. “Alabama State Auditor Defends Roy Moore Against Sexual Allegations, Invokes Mary and Joseph.” Washington Examiner. November 9. http://www.washingtonexaminer.com/alabama-state-auditor-defends-roy-moore-against-sexual-allegations-invokes-mary-and-joseph/article/2640217 (November 12, 2017) Music: Raga Rage composed by Noisy Oyster provided by freesoundtrackmusic.com Opus Number 1 composed by Derrick Deel and Tim Carleton

The legendary polymath broadcaster Studs Terkel hosted a radio show on Chicago's WFMT for 45-years, interviewing an astonishing range of artists, thinkers, workers, and activists. The writer and publisher (and prolific interviewer in his own right) JC Gabel dips into Terkel's massive archive to highlight three moments where Terkel stumbles sidelong into moments of sublime illumination, including arm-wrestling with Zero Mostel, sparring with Muhammad Ali, and impromptu guerrilla street theater with the organizer Saul Alinsky. Produced by JC Gabel and edited by Nick White. Photo courtesy WFMT and the Studs Terkel Radio Archive