Practical Rebels
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Practical Rebels
39: Art in Residence: Building Pensacola's Creative Future w/ Daniela de Castro
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Friend of the show and two-time guest, Daniela de Castro joins us on this 39th episode of Practical Rebels!
Daniela returned with news of her newest venture, an artist residency program with the @cityofpensacola. The first of its kind, Daniela and @pensacolamayor D.C. Reeves are working together to transform urban spaces through thoughtful public art and embedding creative professionals within city government.
“Art is a vehicle to transform a city,” says Daniela. “Art should be made public. Art should say something.”
The program will be focused on community engagement, problem-solving, and enhancing everyday experiences for residents and visitors alike.
Tune into this episode to learn more about the program and to hear what else Daniela has been up to since she last visited us! This episode is now streaming on all of your favorite podcast platforms.
Welcome Back Danny DeCastro
Speaker 1Hello, ladies and gentlemen, welcome back to Practical Rebels.
Speaker 2How are you doing Ramsey?
Speaker 1I'm doing well. I'm trying to keep a straight face because I know you like it when I switch on, but it makes me laugh. So welcome to Practical.
Speaker 2Rebels. Ladies and gentlemen, I'm very serious right now.
Speaker 1You are Okay, let's get to work. All right, ladies and gentlemen. Today our special guest is Danny DeCastro, our special guest is Danny DeCastro, our first guest to come on here twice. Repeat Repeat Number one you are the first and you will be the last.
Speaker 2Oh God, no. Is this the end?
Speaker 1No, the last first repeat.
Speaker 3Oh, okay. I was like is the podcast over?
Speaker 1No, because we're going to have you on again. We got a lot of things to talk about with you, I better be the first three-timer in your podcast. Oh, I like that.
Speaker 2I feel like we can make that happen.
Speaker 1So V. What are we talking about today?
Speaker 2We are talking about so for people that aren't familiar with her. Actually, danny, why don't you give us a little bit of a rundown for kind of your background and what you do for people who aren't familiar?
Speaker 3Okay, hi everybody. My name is Daniela DeCastro, but everybody knows me as Danny. I'm a local Pensacola artist and I run a small conceptual studio, and my studio for the most part puts together murals, large scale art installations and other art and design services for businesses. Primarily, my favorite business that I've done a mural for is Hatchmark and yeah, I've been here for 10 years and Keep going. Ok, I see hugs and I feel left out. All of a sudden you just threw her off.
Speaker 2Come give me a hug. Come give me a hug. This is good. This is good, this is good, he's going through his ritual that he did at the beginning because he just had a panic. Okay, so continue. Your favorite mural is Hatchmark.
Speaker 3So I'm a mural artist turned business owner. How's that?
Speaker 2That is a slippery slope.
Speaker 3It really is.
Speaker 2I'm a graphic designer, I'm going to start a business yeah, I've been there. Yeah, but Danny is fantastic at what she does and beyond kind of. She definitely has an approach and I think this is why you've been kind of selected to lead this program that we're going to be talking about today. She is very much like a business mindset and a she thinks about things like very large scale. So if you talk to Danny about a mural, she's going to tell you the why. She's going to tell you like all of the ways it ties to the brand, how it ties to like the goals of the business, how it ties to like and expands into, like multiple installations.
Speaker 2And I mean she's working on a massive project right now, like a year long project at a place in town and it is. It is when you think murals, it is like murals on steroids. She thinks about things. So she's also a huge planner and really is kind of like has a massive attention to detail. So what Danny is working on now, one of the many projects she's working on now is she has been tasked with a new program for the city, working directly with Mayor Reeves and his team to establish Pensacola's first artist in residency program, which we're here to talk about, which is really exciting.
Speaker 2I know it's been kind of a little bit talked about publicly, but I don't think you've really sat down and talked through like what this means and what you're going to be working to bring to the city.
Speaker 3So this is the first time. So thank you for inviting me, thank you for having me. We're really excited about this program.
Understanding Artist Residency Programs
Speaker 1Thank you for coming back. Yeah, anytime.
Speaker 3Invite me back a third time.
Speaker 2Thank you, so let's start from the beginning. Like well, first of all, what is an artist in residency program? And like, why was it formed specifically for Pensacola? What is the kind of gap that it's filling? That?
Speaker 3Okay, so traditional artists in residency programs are put together by institutions like museums and university and art centers and there is an exchange between an artist and this institution. Usually the exchange is artwork for between an artist and this institution. Usually the exchange is artwork for lodging and the stipend. So the more traditional, typical residencies, they will invite or choose an artist to stay over for a few weeks, a few months, even a year, and they offer that artist a place to live, a place to work, a stipend. Sometimes they cover materials and in in exchange, that artist usually puts together a body of work um community events, educational, you know, um workshops, for example, and they often donate like one or two pieces of their body of work and, of course, a final exhibition um. So the these programs sometimes offer, or often offer like, the seclusion needed for um creativity and for exploration to take place. They really encourage artists to take risks and experiment.
Speaker 3Now there are programs like the one that we're focusing on for Pensacola, that are put together by governments, for example, or nonprofits, and they are artists in residency programs that require the artists to, of course, work like, create bodies of work, but that are focused on the community. So the exchange isn't necessarily logic lodging seclusion. Give me artwork, it's hey. Use your talents for your community. Get involved with schools, get involved with the city and the infrastructure in the city. Those are really interesting ones. That's what we're trying to replicate here.
Speaker 2Very cool. What kind of sparked this? I know, um, Mary Reeves is somebody that definitely kind of takes a look at other cities, finding what's working really well and what can we bring back to Pensacola to make it better and kind of keep the build and the momentum that's happening right now. Is there something specifically that you know that kind of brought this here?
Speaker 3Yes, so the mayor went to a meeting with other mayors and he through the mayor of St Paul in Minnesota. Sorry, Minnesota or Minneapolis, I'm so tired. One of those the M's, the M's I'm pretty sure it's Minnesota. I think so too. Okay, and it's terrible because I have a cheat sheet in front of me. Hopefully this goes to show that we're doing a lot of research.
Speaker 3My database in my brain is very large. It is Minnesota. There is a program there called city artists and it is put together by public art St Paul, a nonprofit in the city, and um, the, the St Paul mayor, um shared with DC that it has been um an ongoing program for like two decades already.
Building Pensacola's First Residency
Speaker 3And they've put together incredible public works of art and that he would like to bring something like that to the city. Because Pensacola is not only known for the beaches and the you know, the very nice downtown and the small town vibes and the blues. It is known as an arts focused, uh, cultural city and the program is a way to add to that and to involve artists in the city, like workings in the city, and just create opportunities for engagements, you know, create and create jobs for artists. There's a lot of goodies to a program like this one. Yeah, we're excited.
Speaker 2Yeah, I'm. I'm really excited to see what you built from it. What are you hoping to, kind of like what? What are some of the goals of this? What are you guys hoping to achieve with this?
Speaker 3We are, so let me share a little bit about our process right Because this isn't just me, it's my studio, my general manager.
Speaker 3We are at the beginning. We're actually finishing up the first stage of research. So we are evaluating a ton of different programs from different institutions because we need to kind of find their footing on what these programs mean. How are they measured, how are they funded, how are applicants selected? Everything we need to give, you know, we need to just have an understanding before we begin to build. And we're about to enter the second phase of interviews. So we want to interview leadership positions of these programs. These can be curators, directors, managers and the artists themselves to understand, like pros, cons, challenges, anything that they are willing to share. And then we're going to move to Pensacola and we're going to interview um for potential partnerships, allies. We're going to conduct a citizen interviews as well, and then after that and we have, you know, this big database that we're compiling everything for for, to just see what already works, and that's already a great starting point Then we actually are going to start writing the program.
Speaker 1Okay.
Speaker 3Yeah, so we are in the preliminary stages right now, so we don't have written objectives Now we do know just from our research that general objectives um are. For example, um a way to track success is how many public works of art or how many uh workshops were put together by how many artists, like there is a quantifiable aspect of success and in fact, the city artists program has a beautiful timeline that's beautifully designed with, like, the artists and residents and the programs that they did. So we, we really just want to build something that is long, lasting, that is very well built otherwise it won't last and that creates a change, a positive change in pensacola yeah, I think it's because I I know that there is.
Speaker 2There is a strong art community in pensacola, but it is. I think we have things like foo-foo fest, which are just kind of once a year and then there's this kind of huge. I know we've done the the mural fest and things that but I think there hasn't been a consistent ongoing kind of bringing together talent throughout the city, figuring out what programs make sense to support the city. It's a fantastic success alone. I'm sure there are great PR opportunities out of this.
Speaker 2It's great for tourism, it's great for yeah, so I think that that's it's going to have a really heavy impact over what is the timeline? Like you said, there's a beautiful timeline.
Speaker 3No, I mean. So the timeline that I'm referring to is actually like a visual graphic, yeah, and it's a timeline put together after like a decade or so Got it. So it's like a beautifully designed one, with little like illustrations of the projects and of the artists. Nice, okay, we hope to be there.
Speaker 2you know 10 years from now For a couple of years, I think you'll get there.
Speaker 3The timeline for us, though, is to have the research, the program, the branding of the program and a couple of other deliverables done by the end of this year.
Speaker 2Ok, OK when it comes to participation by. Is this going to be for local artists to be involved? Is it going to be for, like First City? You said something about schools, like what does that collaboration with artists or institutions look like typically?
Speaker 3Here's what we visualize and that, uh, we need to test drive this idea right now, like not not right now, sorry, but before we actually put it in the program we need agreements. So don't don't hold me on this, please. Yeah, here's what we visualize for this program, because the city if this is a program that's going to be put together by a city, they um, lodging isn't the thing that's being offered a workspace is going to be the offering, together with a stipend, and that stipend can we? We need to again further define what the stipend can be used for, because there are examples of the stipend going to the artist, others that it is split for materials and then for the artist. What we visualize is a program that invites artists of multiple disciplines, not just visual arts, and the reason behind this is back to Pensacola.
Speaker 3Pensacola boasts the big five of arts. We have a museum, a ballet, an orchestra, a symphony and a theater. Yes, yeah, it's, it's part of our identity here. It's a very artsy city, so we would love to not invite just visual artists, but composers, choreographers, poets, writers, just, you know, really open it up and you know, the the city, the city, uh, can offer an office space inside of the city, but really that's not good enough. For example, an artist like myself, a large-scale painter, needs actual space.
Speaker 3What we hope is to partner with our local big fives and for them to offer a workspace for the artists and residents. There's's this. You know there's a lot of conversation that needs to happen before this is a thing, but, like I would love it and we would love it If, if it's a visual artist, they have a studio for a city. If they are a dancer, maybe they have a spot at the center. That's how we kind of see the structure of this happening and that will solve the the problem of allies and participation right. That automatically connects the artist to the different resources around the city and not just the city itself.
Speaker 2Yeah, yeah that's where that's a starting off point that we're we're starting to understand and explore, yeah so I think a good example of something that would have worked really well within this program is, um, like the sign that just went up, like Brianna Spencer's new sign that just went up. There's like a new Welcome to Pensacola sign. So that's probably something that would have and I know this is visual arts, but that's something that would have been a natural fit within this program and having somebody like a you that is running the program, that makes sure everything is flowing as is I know they had a call for artists and submissions and judging and all that sort of stuff that's something that would live within something like this.
Speaker 3We think so because there is a clear need for a city liaison that is an artist or a designer and that connects the dots and the people. There are a lot of art and design initiatives that reach the city and there really isn't a clear path for them to see fruition, and so this role would also serve as a city liaison during their residency period.
Speaker 2Yeah, when you say their residency period, is this something that is kind of one person at a time, or are there multiple kind of initiatives going on at the same time?
Speaker 3I think at the beginning it's going to be one person at a time, because we need our trial period, right. We need always that beginning like beta period to adjust. There are some programs out there that can invite multiple artists at the same time, but then they have like a lot of lung power funding wise. So as we begin, it's probably going to be one because. So let let let me derail the conversation really good to talk about the first challenge that we've encountered the organizational structure.
Speaker 3What we have found is that every successful, successful residency that we have studied is a hybrid between a nonprofit and the city, right, or a bigger institution or just a nonprofit, but there we haven't found a residency that just operates from a city, and the reason is if you have a nonprofit status, you can apply to a bunch more grants. Yeah, and the way that, um, the these structures work there is a person who's kind of like in charge of the program, a director, and then there's the artist. The artist is not self-managing. So that's actually our first challenge is are we going to build two jobs? It seems like it. It seems like that is the pathway to success, and so we need to define what each role looks like.
Research Process and Program Goals
Speaker 2Yeah, yeah, yeah, that makes sense, it's a job. Find what each role looks like. Yeah, yeah, yeah, that makes sense, it's a job, because I know that. That's why, just thinking back, you know loosely familiar with the structure of how Fufu Fest works and that you have to partner with the nonprofit and it probably has to do something with the grants and the funding and how it funnels through yeah absolutely yeah, all right.
Speaker 2Um, what do you so? Like your background, you've got obviously a lot of experience as a large scale artist. You are very much an art advocate. You have really much like trailblazed groups in town to create community events around art, around murals, around all those sorts of things. Art around murals around all those sorts of things um, how do you hope that, like, leading something like this and taking it by charge will really affect the culture, improve the culture, the visibility of arts as a whole in the community?
Speaker 3like you're very much that person that kind of brings people together for sure well, I think I I I'm a lucky artist in that my art reflects the way I think you know. The way I operate is very much based on my own personality and what I believe in, and so my art tech is is really interactive with the community, because I think that's what art can do. So why not push it there and do it Right? So I I'm hopeful that my trajectory as a large scale muralist and a large scale artist doesn't necessarily influence the type of artist is going to be selected. Not at all.
Speaker 3Public art can be big and impactful, but public art can also be small, little items that resonate in your day-to-day life. I'm in love with a project again put together by the City Artists of St Paul. It's called the Sidewalk Poetry. One of their artists in residence was a poet and he looked at the existing infrastructure of the city and there is a constant renewal of sidewalks. Eventually they need to get replaced, and so he proposed a project where, whenever they get replaced, they write a poem, and so now it's a huge initiative in the city where people submit poems, and there have been like hundreds printed on these sidewalks and they just create almost like textbooks that people just need to look down and walk over and read.
Speaker 3So that is a beautiful example of what public art can be. It's it's engages with the community. It offers opportunities right For portfolio building for not just the artists in residence but for many artists. Um, that is such a great and beautiful example of the types of projects that come from this. So I think that's my angle. I mean if, if I could have any influence, it would be in what's what the spirit of this program is and how it really should be for the community. We've actually done a deep dive on our on on how are we going to justify this and not just like for the city and for a specific, you know department, no, department, no, it's like what, what's the spirit of this program? And we landed on three if, um statements and then one, then statement you guys know if, and then right, right. So we and I have them right here and we're working on these because this is going to be our starting point when we explain to people what we're building.
Art as a Vehicle for City Transformation
Speaker 3So if we believe that art is a vehicle to transform a city, I completely believe that art is a vehicle to transform a city. I completely believe that art is transformative in nature, it can really change a city. I mean, I can mooch off, like previous things that I've said, even in this podcast already, about mural art and how it can improve walkability and beautify a city. Art is a great vehicle. My second if statement is art should be made public is a great vehicle. My second if statement is art should be made public. This is a an interesting one to argue because art is hmm, art is a language that connects people from different cultures, different socioeconomic statuses, and art is a gateway for people to enter the museums and the opera and the symphony right. So if you see something in the street, it starts engaging people. It's kind of magic. My third statement is art should say something, and I think this is me, daniela, writing the program.
Speaker 3I think that the most powerful thing in art isn't the beauty of it but the message behind it. So if art is a vehicle to transform a city and it should be made public, it should say something, right? Nobody's asking for this, nobody's asking to see a mural or to change a sign. It should say something about the city. It should say something powerful.
Speaker 3Many artists friends of mine that are public artists they're like environmental in nature, for example, and that's really what speaks to them. Art is an incredible communicator of ideas and there's a lot of positive and up and um, energizing things that we can share. At least is how I use artwork. So if we believe art is a vehicle to transform a city, I should be made public, public and art should say something. Then artists can help improve the way people experience their city and they should use their talents to give back to the community.
Speaker 3That is the core of this project. The city is coming in. Because they care enough about their city to bring art to the city, they understand that this is a fantastic vehicle for improvement. This is the heart of what we're building, and so, from this little beating heart that we're starting to feed and let it grow, everything else will follow. You know I'm we have some rough objectives of. We would love it if artists did get involved with schools or offer educational opportunities, because that also ties in with Pensacola and like, for example, the Kindergarten Readiness Initiative.
Speaker 2Yeah.
Speaker 3We would love to have this program feed into that somehow.
Speaker 2So yeah, you guys are getting a tiny window of many different sides of this program, I think the big problem is like there's so much you can do, like how are you going to be at the beginning, like you know, kind of the program reaching out, like even determining who's going to be the person that?
Speaker 3it seems like the. The one selection that we have so far, at least at the beginning, is that they should be a pensacola area resident. Yeah, um, but we um understand that most of the other programs that we have researched they have a panel for choosing so we can help define what is the eligibility criteria. And that's going to be tough already, but it's going to be tough also to have a panel to help us choose. That really can't be the burden of the city or of my studio. It needs to be a non, you know, impartial panel of people who understand art and who can really evaluate the applicants. Luckily, pensacola is just ripe with talent. Like you guys know how much talent we have here. It is outrageous. So we won't be lacking in the applicants pool. What we're going to have to build really well is the structure around it, I'm not worried about the artists at all.
Speaker 3actually, I think artists are already very well self-managing and produce amazing work. It's just we need to give them proper parameters, because they shouldn't be self-managing.
Speaker 2And what is the goal of as the residency evolves, you know, is there a different kind of goal or theme or something like that that's trying to be accomplished each year? Yeah, that's that exists.
Speaker 3You know there are themes depending on the program. Um, that's that exists. You know there are themes depending on the program. Um, others have just rotating disciplines, yeah. Um, others just have, like the standard of um, you know, final show or final something, three community events in the middle, three workshops, and then you have to participate in like city meetings every month and help in I don't know a couple of infrastructure projects. We found all kinds and we just need to comb through it and choose and pick and build the right ones for Pensacola.
Speaker 2Yeah, I think, like at a certain point, like you said, I know that me and you just naturally gravitate towards oh, this is a visual arts thing, because that's the world we live in. But I think it would be so powerful at some point to have, like you said, there's five different disciplines that you're kind of pulling in well, I mean.
Speaker 3So it's like the five big artsy centers but there's many, many disciplines yeah, many more than five that we hope to, to open our doors to of this program seems like one of the biggest challenges.
Speaker 2It's gonna be like narrowing to what the quote unquote priority is now. You know, is there so?
Speaker 3much that can be done. There's so much to do and they really. There's so much to do in the city. This is going to be a great thing, a very useful thing for the city to move projects along that suck in like the. You know in the framework of the city that nobody really knows how to help move it forward.
Speaker 3That is one of the most needed things out of this resident in the city, but it also needs to be for the artist. Yeah, we've had plenty of conversations with our friends over at the city that are helping us with this about how the city is can be a facilitator for artwork, but they shouldn't define artwork that is defined by the artist, the creator.
Speaker 2So lots of very careful, you know word words, choosing words selection when building this program I mean just thinking back to when, like somi and I did, you know, we did a mural downtown years ago and it took us nine months to get through the process of approvals, like, I think, at the very like basic level. This allows things to move quickly for decisions to be made for, to like remove any red tape that might be existing there.
Speaker 3That really depends on the trajectory and the career of the artist themselves, though, because there's a lot of you know help needed in the city, for example, finding the right place to anchor a sculpture that was gifted to the city. Artists are not structural engineers.
Speaker 3So are you also overloading the artists with a job that doesn't really belong. They really should be creating more community engagement projects and artwork and further their career as well. But there is, there's a combination of all of those ingredients that's going to work. We've seen many examples of it working for many cities and the results of a program is just new landmarks in the city, a new vibe, you know like movement within the art communities, and it's beautiful what we found. We're very excited. We think this is going to be a successful, long lasting, hopefully program.
Challenges and Timeline
Speaker 2What is kind of the timeline? Do you think that this will kind of a call will go out? Is there a rough plan around that? I know you're still in the early stages of it.
Speaker 3I am hopeful that we are going to have a 2026 edition, but because I think that my studio, me and my mom, who's my general manager, who has luckily, just an incredible career as as NGO director and you know she understands program building, um, and I think I bring the the artist's side to this um, we we're.
Speaker 3We can figure out the organizational structure and we are more than willing to knock on all of the doors and do all the research and hand in all of the information and fight for this program. But there are some things that are outside of our capacity. Example, we're not grant writers and it's you know. For a program like this to survive, it needs multiple sources of funding. But the city has grant writers right, I know, and so the city said yes, we will help you with that Structurally engineers things like that.
Speaker 2There are the pooled resources of the city government that help move these things along and fill in them, and they are in it.
Speaker 3Like they are willing to help, but we really can't control if we're going to get, for example, one of the national endowment for the arts grants like there's, it's heavily competitive. So we need to figure out structure. We need to figure out which includes program, applications, panel, everything. And then we need to figure out funding, and funding is where we are going to need help. We can point at to what's been done successfully by other programs, but we need these two ingredients.
Speaker 2For this to work, I think you need to have a party with the drinks, snacks and invite the people with the uh and a dj and a d Invite the people that write the checks.
Speaker 3Just put Bad Bunny and put you on stage, they'll just still pay.
Speaker 1Yeah, Bad Bunny.
Speaker 3The latest album, please. New album's really good, I know I love it. Lady Gaga and Bad Bunny started off, or you're right, it's good, it's good.
Speaker 2I do think, though, is there a plan for some sort of launch event like that, because for some sort of like launch event like that, because I think that would be huge, that would be huge. It's going to be needed, and if Pensacola knows how to do anything, they know how to have a party and raise money for a cause. Indeed, they do, and I think that this is something that will naturally have a lot of backing by people that will support this sort of thing.
Speaker 3We are hopeful, we believe in it certainly, and I think that we can. We can convince and get others excited and have them believe in it as well.
Speaker 2Absolutely.
Speaker 3Yeah, we're pumped.
Speaker 2It's going to be great. I want to be at that party. Yeah, ramsey is going to DJ. That's why.
Speaker 3I'm looking at him. We just need, like our cheese board.
Speaker 1There we go, borders, we got the hookup. So, with that being said, well, hold on.
Speaker 2Is there anything else you want to talk about?
Speaker 1I know we've done a quick run of oh, what have you been up to besides that?
Speaker 3other than writing let's catch up real quick, okay, before we head out now I think I said anything, that everything that I could say of this program. I will say, actually, as we begin our interviews process, we have our first city listening session May 12th. Ok, so May 12th, 530 to 630. It's about to be announced. I don't know, I forget which which city building is, but it's going to be fairly close by and is about to be announced. We have more than a month.
Speaker 1And how can people keep up with that?
Speaker 3Through the city website and I'm at this city listening session. I'm going to also share my city email, which is where we are going to continue to receive feedback from the community. It's very important to involve them in the process of building this program.
Speaker 1Is this something you'll keep people up to date with on your socials as well? Yes, okay.
Speaker 3City socials, my socials, um, um, um email address for people to reach out to and another listening session later in the summer.
Speaker 1What's that email address?
Speaker 3Oh, I also don't know it by memory, but I will, I'm jumping ahead.
Speaker 2I'm jumping ahead. I'm so sorry. Yes, you are Ramsey, but where can? On social media, though, I think that's an easy way for people to keep a track what's yours, what's your social Instagram channel.
Speaker 3My Instagram is Daniela the Castro studio. The city's a city of Pensacola. Those are the first two places to look at, and more information will come out May 12th. Yeah.
Speaker 1Awesome, that's right around the corner, that's right around the corner, so catch up.
Speaker 3I've been busy, I've been so busy? Well we're. This is one of our main projects of the year, of course, because so much of our resources have to go to it. My business is doing well since the last time I talked to you guys that, by the way, I listened to that episode and, like you guys are really kind and indulgent and letting me ramble about the Sarah Graham illusions.
Speaker 3last minutes I've had friends and family tell me like you know, it was so cool, but I really really didn't understand anything that you said the last time. Like I know, I lost it. Um, since then, more more projects have have appeared. I am tomorrow, early tomorrow, finishing our first large scale 3D ceiling installation.
Speaker 1Whoa, where's that?
Danny's Current Projects and Wrap-Up
Speaker 3at Northwest Pensacola. It is one of four installations that I'm doing as the artist in residence for a private client. So, interestingly enough, I am the artist in residence for another program. So we're really excited about that. We can't wait to show everybody that this type of artwork is very conceptual. It's a departure from murals and we're excited. And, yeah, I got another big one. On next Monday I drive down to Orlando and get started Monday.
Speaker 1Oh wow.
Speaker 3So busy year we're doing great.
Speaker 1How long are you going to be down in Orlando?
Speaker 3My window is three weeks.
Speaker 1Okay.
Speaker 3So that's my max. If I finish it earlier, I'll come back earlier okay, yes, I hope so because I would like to you know like rest for a week that'd be sweet, yeah, sleep you know, and just and just chill yes, yes, yeah, I feel like the hyperspeed button was hit at the beginning of 2025.
Speaker 1For me it's like been like mid 2024.
Speaker 3We haven't stopped. Very grateful, super happy to be doing well. Super happy for the artists that have started to join me in these projects and the opportunities that are arising. So happy, doing well, very busy, very excited.
Speaker 1Those are my vibes. We love it, we love it so much. And now, with that being, said sorry.
Speaker 2I just wanted to give her a chance to say anything else that was relevant and to catch up, since she's the first time, second cast I know for the first time and the future third. Yeah, timer also yes so what we need to do whenever we book somebody else for time two, we need to automatically get Danny out for the third time just so she can keep that trophy.
Speaker 3I love it. If I have nothing to talk about, then I'll just ramble, it's fine.
Speaker 2I'll just talk about anything we can figure it out, we can figure it out. I love that so much.
Speaker 3So thank you so much, danny, for coming back, and enlightening us on this amazing program.
Speaker 1Thank you for having me. Yes, for sure, for sure. Um, if you're listening to this and you like it, please smash a like and please smash that share button. We greatly appreciate it. And you know what? Leave a review. We're on episode I think 40. Maybe we're recording like mad dogs so many.
Speaker 2Yes, we're being efficient, we're being productive, we're getting ahead. Hey, you get one too. That was a high five, oh.
Speaker 3I get one, I get a hug and a high five.
Speaker 1Yes, oh my gosh, you know it's all about the love, you know. So, with that being said, are y'all ready for Practical Rebels Out?
Speaker 2We're ready.
Speaker 3Am I supposed to say that?
Speaker 2God, she's even done it before.
Speaker 1Did we do that back then I?
Speaker 2don't know, I don't think so.
Speaker 1Okay, yeah. I don't think we did Practical Rebels Out back then.
Speaker 3I think it just happened one episode and we just stuck with it. I think you guys were just like just hang up.
Speaker 1Enough of us here we just hit stop right now when you're talking, and that's it.
Speaker 3That's how it ended, yeah.
Speaker 1So I'm going to say Practical Rebels and we're all going to say out. So once again, thank you again for coming back. We'll see you soon. Thank you so much for what you're doing for the city. City, it means a lot and with that, practical rebels out afuera, bad bunny.