072 The Importance of Provocative Art

It's a solo episode this week fellow Daydreamers! What kind of art do you want to put into the world? Charlie talks about some of the important, provocative work that is currently being done. Andrew Dominick's Blonde and Ryan Reynolds Dahmer mini-series have stirred up some visceral responses, both positive and negative. Charlie shares his thoughts on these, along with a reflection on Cincinnati's 1990 obscenity lawsuit  against the Cincinnati Arts Center's Robert Maplethorpe exhibit. You can follow CBP on Instagram @creatingbehavior, and Charlie's NYC acting conservatory, the Maggie Flanigan Studio @maggieflaniganstudio. Theme music by  https://www.thelawrencetrailer.com. For written transcripts, to leave a voicemail on SpeakPipe, or contact Charlie for private coaching, check out https://www.creatingbehaviorpodcast.com

Transcript

Charlie:

So every time I put together a solo episode, I read as much as I can. I'm saving everything that I think is important to share with you. I'm watching what I can watch, I'm going to the theater. And at some point when I start to collect all this stuff, there's a theme that comes to me, an idea that can tie the whole thing together. And this week it really has to do with provocative art. A lot of the stuff I want to talk about today is controversial. Some things that have been released that people are losing their shit over. People are pissed off, they're offended, outraged, which is such an easy word to throw around. But it made me think about the importance of people putting art into the world that touches off something in the viewer. I think that's really important. And that takes a lot of guts. It takes courage. And that's what today's episode is all about. So put the phone back in your pocket, my friends. Creating behavior starts now.

Theme Song:

(singing)

Charlie:

Well, hello, my fellow Daydreamers, solo episode today. So as I am want to do, I'm going to try to say what I got to say and get you the hell out of here. I was out to dinner last night and I was thinking, I wonder if this is true for you. There's a couple of things that anytime they appear on a menu, you got to get it. You just got to get it. And I have three things that if they're on the menu, I'm getting it. I don't even care if it's something I'm in the mood for.

The first is biscuits and gravy. I think that actually has to do with my father. Because my father, when I was young, really loved it. And anytime it was on a menu, he would get it and I would get a couple of bites of his. And then I just started ordering it. And I love it. But when I'm eating it, I think to myself, God, this fucking slop is going to sit in my gut all day. But I get it. The nice sausage gravy, it's got to be kind of thick. It's got to be really hot. The biscuit's got to be on point.

And then of course I need a side of scrambled eggs with that. So anytime I get biscuits and gravy, I doubt I eat again. I think that's usually my only meal of the day. The second thing that if it's on the menu, I'm getting it, is lasagna. Again, I think all of our food choices are so tied into our childhood, but my grandmother made lasagna all the time and we'd go over to her house for dinner and it was either chicken and dumplings or she'd make a great lasagna. And I don't know, it's comforting. So if it's on the menu, got to get it. Last night we went to this, one of our regular places, Motel Mos down here in Chelsea on 18th Street, 7th Ave. And they had a new item. It was this, they called it a white lasagna.

It had different kind of cheeses and spinach and I don't know, whatever the fuck, it was delicious. I had to get it. And the third thing, if it's on the menu and I have room, because it's a dessert, but if it's a dessert and it's cheesecake, forget it. I'm all over it. I love it. I love cheesecake. Cheesecake and pumpkin pie. So this is my time of year for desserts because it's pumpkin pie all over the place. Actually, pies in general, we went to a, Trisha and I and the doggo, we took Wally to a pumpkin patch. Apple orchard, we drove upstate for a little bit. See we don't have kids, so we take our dog, but of course we have to find a pumpkin patch that's dog friendly. And we walked around, they have baked goods there. Had to buy a blueberry pie. I ate the entire fucking thing over two and a half days. It was embarrassing 'cause I sound the couch with a fork just plowing through it. Because Trish, she's not that into desserts at all. So I'm the one that has to eat all.

So what I've been up to, I mean the school years rolling along and we did get a little trip to Sedona, Arizona over the Columbus Day holiday. It was wonderful. I took my sister, My sister is younger, she just turned 50 this year. And so it was a birthday vacation and it was wonderful. I don't know if you've ever been to Sedona, you got to put it on your list. It is one of the most beautiful places I've ever been to in the United States. You got to fly into Phoenix. You go about an hour and a half, two hours north. And man, the mountains, the colors, the hiking was off the chart. It's a very spiritual place.I know if you read anything about Sedona, they've got these vortexes, these energy centers I guess, that come up from the earth and the crystals and everything that's kind of embedded in all these rocks. It just feels like a very spiritual place. And the hikes were very soothing. And it reminded me of Rilke, the great German poet, Rainer Maria Rilke, who says many times in his letters, the collection of letters, Letters to a Young Poet, which I highly recommend, that you have to return to nature to the things in nature that are simple and beautiful. And we had that for a couple of days. It was very restorative. And that was a couple of weeks ago. Now we're trying to get all of our holiday plans together.

So that's where we're at on that front. All is good. One of the good things about being back in New York City is that it's so much easier for me to get to the theater when we were living in Weehawken and just hopping on that ferry and then hopping at a cab and then having to get back to Weehawken, it was too fucking much. And also the pandemic, right? So there was no theater. So it's been really wonderful to get back.

I did see Cost of Living a couple of weeks ago. If you're in New York City, I highly recommend it if you're visiting here, Cost of Living is by the playwright Martina Mayock. And this play won the Pulitzer Prize in 2018. So it's an important piece of work. So I've always wanted to see it. And it has a lot of solid actors that work all the time. David Zayas has a very good career. But what makes this play important is that it requires two disabled actors to play two of the main ensemble parts. And she makes a point in the opening of the play that, if you're going to do it, if you're going to get the right to this play, you have to cast disabled actors in these parts. And two in particular, Katy Sullivan, she was born at quadriplegic and another actor whose name's John Mozgala, who has cerebral palsy. And it involves very much living their life disabled.

It's a play rich in humanity. It's very deep, it's very rich. The writing is incredible. But you know what? The acting was not that good, it's a really good example of actors who are not taking in. You could do all the homework in the world, but if you're up on stage, you're on screen and you're acting at everybody, which is what was going on there. Nobody was surprised. There were no real unanticipated moments. There was nothing dropped in the body. It was just kind of text being kind of flung back and forth with each other. They told the story, you could follow it. I mean, they got standing ovation at the end of the play, which doesn't really mean anything anymore because people stand up for anything. Most of these tourists that come to the theater, they don't know what's good or bad.

They're just happy to be there. They'll stand up for fucking anything. And so those actors, they probably think that they're crushing it. You're doing a great job, you get good reviews, get standing ovations every night. And yet I sat there and I was like, there is nothing going on. And I will tell you when there's nothing going on stage, if there's nothing going on between the actors, I don't care if it's TV film as well, you're not going to feel anything as an audience member. You're not going to be moved. So I was disappointed. I'm glad I saw it. I'm glad that I could hear the play and see it. And Katy Sullivan, who plays Annie and John, who actually plays John, they were okay. I just wasn't moved.

But I do think it's an important play. And there are a couple of good articles that I read and some quotes from Martina. She said one of the reasons why she wrote this play, she wanted people to have to sit and look at what we usually look away from, which is people that are different. People that are struggling with an affirmity, people in wheelchairs, people that are struggling with physical illnesses. We usually put our head down, we try to avoid it, we walk past, we don't want to take it in really. And this play forces you to do that for an hour and a half. And it's a little uncomfortable. It is, I have to be honest with you.

It's not something that you're used to. And so for that reason, I think it's very important. And the other thing she said about this play, and this is a Pulitzer prize winning play, mind you. And she's written maybe four or five others that get produced all the time, Sanctuary Cities, Iron Bound, Cost of Living gets produced the least across the country when it comes to regional theaters. And she said the biggest reason is that she has, in the beginning of the play her notes, you have to use two disabled actors. And she'll get artistic directors. She'll get people calling about rights and wanting to do it. And they'll say, Are you serious? I mean, do we really have to do that? Yeah, yeah, you do. And when they find that out, they don't do it. She even provides them lists of actors across the country who are disabled and act and have professional careers and could do these plays.

And they choose not to do it. And so it's her least produced work, which says a lot, doesn't it? And Katy Sullivan who plays, Annie said that she'll get audience members that will see her right after the play and go, how did you hide your legs? That was so cool. How'd you do that? Before they realized, Oh my God, oh my God, you really are a quadriplegic. And they're shocked. And looking back on what she did, and Martina said, I didn't realize what a big act that was to write those four words in the beginning of the play. Please cast disabled actors. And that in and of itself was a courageous act. So cost of living. Listen, if you're not in New York and you can't see it, order the fucking play. Call Drama Books in New York City or go by a local bookstore, pick it up and read it.

I think it's an important thing to do. We lost an icon of stage and screen a couple of weeks ago. Angela Lansbury passed away. I believe she was 97, maybe 96, 97 years old. If you don't know who Angela Lansbury is, you are culturally bereft. And you're probably very young and wouldn't remember her. But if you had been around for a while, this is a woman who was acting since the 1940s. 1940s, her first film, 1944, was Gaslight famous film. She was Charles Boyer's maid in that film, nominated for supporting Oscar in 1944. 1946 she was nominated for another Oscar in the Picture of Dorian Gray. So you're talking about two nominations in the first couple of years of your career, a six time Tony Award-winning actress.

This is a woman that could do Broadway, she could do the theater, film, television. And then later in life in the 80s, come on, Jessica Fletcher, anybody 40 year older, you'll know that show. She played this widowed, I believe, just nosy reporter who would solve crimes every week. Murder She Wrote. And it went for like 12 years. Had a couple of follow up movies. She was doing Broadway in her 80s. Her last Tony Award, I believe was for Blight Spirit in 2009. She crushed it in Mame in 1966. That's what put her on the map really.

And an incredible career. Really unbelievable. And the thing that is, I think inspiring about Angela Lansbury is that she wasn't at all what Hollywood would describe as a typical leading lady. She didn't have the beauty of Lauren Bacall or Anne Bancroft or Ingrid Bergman. But she had a style about her. She had a quirkiness about her. She had an authenticity about her, and she carved out an 80 year career. Phenomenal. So rest in Peace Angela Lansbury.

All right, So the first piece of work I want to talk about is Blonde. Finally saw it. I heard so much about it beforehand. So I was really excited to see it. I had read the New York Times Review, The New York Times Review is brutal. I'm going to read you the opening paragraph of the New York Times, Manolo Douglas wrote this, give you a sense of what she thought.

"Given all the indignities and horrors that Marilyn Monroe endured during her 36 years, her family tragedies, paternal absence, maternal abuse, time in an orphanage time, and foster home, spells of poverty, unworthy film roles, insults about her intelligence, struggles with mental illness, problems with substance abuse, sexual assault, the slaughtering attention of insatiable fans. It is a relief that she didn't have to suffer through the vulgarities of Blonde, the latest necrophiliac entertainment to exploit her."

What the fuck? That's the first paragraph of the review. And she proceeds to eviscerate it. It's misogynistic. It is. I mean, according to her, unnecessary. It's cruel. It's inhumane to her legacy. It is nothing but porn, basically. Porn of violence and misogyny, sexual assault, everything she just said in that first paragraph. And this is why it's been so provocative. She's not alone. There are a lot of people that find this film atrocious, are disgusted by it. Planned Parenthood lost their shit because they said it was setting back the fight for abortion rights. I mean, Marilyn Monroe had miscarriages. She had abortions. And Andrew Dominic, who directed this film, he dramatizes that in a very visceral way. A couple of these abortion scenes, it's nightmarish, right?

So it's surreal, it's not literal, right? You're watching a forced abortion. She's being held down, pinned down. She's screaming out. No, I changed my mind. I changed my mind. You're seeing the fetus itself. He has shots of this, the baby, the fetus in her womb talking to her. They take a camera, they go right up the vaginal canal. I mean, literally do that. It's very, very tough to watch.

And it is a lot of what she said. It deals with her mother's neglect, her father's abandonment, the rapes that she endured, the horrible relationships with men. Just the sexualization of her entire being. I mean, well, that's there. This is what is dramatized. This is what Andrew Dominic chose to put up there in his own way. And it is an interpretation of Joyce Carol Oates book, which is a fictional interpretation of her life, taking the facts of her life and interpreting them.

It's a very important film. I personally think it's one of the most important films that come out in quite some time. There's not enough work that gets put out into the world that really truly provokes an audience where you watch something and you cannot avoid having a real response. It's going to haunt you one way or the other. And I think that's wonderful. I think that's what good art should do.

It is an auteur driven film. It's risky. I mean, this guy, clearly he had a vision and he stuck to it. He committed to it, and he didn't give a fuck how it was going to be received. It premiered at Venice, the Venice Film Festival. It got a 14 minute standing ovation. How many are you kidding me? Imagine 14 minutes. Just sit there for 14 minutes and imagine that's how long the ovation was. And Ana de Armas, I will tell you, what, a courageous piece of acting, the amount of vulnerability, first off, that she had to have, that she had to bring to this. But the scenes themselves are so difficult, they're so hard to live through. That's just the material itself. And then add to that, that she was trying to step into the shoes of one of the most iconic human beings that have ever lived. A legend and icon, a myth at this point, almost a mythological creature.

She's in her lifetime, arguably the most famous human being on the planet, certainly in America. And very distinctive, a very easy person to imitate. But that's not what acting is. Acting is not imitation. And you can read a lot of articles, a lot of interviews with Ana de Armas talking about how terrified she was, how hard she had to work on this. So not only did you have the scenes there of her life that are in the film, but also she was recreating all of these famous moments in Marilyn Monroe films. Diamonds Are a Girl's Best Friend. That iconic scene with her in the pink dress and all the guys dancing around, her. Gentlemen Prefer Blondes, Niagara, Some Like it Hot, to recreate the acting of that. It's incredible.

And she's Cuban for fucks sake. She spent nine months working on this part. And she was so terrified when she went into test because she didn't feel like she had the voice right. She actually had her voice coach under the table while she tested helping her with pronunciations. I mean, that's what was going on there with her. That's how bad she wanted this part, how much she knew that she was meant to do it, and she was doing everything she possibly could to make it happen. And she talks a lot about how her own innate fear of rejection, her terror of being rejected, fed, how she approached the part. She said,

"Using my emotions, how I felt about playing the role was the way I approached the entire film, embracing my fears and my vulnerability, my feeling uncomfortable and my insecurities."

So she fed all that into her performance. And it shows.

When I'm teaching my second year students, I try to get them to understand that you've got to get behavior first. You get the behavior of the character first, and then the lines run through your behavior. If you don't have behavior, all you've got are lines. And you're just going from cue to cue to cue and you don't have anything. And there's a really wonderful scene that demonstrates that. So when you watch this, it's a scene where she's coming to see her mother. She hasn't seen her mother in a number of years. And she's been put into a mental institution. And she walks into this, I guess it's where you can visit, right? The visiting center, this room. And there's a lot of crazy people around.

It's an insane asylum in the 1950s. And her mom's sitting her in a chair, She's almost catatonic. She's clearly not present. And in this scene, it's about 45 seconds. Marilyn Monroe only has two lines. So Anna de Armas, two lines. "Oh, mother. Mother, it's me." That's it. "Oh, mother. Mother, it's me." My God. You see her rushing to her mom goes to her knees, hugs her. She's so full of life, she can't believe that she's in this condition. She's happy to see her. There's so much going on in her.

She's clung to her chest. And those two lines, Oh, mother, mother, it's me. Come through all of this behavior of trying to even get to, does she even recognize me? The sadness that comes over as she realizes that her mother doesn't even realize she's there. All of this behavior, it's so rich, it's so clear in just two lines. It's a great example of how you get the behavior and just let text run through that. You're good to go. But that's very difficult to do. And she did it over and over again, this entire film. I didn't like Bobby Cannavale. I thought he was one note. He's playing Joe DiMaggio. I mean, you couldn't play somebody more two dimensional. I thought it was a really just lazy performance. Didn't like it. I thought Adrien Brody was really good, and I thought everybody else held their own.

There's a really disturbing scene where she's in John F Kennedy's hotel room. And he's laying in bed and he's watching the news. He's on the phone with somebody and he forces her in this moment to give her a blowjob. Doesn't even say hi. Doesn't really, there's nothing other than him grabbing her and forcing her down on his dick. And then you have this close up of her. I think this is also one of the things that people found very, very offensive. She's giving a blowjob now. You don't really see his dick in the shot, but she's clearly giving a blowjob and it's right on her face. And what makes it so disturbing, so upsetting is that you see this woman who has been completely sexualized by the world really, held up as this living symbol of what sexuality and what female sensuality should be. And then you see her giving this blow job, and she just looks like a scared kid who's there saying to herself, what the fuck is happening? How did I end up in this position? What's going on? And you just see her stripped of all of that.

And it was really upsetting. It was one of the more haunting, I think, scenes in the entire film. But boy, had to be difficult to shoot. And that's why I just tipped my hat to her. I'm like, you, I'll watch anything she does now, out of just respect, because she's got mine for sure. She did say something about the difference between just imitating somebody and really stepping into their shoes. She said,

"Someone's voice has many qualities. It's not just an accent or a pitch or the breathiness. You can imitate someone very well and have no soul. "

Well, I mean, I think that's what you have to be able to do, especially when you're trying to create a character based on somebody who actually lived. You don't want to try to imitate them. You want to try to catch the essence of who they are from you.

Yes, you have to be able to have that voice and the walk and that sensibility, but you don't want it to be a superficial imitation. And hers is not. I look at this film as a rorshach test. You hold this up. It's like holding up a couple of black spots, right? Psychology, these rorshach tests where everybody's got a different interpretation of what they see. And that's what this film does. Everybody's going to have a different opinion about it. They're going to see it in a different way. And I think that's what provocative art should do.

And Andrew Dominic gave her one requirement when she shot this film, which is that you can't have any rage. She took that note so that when she does get angry in those few moments with Billy Wilder in a couple of onset moments, and also on the phone, I think with her agent, where she really stands up for herself. You see a woman who is terrified of conflict, terrified of standing up for herself, and is a really good example of what can happen to you when you don't, or you can't express your anger. It's not healthy. And she really caught that. So make sure you see this film, it's a must.

Now, the next thing I've been watching, which has been also people are losing their over or having a visceral response to, is that Jeffrey Dahmer miniseries that Ryan Reynolds produced for Netflix starring Evan Peters, who as you know, I love, I've mentioned him many times on this show. I think he's done some of the best drunk work I've ever seen in my life in Mare of East own.

A lot of people are upset about this. Why are you doing a film about Jeffrey Dahmer? He was a serial killer. He was a cannibal, he was a psychopath. He doesn't deserve to be dramatized. He doesn't deserve to be humanized. And it's an offense to the victims and all of their families. So people are pissed off about it. They think it's garbage. They think it's trash. It's worth watching, it's going to provoke you. It's going to create a response in you. I promise. Just watch the pilot. The first episode, first episode is about the one man who actually escaped, gay man named Tracy Edwards was brought, picked up a gay bar by Dahmer, brought back to his apartment and Dahmer plans on killing him. And this guy was able to finally escape, get out of the apartment, get out on the street, get some cops, get them back to this apartment, and this is when they discover that he's got heads and arms in the refrigerator. He's got barrels of human remains.

And he finally gets arrested. So the whole episode is about that. What a piece of acting, what a thing to live through, as actors when you watch that, you go, man, that's what I want to do. I want to do this. I want to do this kind of work. It's very disturbing, even when you know how it plays out, the tension, the suspense, it's so much fun to watch.

And okay, I can understand why people are upset about it. I still think it's a worthwhile thing to do. I think it's interesting. Just what a fucked up life this guy had. And it goes back and forth in time. It goes back into his childhood. It really tries to unpack how he ended up over a course of, I don't know, decade and a half killing 17 people, 17 men, men of color primarily. And when Evan Peters was considered for the part and he was thinking about it and trying to decide if he should do it, he said this, he said,

"It was so challenging. It's so difficult that I kind of had to say yes to it, even though it terrified me."

Which I totally get.

I say to my students in class who are scared and nervous and anxious and terrified, really of a lot of the hard work that you're doing on themselves. I say, It's never going to change. If it's a worthwhile piece of art, it's going to scare you. It is going to terrify you. Can I do this? Can I, do I have it in me? Can I step to this material? You're always going to be scared. And I think it's just part of doing something that's challenging, that's worthy of your time and effort, but it's another piece of art that is provoking. And actually reminds me, just to give you a little history lesson about other times when an artist was provoking with their work.

I grew up in Cincinnati and back in, this was probably 1990, Robert Mapplethorpe had just passed away from AIDS, but they had put together a retrospective of his work. It was called The Perfect Moment. And it was a collection of 175 photographs, and it was brought to the Cincinnati Contemporary Arts Center in 1990. And it included a lot of photographs, a lot of classical nudes, lot of, he photographed a lot of flowers in a very sensual way, kind of a Georgia O'Keeffe esque in his photography. He had a couple of portraits of nude children, and then he had five very explicit images of gay S & M culture. I mean, we're talking like 12 inch black cocks right there with rings. That's the photograph. Or men with their assholes spread wide open. And conservative Cincinnati lost their shit, lost their shit.

And even before it got to Cincinnati, a lot of cities, a lot of art museums across the country started canceling, the retrospectives were canceling the installations because people were protesting. A lot of people who were anti-gay and homophobic and Christian conservatives, Catholics were just on their pedestal. This is garbage, this is pornography. So when the exhibit opened in Cincinnati in 1990, the prosecutors in Hamilton County, they actually charged the Cincinnati Arts Center, the director and the museum itself with obscenity. And it went to trial. It was the first time in American history that a criminal charge had been levied against a museum in the United States. Now, you have to go back to this time period we were in, caught up in the fear of AIDS, the culture wars, which you'd think these have just kind of been going on for the last couple of years.

No, we've been engaging culture wars for a long time. And what was happening here is Congressmen, Senators, local politicians, they were outraged that the NEA was funding art like this. So the National Endowment of the Arts, which is federally funded taxpayer money, people were like, what the fuck? And this is unacceptable. So everybody wanted the National Endowment for the Arts to be completely disbanded, to be cut off, which would devastate artists in this country and arts organizations.

Well, it put Cincinnati on the map and most of the East coast, West coast parts of the country just considered Cincinnati a cultural backwater, a bunch of hillbillies that would rather lock up a museum director than confront themselves with difficult art. So eventually, the eight person jury found the art museum and the staff not guilty. That was a huge, huge victory. If that had gone the other way, the National Endowment for the Arts would've been cut off and we would've had headed down a different path when it comes to artistic expression. I'll tell you when it comes... I don't know what it is about homosexuality, people just lose their shit. But Robert Mapplethorpe these photos, his own homosexuality was what was driving all of these politicians.

They did not think that the NEA should be funding art that they considered obscene. I mean, the defense in this trial, my God, they had to bring in art experts from all over the country to testify about his art, that he was a classical photographer most of the time, that they had to talk about his lighting and the position of the model, and they had to try to defend this guy's fucking artistic expression. When you think about it now, it's fucking crazy.

So when you get a chance, just Google Mapplethorpe and Cincinnati, and you can read about that. It was national news, World news for months. Again, art that provokes, that's what we're talking about here, and I've said it on previous podcasts, don't dry clean your imagination. Don't launder how you express yourself artistically in order to try to please people, try to give them what they want. No, no, no. That's not our job as actors, as artists, you have to put what you want into the world. And it's up for everyone else to consume it the way they want to consume it. And if they're offended or if they're outraged, great, good. You had a response, that's important. And I just want to wrap up here with a good article that I read again about Jeremy Strong. It's a follow up to that New Yorker hit piece that was done on him kind of portraying him as this wacky fucking method actor who is difficult to work with and just goes overboard when it comes to his work.

It's in the Hollywood Reporter, and it's a great article by Seth Abramovich. I'll tell you, this guy is a hell of a fucking artist. You want to follow an art... you want to follow an artist who's obsessed with his craft, who's who's passionate, whose artistry is on full display. It's Jeremy Strong. And one thing I like about him is he does not apologize for being uncompromising, for being specific and detailed. And he doesn't do that. He works the way he needs to work. And there's one quote from this article about his process that I think was worth sharing. He said,

"There are two things I'm always searching for, which is the possibility of transformation and the possibility of risk. I guess anything else feels a bit like a bunny slope. "

That's a great quote.

That's all I got for you today, my friends. Watch those two shows. And as you create and you decide what you want to put out into the world, or the roles you want to take, or the kind of work you want to do, make sure it's worthy, worthy of not just your time, but that it's worthy of other people's time. Something that's going to stir them, it's going to mix them up, that's going to make them think about themselves, about their life. Be provocative. And I'll just end this on a quote from Andrew Dominic who said this about Anna de Armas. He said

"She tried to surprise herself, and always the best takes are the ones where the actress says, I don't know what the fuck I just did."

Well, my fellow Daydreamers, thank you for sticking around on this solo episode and keeping that phone in your pocket. Please follow the show wherever you get your podcasts. You can go to iTunes and if you have a few minutes, leave a written review. That would mean a hell of a lot. You can go to https://www.creatingbehaviorpodcast.com Go to the contact page, hit that red button, you speak Pike. Leave me a message, share with me some of your thoughts. You can go to https://www.maggieflaniganstudio.com if you are interested in coming to New York City and training with me and my teachers at my New York City conservatory. You can also follow me on Instagram @maggieflaniganstudio, @creatingbehavior. Lawrence Trailer thank you for the music my man. I love it. My friends, be provocative, play full out with yourself, take risks ,and don't ever settle for your second best. My name is Charlie Sandlan, peace.

Theme Song:

(singing)