Jumat, 23 Juni 2017

ticketmaster asking alexandria

ticketmaster asking alexandria

(no audio) thanks to the vineyard theaterwhich we're in right now. they've been so wonderfuland accommodating. (applause) and last but certainly not least,our fabulous friends at playbill, and sarah jane from playbillis here tonight. this is actually our third yearof four day panel events. for information on the past two years,you can-- and information on the rest of the week,

you can go to playbill.com/identityweek there's a lot of great information there,including a whole companion series about this week in particular. and we have-- tonight was writtenabout mccarter theater and their relaxed performances,which is a really fascinating story, so i would recommend you check it out. a few house keeping thingsbefore we get started. cell phones, silence thembut please do not turn them off, because we love live tweeting.

i'm going to be sitting in the backdoing that myself. for live tweeting,first very important, wifi, if you need it, especially if you'rein this lower half, you might need that. yeah! vt2 is the network. and "veneered", all lowercaseis the password that you should use. use #identityweek obviously,since it's #identity week. but also tag us @mrsamuelfrench.

and i'm proud to saybecause of identity week, we are switching our handle next weekfrom mr samuel french to samuel french nyc. so be on the look out for that.(laughs) also one final note,because of tonight-- and this is-- we're trying to do thisthroughout the week, people tend to go up on that second level afterwards to talk to the panelists;

we want to make an aimto go out this way and to go into the lower lobby tonight. so if you'd like to chatwith the panelists or the audience members,stick around there for a little bit before we haveto close up shop. and come back for tomorrow night. we have george sivuyile, larry kramer,joy gresham, dr sangay, a lot of fabulous people,so join us tomorrow and have fun. thank you, oh--and i'd like to introduce

our moderator, diep tran. she's the associate editorof american theater magazine, and she's going to take it from here,thank you! (diep) hi. i'm normallyon the journalistic side as an invisible writer,so i'm never on stage. this is very new for me.(laughter) so i'm very happy to be here,i'm excited for the conversation, so let's get started. please bring out the panel.

and for our audiences,can each of you introduce yourself. - (christine) where do you want to start?- (diep) i'll start with you, christine. hi i'm christine bruno,and i'm an actor and disability advocateat alliance for inclusion in the arts. hi i'm laura kirk, i'm the directorof audience services at yale repertory theaterin the school of drama. hi i'm phil dollman,i'm a playwright and also managerof accessibility programs for the theater development fund.

and hello, i'm alexandria wales,i'm an actor, choreographer, director, woman of many hats,as well as advocate and activist. (laughs) (diep) to start tonight's discussion,i wanted to first talk about onstage representation. in the past few seasons, we've seen quite a number of high profilerepresentation of characters with disabilities on stage on broadway, such as deaf west's production,of "spring awakening"

and "a curious incidentof the dog in the night-time." and so, have the four of you-- has this increasein these representations, has it been an anomaly,in your experience? (panel laughs) (alexandria) well i think (signs),it ebbs and flows; it comes and goes, i think that right now, i'm noticingthere's more of social media which gives a moreconsistent conversation, there's more of a chatter,

people are awareand they're intrigued by it. whereas in the past,we didn't have twitter, we didn't have facebookand so many extra ways of communicating that can reach a more broad audiencesimultaneously. so one thing, i think that i'm alsorepresenting deaf west tonight. so from my experience, what i think is uniqueabout "spring awakening," is that there were no deaf charactersper say in the show. it was about the concept of communicationand miscommunication.

and the levels of interactionamongst people. deaf west firmly believes that you have a productionwith the spoken language and the signed languageand they select actors who want to work togetherand that then became what we experienced herewith "spring awakening." (christine) i would say that--i'm just going to speak for a second about the two examples you gave,are two very different exmaples because deaf west productionfeatured deaf actors

and the first ever actorwho uses a wheelchair on broadway. first ever! so for those of you who didn't know that,that's like a huge thing. and then then the other examplethat you gave "curious incident," while that piece dealt with issuesof disability, that actor was not a disabled actorwhich i think is of central importance to what we're talking about tonight. and in the 2013/14 season on broadway, there were actuallyseven plays on broadway

that featured characters with disabilitiesand not one of them was played by an actor with a disability,either as a principle or an understudy. so if you're askingto address your question about, "is it an anomaly?" right now, i would say yes. but i agree with alexandriathat i think there's a sea change coming, because i think that people,because of technology, are voicing their opinions moreand their preferences more, and i think the industryis listening.

(phil) i also think it stemsfrom the education system. so we're seeing younger artistswith disability in mind, because they were exposed to itgrowing up, in a way that artists 50 years agomaybe weren't. so individuals with disabilitieswere in separate classrooms, now there's a much moreinclusive environment in our many educational systems,i won't speak for all of them. so i know for myself growing up, i was around individualswith disabilities all the time,

and that led to me as a playwright,having them in my mind for characters. and then, what's the next step is,opening your mind one step further to see, "oh, there are so manytremendous actors with disabilities to play those roles." so, it's a movement. (laura) yeah and also,with the educational aspect, there's another generationof creators and artists that are coming forwardand looking to broadway

to be inspired. and with more of this happening now, that's going to becomea part of their work, as they move forward. (diep) christine you brought upsomething really good, which i wanted to talk more about, which is the issue of a cripped face, which is the phenomenonof a non-disabled actor playing a role of a characterwith a disability.

and so can you speak moreto why is it an issue for the community. (christine) sure. and so the termcripped face is-- it's more widely usedthan it ever has been before, and i think when people started using it, there was a little bitof a hesitation to use it, because it is an "in your face" term. but we use it sort of,analogous to black face, or yellow face or brown face so that's why it's cripped face.

i think that it's so importantbecause people with disabilities-- we don't, as actors with disabilities,we so rarely get to play ourselves, let alone just the fabric of society, we so rarely getto play disabled characters, which is why i brought up that statisticsof the seven shows on broadway, because it's amazing that there were seven shows on broadway, that featured characterswith disabilities prominently. but super disappointingthat none of those shows featured actors with disabilities.

so because there's that feelingthat we get the push back when we say we like the practiceof cripped face discontinued, we get pushed back. well we're just acting.it's acting. isn't that what acting is? that we inhabit characteristicsthat are not our own. well yes that's true and that is acting. but the fact of the matter is that,as disabled people, and as disabled performers,there's such a history of exclusion,

that until that playing field is leveled; that excuse of, "it's just acting"doesn't work. (alexandria) yes, i concur with that. as an artist, well,there's always the excuse, "that's our job, we're actors,that's what we're supposed to do." and i say yes, but you must realizethat when you get away with representing the disabled body-- because it supersedes what i can,quote-on-quote, get away with. people who look at me and go,"aha, she's deaf and she has limitations."

so i've got an identity branded on me, but that's not all who i am. i'm an actor because i'm interestedin sharing the human experience, sharing the stories that are out there, and when someone decides for mewhat i can do, that push back is really intense. so it's a challenge because i wantto be considered equivalently with my hearing colleagues out there. i want to be respected.

and if i'm not viewed that way,then i'm going to have a problem. i won't be able to offer my art,and the world will be at a loss because they haven't metthe fantastic alexandria, no. but i'm saying that it is an experiencethat i can bring a different perspective, that otherwise, they would havenever had the opportunity of thinking that someone could have beenbrought in, or christine could be brought inall she could bring, and people need to be open to it. i think that not just as performersbut as creative people in the room.

i think that that's somethingthat we've lacked. i go into an auditionand i scan the sea of faces, i look at who's behind the tableand it bothers me a bit because there's no one therewho really knows the experience of living in this world this way,and that's okay, i mean, it's not okay if they'renot allowing you to go for an audition, but it's okay for them to makethe determination of whose there. it's kind of funny. (christine) i also think it's indicativeof all the other communities

that samuel french has been,that all these panels have been discussing this week. all of these issuesare probably for those of you who've been here more than just tonight, are hearing the same thingsover and over and over again. because we all deal-- all of uswho deal with a history of exclusion, are dealing with people,sort of appropriating our identities, and thinking that they know betterthan we do, what the lived experience is that we have.

regardless of our race, our ethnicity,our disability, and a lot of those things intersectwhich we haven't talked about either. (diep) and winning awards for it too. (christine) yeah.(laughs) (diep) and so we were talking backstageabout what can be-- what can playwrights do,what can directors do, to better or normalize a practiceof casting actors with disabilities in roles that don't requirea character with a disability. and so phil, you're a playwright,what are your thoughts

on just making this common. (phil) well i've got a great example. christine and i interactedearlier last fall, because we were leading upto a reading of a play i wrote. we had a character with autism. when the woman who wantedto produce the reading came to me and we talked about producingthis reading. the thing that i was adamant about was that that role be playedby an actor with autism.

they didn't necessarily need to be on that part of the spectrumthat i had written, but they needed to have livedpart of that experience. and luckily i had a very nice producer that was like, "yeah absolutely,how do we find them?" and we found christine's organization. but i think that's where it starts. if the artist demand--the art doesn't move forward, if the playwright says,"no no, i own this.

i've copy written this piece. it does not move forward if the actorplaying this role does not have this disability." we have too many tremendous actorsout there with disabilities. i mean, and i knowi'm in a unique position, in that i'm surrounded in that worldso i'm a little bit more in tune to it than other people. but my feed is filled with deaf westor john mcginty is out killing the game in hunchback outon the west coast right now.

the first deaf hunchback. there's just so manyactors with disabilities that the excuse-- there's reallyno room for excuses. and i think if playwrights,and again this is phil the playwright, not phil tdf. but if we stand there and say,"no, this piece has to have an actor with disability for it to be honest." because isn't that what all artists want? they want honest work.

so if we start from there,i think it can be pushed forward. (christine) i'll just say, in my roleas disability advocate, it's sometimes hard to advocate for thatwhen the writer is not committed to that, or when the produceris not committed to that. because if somebody in that capacity, in that real capacity of leadershipand decision-making for that project, is not committed to castingsomething authentically, it's hard for individualslike casting directors who are making leaps and boundsin terms of authentic casting

in wanting to fold actorswith disabilities into the regular rotationof people that they see for disability specificand non-disability specific roles. there's only so much they can do. so it does have to comefrom the playwrights, from the producers, from the directors. and until they start demanding it,it's going to be incremental progress. (diep) or until there'smore artistic directors such as the artistic director of deaf west,

who is committed to casting actorswith disabilities in classic roles that they would not otherwise be cast in. (phil) and we have a theaterlike that here in new york. new york deaf theaters is here as well. (christine) and also tbtb. (diep) laura you work at yaleand you were telling me about the training that you dofor students to help them become more awareof these issues. can you tell us more about that?

(laura) sure, so it was startedby my predecessor, and we are trying to carry it forwardas best as we can. but it's-- each class of new studentsthat come in, they go through an orientation week. and a part of their orientation weekis meeting with all their instructors, but also we havean accessibility awareness training. it's about an hour and a half in length. and we have guests that come inand speak to their experience. so we have guests-- this past yearwe've had two guest that were blind

and they came in and spokeabout the different ways that they experienced theater goingand also just everyday life. and we also had someone,an employee of yale university who came in to speak,who is deaf, and she related her experience as well. and it's an incredibly powerful momentfor the students, and it really starts to get themto see these people as people, and part of the art communityand part of their audience. and we speak about customer service,we speak about facilities

and the things that we're trying to dowith out facilities to bring them up to standard. yale's a pretty old (laughs) university,so the buildings are a challenge. but they do get this trainingtheir first year and it is spread throughout their time. so as designers move frowardto design a set in a flexible space, they are also consideringthe seating and how that is created and where is there room for everyone? (christine) what about the stages?

are they considering thatin their design as well? (laura) they are and...they are!(laughs) i'd like to say that everybody is,but i can't speak to that just yet. (christine) but that intentionality,is that part of the program or are you mostly focuson audiences? (laura) no it's a partof the conversation and our accessibility awareness training speaks a little bit more towardsthe patron that is attending. and actually even studentsand faculty members now that work with us,

but then in the classroom, our hopeis that that conversation continues. and it has. it's continued throughour playwrighting program. our playwright wrote a rolespecifically for a young actress that she had met. and so it is starting to see itselfin different areas in our program, which is exciting! (diep) how can casting directorsand directors be better aware of when they are casting,

to really open it upto actors with disabilities and to look at their unconscious biasabout what a role entails. (laura) erm... (christine) sorryi'm not a [novelist] (laughs). (diep) (laughs) you'll haveto go with opinions. (christine) i'll just say,well it's because throughout my work at the inclusion in the arts,we've been working very closely with the diversity committeeof the casting society of america, on this very thing.

and they came to us and said,you know what, we need to do better. we as csa need to do better, because we're not seeingtalent with disabilities, with any regularity. we're only bringing in peoplethat we might know because we know themfrom some other capacity, or we might have seen alexandria in a show so we'll specifically bring in alexandria. but we have no connectionto the community.

so we need to do better. so over the past two years,inclusion in the arts and csa partnered, and we had a huge townhall,there was a hundred actors and 10 casting directorsand a lot of casting assistants which is super importantbecause those are going to be the casting directors of tomorrow, in the room asking questionsof each other, realizing that we as actorshave a lot of misconceptions about what casting directors doand how much power they actually have.

and they have a lot of misconceptions about what it is we do;what it is we need, so that was a greatinformational tool for them. and then we had an entire dayof workshops were the csa devoted-- they donated their time and sawover 60 actors with disabilities in different disciplines. they auditioned workshopsand they put us on tape. and i'll say personally and i knowin my role as disability advocate, i've gone in several timesfor non-discripped roles

and for disability specific rolesto several different casting directors and i think it's a direct resultof their efforts. (laura) do you find that there'smore representation now for artists with disabilities,with agents and managers or...? - (laura) because they can really help- (christine) yeah, (laura) get you in the room-- (christine) and that waspart of the problem. that was part of the issue; was that most disabled actorsdon't have representation

so they weren't getting in the room. because obviously casting directorsneed to do these things quickly particularly for film and television. it's so quick that they just goto their top five agents and they call them and they say,"give me your five people that fit this." and so we're always left out of the mix. now a few of us have representation. that, i think, is the next step.

it's to get the agents on board, and that's a tough thingbecause it's their job right? so they want actors who are goingto work consistently that they can make money off of,and so it's a catch-22, because right now, the industry is not allowing most actors with disabilitiesto work on a consistent bases where it's lucrative enoughfor the agent to be willing to take us on. that was sort of a long windedanswer to your question (laughs). (laura) yeah.

(diep) i mean phil,when you've cased your shows, did you meet with any hesitancyamong casting directors and they had to tell you to go back? (phil) i mean, we workedjust through the producer. so we didn't work directlywith the casting director so i don't have that experience. i will say that there was some hesitancy with the other folksconnected to the production, with the simple question of,and it's ignorance of,

"well if he has autism,how's he going to learn the role?" and i chuckle at it but then i realize you don't have the samelife experience i have, you don't have the same education i have, you don't have friends with autismlike i have. so what seemed silly to me,was actually a legitimate question. so it turned into an education session. and i think if you're open to that and you're not put offby educating in the moment

rather than getting angryand getting fired up and realizing that it's ignorance and ignorance can be removedby education, then you can attack itthrough that way. that's not to say that everyone'sgoing to turn around and be open to it, but in my experience, as a playwright,they have. (alexandria) yes and this is interestingbecause when i go to an audition, i can sense a bit of resistance and i know that i'm not just hereto audition, i have to educate first

before i can auditionand i only have three minutes to do it all!(everybody laughs) and then i leave. so it's very intense. so you have to choose your battles,which one is it going to be? at a certain point i recognizedthat i can't do this and i need to educate or do i just auditionand hope for the best? and it's stickybecause i'm thinking about csa; i attended one of the workshopsand my experience was unique

because i had a moment of clarityand it was interesting that the casting people alsowho gave this workshop had a similar experience. i was comfortable,presenting my lines in asl, i could do some speakingand lip reading but i was trying to focus to comprehend on what was being spokenby my partner. so the reader was looking at the scriptand just speaking lines and i was already at a disadvantagetrying to lipread or fake

what not understandingon top of what was going on in the scene. and during the workshop,i was on camera workshop and i asked if i could ask someonein the room who already signed fluently if they could be the reader. and then my auditionwas night and day difference. it was beyond what we would have thoughtit would have been. and that's when they saw the difference,the comfort level, they saw more of who i am,what i have to offer, as opposed to being very stiltedand desperately trying to lipread.

like it was a favor for themand it was actually kind of painful the first time withoutsomeone who was a fluent signer. so having people in the room,then you think, "are they open to the idea of mecoming in with my own reader? having a reader in with me who's comfortableexpressing in my language, that's a step that i might have to take and see if they're willingto accept it or not." and here we are together,

we know that we needto consistently educate. if we have the tools, we may even needto bring our tools in with us too to help them get it, to recognize the differenceof what is potentially out there, if they actually see it. (christine) and some people--it's an interesting conundrum because some actors are not comfortableeducating for themselves. so alexandria and i happento be particularly comfortable because we wear a lot of hats

and that's just part of the fabricof who we are. but some people,some performers with disabilities, it's difficult for thembecause they don't know whether they are allowed to ask questions, or whether they are allowed to askfor a reasonable accommodation and so then that becomes a barrier to them doing the best work that they can do. and that can be hard and so i thinkwhat the csa is trying to do is a great thing because we're tryingto come together and meet in the middle

and realize that we all don'tknow everything; we both communities, have a lot to learnabout what the other community does. so that we are giving them what they wantand then they can cast us, and then that makes their job easier.(laughs) (diep) i just liked watchingspring awakening. it made me aware of just how much more--the initial residencies when you put these kind of actorsin this kind of role, and to see what the human body can doand what the voice can do. and so, what-- i guess for those of uswho are not indoctrinated

into this inclusive church, what is the value of being more inclusive and of putting these actorsinto these roles that may not have a disabilityenwrittened into the character? (alexadria) well i thinkas an audience member, when i go to watch a show,i rarely see somebody like me up there. so it's simply that,bringing more people who are alive, who are diverse,who are like me on the stage so that i can connect to themand say,"yes, yes, i get it on there!"

(christine) i also think that audiencesare a lot smarter than we give them credit for. "we", i'm talking as an industry. i think we put something in front of them,they go, "yes! wow!" (claps) but this isn't it, like the responseto spring awakening. by and large, the response was incredible. it may not have been anythingthat 90% of the audience would ever have envisionedbut you put it in front of them. if it's believable, and they careabout the story and the people,

the audience will buy it. if it doesn't ring true,the audience won't buy it. (diep) do you want to say something? (phil) nope, i'm just agreeing. (diep) so how do we better educateto let casting directors and directors and artistic directors know that this isn't a value taken away,but a value added and it's not going to be like a drainon the resources. (laura) i think that too oftenpeople see something different as a risk.

and they think that we just-- it is taking time to turnpeople's thinking around to realize that it's not a risk, we are just holding the mirrorup to the audience and reflecting what is in-- the people that are in the audience again, should be the peoplethat are reflected on stage. it's not a risk like you said,they're not-- the audience will go along for the ride,they want to.

(christine) yeah. i think it is a risk in that, everything that we puton the stage is a risk, right? - (laura) (laughs) of course.- (christine) it's just, every time we set foot on this stageis a risk of some kind. whether it's a financial risk,a creative risk, you're always risking that somebodyis going to say, "i don't like that, and i don't buy it and i'm not goingto spend money on it." but i don't think it's anymoreof a risk than that.

(alexandria) and one of my mantrasand it's kind of [dead] telling to what christine says,is "changing fear to curiosity." because the fear is the risk. and instead if people are just saying,"oh, but what if we could?" it opens it up to an entirenew experience, a whole new world perspective;just one little shift. and there's so much potential out there. i also think that when we seesomething on stage, we also have to thinkabout what's backstage too.

what about the lighting designer?what's going on? what's happening backstage? the part of that experience as well--because if we're seeing that in our collective consciousness,then it does feel more normal. and it does lead us on to producesomething on the stage, because the actors are the oneswho are being viewed but we are not even thinking aboutwhat is not being seen, what is happening backstage as well. so we need to be mindfulof that area as well.

(christine) and i think that comesfrom the theaters and organizations and educational institutions,in particular, having an intentionalinclusionary impulse. from the top down. from boards and staff and administrativeand artists and designers and [writers], it has to come from every sectorof the industry. that's the only way that i thinkthat substantive, long-lasting change is going to be able to be made,

otherwise, i think what we see sometimes,is there's like-- we'll just take any theater for example. if the artistic director hasa particular experience of disability, whether they have disabledfamily member or something, okay, so that's a bigagenda item for them, it's making sure disabilityis represented at their theater when they are the artistic director, and then they leave and go somewhere elseand that whole initiative dies with them. and so what i think we're trying to dois making it sustainable

through playwrights, through directors,through administrative staff, through boards, because if there'speople at every level saying, "hey wait a minute,disability is part of diversity too," because that's the biggest thingi think that we haven't said, which is really obvious. is that, disability gets left out of the conversation of diversityall the time. we talk about race,we talk about ethnicity, we talk about gender,we talk about gender identity,

we talk about sexuality,and we don't talk about disability, it's like, "oh yeah.." that's an after thought. no, disability is a culture,it is part of disability and actually is the only clubthat anybody can join at anytime. so...sorry i din't mean thatkind of silence! (laughter) (diep) well, thank you bothfor the really great segway to the backstage part of the conversation. i mean, do you think that there'ssomething within the way

that we're training artists, that we're not making it conduciveto potential artists with disabilities? (christine) that's a great question.yes. (diep) don't be shy. (diep) there's no wrong answers here. (phil) well i don't knowthat i can really speak to that. i neither have a disabilitynor did i go through my artist training as a playwright with anyonethat had a disability, which maybe speaks loudly--

- (christine) that does speak to it.- (phil) --to the thing, to the subject. i think that says a lot.i don't know... (christine) i have an mfa. i'm one of the lucky fewthat has an mfa in acting and directing from a conservatory program. and i also have a ba in acting. but most don't. because the access to trainingis really, really difficult. particularly with the professionaltraining programs in the country.

but particularly, in my experience,people with physical disabilities, immediately the onus is on usto prove how we are going to be able to get through the rigorousphysical aspects of the program. i've interviewed with a couple of places, that were, "well how are you goingto fulfill the movement requirement?" well no, you are the educatorand you're the head of this program so we're supposed to be working-- if you like what you seeand you see potential in me as an artist, then we're supposedto have that conversation together.

i'm not supposed to be the oneto give you the answers on how to teach me. i'm coming to you and i'm goingto pay you this huge sum of money that i'm probably nevergoing to pay off, because i'm going to schoolbeing an actor or a designer (laughter). so i'm looking to you for the answers. and so often, because nobodyhas any answers, they look to us for the answers and i find that the more that we talkabout education and it is changing,

i will say, from when i wentto graduate school. but i find it really interestingthat in an industry that supposedly embracesopeness and the creative spirit and innovation, when it comes to training,they're very rigid. particularly when it comes to disability. incredibly rigid. "no we have this and we've gotthe movement program, and we've got the dance,and we've got, you know,

and you're deaf and so that meansyou would have to have an interpreter with you all the time." we just, you know-- the lack of expansive thinkingreally gets me every time. and so if there's one thing i would sayto feed this pipeline, it would be that. that the education system, particularly in the professionaltraining programs, of which there are many nowaround the country, they need to be more openand more inclusive,

and realize that we have a lot to offer. (alexandria) and i would liketo piggyback on that, if you don't mind. i think well, from my experience,my biggest challenge with education is continuing my professionaltraining as an artist. look, i live here in new york, how many acting classes are there? it's ridiculous. and every time i think of goingto a class and all of a sudden the issue of interpreters arise,and who is going to pay the interpreters.

so i'm already a starving artist, so where am i going to find the moneyto pay for interpreters for my training. but i value the interpreters. they're my colleagues,they work hard as well. so it's a constant balancingof these questions. and i think it's very important,in training programs, especially at the collegiate level,to think about having budget already planned for access. so that you don't have to justfigure it out in the moment;

have it there when it's necessary. so instead of saying, forcing the personwith a disability to figure it out, then it becomes an inherentbarrier to access. so have it there before moving forward. and christine mentioned aboutbeing the only person in her program. i went to a program for danceand then after i had a bfa with dance, i transitioned into becoming a performer. but i was the only deaf personin my dance apartment. and the first year,i tried it without an interpreter,

because i thought it wouldjust be movement. and as we went along, i realizedthere was more than just that. i had become accustomed to dancingwithout an interpreter when i was young,but there's so much more, there was theory, pedagogy! and i was missing so muchwithout an interpreter. so for the remainder of my training,i did have an interpreter. and it was adjustment for the experience. and i think that it also lets everyonein the room be more aware.

i never tried to hidethe fact that i was deaf, i was just present as a deaf person,i was there and i wanted to become a better performer. i wasn't trying to say,"look at me, i'm a person with difference,i have the different card. i have the deaf card, right? i was just trying to do my joband be a student. so it was an interesting experiencebut i see that often with my peers, is that we need to have peerswho want to educate themselves,

want to improve themselves. but the mindset of the educationalcenters is the blocking for us. how are they going to provide solutions,is a big question. (christine) and also the assumptionby some educators, that we're less than. that simply by the nature of the factthat we have a disability, that we're not as talented. and that does happen a lot. and it's usually becausethe non-disabled person doesn't know how to dealwith whatever issue is happening

and someone has affected speech,then they just interpret that as a "well they're not going to work.we don't understand what they saying, therefor they're less than." rather than recognizing thatas implicit bias, which is what it is. (laura) and that should be a partof their conversation when educators are being hired. i was going to ask before, do you think that more can be donewith recruitment

so that programs that do have the abilityand do have the support-- i work in a place that hasincredible support, not just in our school,at this drama school, - but on the university level as well. - (christine) yes. (laura) so i'm really fortunate. but i'm sure there are other programsthat have the support and maybe they should be doingmore recruiting. (christine) absolutely.yeah. (alexandria) yes, definitely.

(christine) but that comesfrom the top down as well, you have to convince--in your specific situation (laughs), you have to convincethe head of the drama school that you should be matriculatingmore of students with disability - into, you know...- (laura) yeah. (christine) and in every situation,you have to start at the top. (diep) for like artisansand for backstage people, designers, do you think there's somethingwithin the way we structure the industry, with like 10 out of 12's and really vigorous hours

than make it really not friendlyto people with certain disabilities or...? - (christine) yeah!- (laura) yeah. and i don't think that it's with everybodybut for me, because i'm so used to it and i came up at a time prior to ada's so like i'm just used to doing what we do,which is, we do the 10 out of 12 and we do the 15,we rehearse for 10 hours and then you go and worka third shift job. but some people can't do that, and i think that's partof the reasonable accommodation,

so i think that a person shouldbe judged on their skill set and then if you thinkthat person's skill set is worthy of whateverproject you're doing, then you go, "okay, we're hiring you,how can we accommodate you?" (phil) and i think that's uniqueto each individual person-- (phil) as christine says,so i think people can avoid painting disabilitywith broad strokes right? just attack each individualas an individual and approach the situation as such.

so, some people can do 10 out of 12'sand that's great. there're plenty of actors that canhustle and do all that and their physical abilities allow that. some can't and you adjust,given a situation, but you need to go into it,individualizing the person, not painting with broad strokesor preconceived notions. (laura) right. and they'realready doing it. my daughter performed in a playand she was not allowed to work past a certain time.

and that was more because of her agebut they're already doing it. so it's not any different than that. (christine) you bring upa really interesting point because something that came upat our town hall, and alexandria might remember this was, there's a big-- particularly i think and please correct meif i'm wrong alexandria, that it's really hardon the deaf communities especially, because of the need for interpreters.

there's a lot of push backabout having interpreters for auditions and interpreters for rehearsalsand then because of the extra costs right? and so the interesting thing for us is that some of the deaf participantsin the room were saying this, that there's a lot of push back and we need the interpreters there,obviously, to do our best work. and one of the casting directorshad a light bulb moment, she said, "wait a minute,"she said, "i cast a lot of musicals, and we think nothing of hiringa pianist for the day for auditions

and the pianist plays for 90 secondsthen they sit around for 15 minutes until the next person comes in. and then they play for 90 seconds. and we think nothingof shelling that money out, why don't we have the same,why don't we afford the same to hiring interpreters." and i think that wasa real light bulb moment for the csa and also for the actors, yeah? (alexandria) yes, it was.

(diep) so back in january,there's this really interesting study from the new york cultural department, that said the diversity of peoplewho worked in new york city, in arts not for profits, don't matchthe diversity of new york city. something like 30% people of colorworking in "not for profits" versus 60% in new york city. and there's a part that said,"we ask about disability, but the numbers are too smallthat we didn't include it in the study." and so we're talking abouthow this shouldn't be on stage,

it should be in all areas of the theater. is there some way to makethe hiring process for these positions more inclusive? (christine) (laughs) i'm so sorry. on the department of cultural affairs,i will say, is working on that. - (diep) yeah.- (christine) because they recognize that is a huge problem. i mean, first of all, that surveydidn't even say anything about disability at firstbecause they thought

"well there was no dataso we'll just leave it out." and then we all said, "wait a minute.the fact that there's no data, you need to say there's no data,and then we need to address the issue." and so i will say thatthe department of cultural affairs is actively working on that. (phil) i think institutionally,it starts again, ground floor. so internships. who are you hiring for your internships? how do most people,get into their organization

or build up their resumeas they're in college or grad school. it's internships. so it's looking at a diverse hiring poolat the start and then it expands, and then the folks, anybody entering,is on an even playing field, so they all have the same resume, right? then the disabilityalmost becomes irrelevant and you're hiring the best person. (christine) but it's really importantto remember, particularly when you'retalking about disability,

and also i'm going to throw inintersectionality here as well, particularly for internships because if you look at the national rateof unemployment of non-disabled people, it's 20%. the national rate of unemploymentfor disabled people is 71%. so internships traditionallyare unpaid right? so who's going to be ableto afford to do an unpaid internship, let's be honest. it's going to bethe non-disabled white kids,

pretty much, right? and so i think when we thinkabout internships, we have to think about that as well. we have to make the internshipsattractive in a way for all of these underrepresentedcommunities otherwise it's going to be-- if we just say,"here are these internships, and you have to have a ba,and they don't pay anything, you're going to have to livein new york for a year but we're not going to pay you anything,

like who's going to apply for those?(laughs) - (time watch person) you have 15 minutes.- (diep) oh! (diep) do we want to open up to questionsor talk about audiences actually? (phil) we'll briefly touch on audiences. (diep) yes definitely! so phil you've talked--(panel laughs) you'll continue yeah,which has some great initiative in terms of, for audienceson the spectrum and also for deaf audiences,

and so can you talk a little bitabout those programs? (phil) yeah so tdf hasa wide variety of programs. we have our autism theater initiativewhich has been the program that's bringingthe most publicity recently, that presents four autism friendlyperformances a year. these are complete house buyouts. the entire program is geared towardsfamilies with autism. the tickets are sold to themat a discount, so we take a loss, a hefty losson each performance,

to bring the price down to at least 50% of what the broadway pricewould have been, to make it affordable for familieson the spectrum, or families affected by autism. in addition, we have captioned last year,i believe it was 67 broadway shows, open captioning, and that continuesto expand every year. three years ago, it was 35so it's growing astronomically. we also have programs for,we call it general tap. but it's orchestra seating for folkswith mobility or vision or hearing loss,

it seats you close to the stage,but in the orchestra. and we're really delving now into--with the unfortunate demise of hai, into audio description. that was thrown at us,[if they closed] our phones lit up, - and they said, "you do this now?"- (christine) you do now! (phil) we do now. and we're really startingto ease into that and to figure out what that world is. but there's so much more to do.

we're always trying to launchnew programs. we have a program called,"access for young audiences," that my colleague [leah diez]is point person on, but was founded by my boss,lisa carling. but it's for students with hearing lossand with vision loss, so it's five wednesday matneysof broadway shows that are sign interpretedand open captioned, and one performancethat is audio described. and we're trying to evolve thatto the next level

with a partnershipwith new york deaf theater, where older students in the program,can be mentored by deaf artists, and see that there's a career path;there's potential for career through that. so we have a ton of programsbut they're not perfect and we're always tryingto make them better and evolve them. we just started doing school workshopswith our autism theater initiative with the lion king. we got to make some great masks with some great kidswith autism in brooklyn.

it was fantastic! and talk about the artistryof puppetry and masks with them, which was great. that's the elevator pitchfor tdf accessibility programs. (diep) no it's great becauseit goes into what we're talking about at the beginning of this conversationabout these audiences are coming and they want to see peoplewho look like them on stage. it's all connected!(panel chuckles) (phil) it is. and they needto be able to experience it, right?

so the show has to be accessiblein some way. whether it's captioningor sign interpreting or audio description or whether there needs to be sometechnical adjustments for autism friendly. and in new york, we're tryingbut i go to access conferences-- i came back from the [inaudible]lead conference this past summer, and man am i jealous of what my friends in chicago get to do. and they touch tours on every cornerfor patrons with vision loss.

and in london, the relaxedperformance movement. not four times a year,but like four times a month! and i had a colleague, roger [adashi]who's at temple university who's really pushing the [inaudible]friendly programming movement in a lot of ways. and he said this summer,"access is options." it's not-- what often times,access becomes is an event, but that's not access. access is having optionsand we are striving and we're pushing

and technology is helping us get there, with the idea of on-request access,like in the case of hand held captioning. we have the eye caption devices out there, i know there are a million peopletrying to create an app to do on-demand captioning right now. and stuff as simple as tdf,we just started providing box offices with autism friendly kits, as simple as a character guideof the show, a couple of fidgets and some noisecancelling headphones.

so if a patron shows upto a non-autism friendly performance, but has their right to cometo any performance, we have something therethat can support them, in some way. (diep) and just one final questionabout ada compliance and i experience-- christine in particularin your experience as an audience member,how far are we from-- institutions are from full compliancein your experience? (christine) i guess it dependson where we're talking about. i mean, any building that was builtbefore 1990,

which sadly is the majority of theatersin new york city, is not ada compliant,a lot of them are trying, but normally the seatingis sort of compliant and then the rest roomaren't compliant. i think people's intentionsare great. but i think what happens when we talkabout ada compliance, and when we use the term "accessibility," people think, they just stop at that,at accessibility, at wheelchair accessible seating,at infrared devices,

at captioning and audio description,and it goes so far beyond that. we should be talkingabout the intention of inclusion, throughout everything. so on our stages, in our audiences,and basic customer service. (laura) yeah and i was going to say,a lot of times, it's very reactionary. so instead of-- and we havebrilliant designers, there are brilliant designersoutside of the theatrical world but also in the theatrical world, maybe someone can start thinkingabout these old broadway houses

and coming up with an affordableoption to replace the seating (laughs). you know make somethingso someone can choose wherever they'd liketo seat in the theater and they can get to those seats. i mean there's got to besomeone with some ideas out there. (phil) and credit where credit's due. i know at least,i think it was two years ago, the [girsh] one folded in,replacing their chairs, with expanding their wheelchair seatingand adding t-coil for folks

who have that abilitywith their hearing aids. so there are some people thinking about itwhich is great. (christine) for sure. i would say though, and this is goingto seem like a stupid thing to say but know the law. i mean, at the very least, know the ada. not just the ada from 1990,but the ada amendments act which changed in 2010because it expanded accessibility particularly with respect with seating,

and i can't tell youhow many broadway houses i've been to where they don't knowthat the law has changed. (alexandria) i'd like to mentiontwo quick things. related to the ada, know the law,keep up with it, but also, be transparenton your website. (christine) yes! (alexandria) because for many people,that's an issue, if they don't have good communicationhow they can contact you, it has to be connected on the websiteso we know what's happening on the web,

and maintain accurate accessibilityinformation there. secondly, there's a nationalassociation of the deaf that soon will be releasinga position statement about theater of 400 seats or more, and with the best practicesfor providing improved access with sign language interpreting,captioning and so forth. and i think that's a very exciting eventthat should be coming soon, so keep your eye out for that. (diep) great! we have seven minutes leftso let's take some questions.

yes! [inaudible] (man in audience) this is a questionfor christine and alexandria. i used to workas a marketing director for years and we do asl performances, and multiple managing directorswould see this and say to me, "it's great because you have this built-inaudience to sell tickets to." and it felt a little bit skiddy.(panel laughs) so i'm just curious about interceptionwithin the communities as representatives for those communities,

what is the perception of theater like?is it just a thing of like-- i'm just basically asking,what is the actual bald faced opinion of how the theater is configuredfor the respective groups, and you go backto what is conversation like? (christine) erm-- (man in audience) don't try and [cut]it out, is it respected in general? when we're dealing with patrons,they were like, "well, you should do this all the time." right, but that just doesn't happen,so is there a resentment there?

(diep) his question is, what's the opinion among membersof the disability community with regards to theaterand how hard is it that they're trying? - (alexandria) well...- (christine) let alexandria take this. (alexandria) yes.(panel laughs) it's a good question, a little loaded. i'll try to get an answer that may notfit the entire community perspective but i do know that often the informationof a show that has interpretation, is advertised by tdfor whether it comes from hands on.

we assume that every deaf person thenwould have access to a computer and how are they getting information? is it just through your website alone? and also, how would the deaf people knowif they haven't been contacted through their normal communication means. so contact is part of the issue. and when you mentionedthat it's a built in audience, i don't think that's a negative,i actually think it's kind of a positive, like a non-profit theater needs[inaudible]

i think it's great to be special and know that the theater is goingto keep me informed of what plays are going on. that's just me of course,i think it's nice (laughs). (christine) yeah, i do thinkthere's this perception particularly among when you'retrying to attract deaf audiences, that if you just say, "okay, we have twoasl interpreted performances for each show," or whatever right? that if you build it, they'll come,without any outreach.

you have to do the outreachto the community to say, "we want you there,we've specifically designed these shows for you." because traditionally and againalexandria correct me if i'm wrong, but what we hear all the timeis like, we don't go to things, "we" i mean, deafand hard of hearing patrons, we traditionally don't go to thingsbecause we assume that it's not for us. because nobody is reaching out to us. unless somebody reaches out to usand says, "here's this thing,

and we want you there,we're welcoming you in our space," they choose not to. (laura) and even then,it's not a guarantee that someone will want to see the playthat's being interpreted. (christine) yeah!(panel laughs) (alexandria) so true,and also when we look at scheduling, that's another factor. i'm a busy person,i cannot be available for those two dates that you're offering.

thank you for offering them,but i may not necessarily be available and not everyone is ableto drop everything and just go to the datesthat are interpreted. it's not always the case. (diep) yes. (woman in audience)as an arts administrator, where do you think is the best placeto find funding for accommodationlike being non-disabled and like going, "okay i'm goingto find all these accommodations

and i want to be as opento the suggestions of our artists and our patrons as possible." if you want to accommodate quicklyand right then and there, so that you open up what you're doingwith everyone. so are we looking at government funding, are we looking at just poolingour own resources together, [inaudible] (laughter) you know, where do you guysthink is the best? please start with [inaudible].

(alexandria) well, if i knew.(panel laughs) (diep) the questionis for art administrators, where does the funding come from? where's the best place for it? (woman in audience) just let me reiterate,like where is the best place to start? (diep) yeah to start finding it. (christine) okay so i'm goingto throw a little bit of a wet blanket on thisbecause this is a big problem. we come up here, we say,"you should be doing this"

and the truth is, there is not a lotof funding designated for people to make these changes. and sometimes they are huge structuralchanges that need to be made, right? because the nea does not providefunding for structural changes so i'm not going to lie to you,i'm going to say-- someone just asked me this question,exactly this question yesterday and i'm going to say to youwhat i said to her. that there's not a lotof funding out there for this kind of support.

but there are things you can do nowthat don't cost a lot of money like you can make your website accessible. how many of you in this room knowwhether your website is 508 compliant? you can make the accessibility toolson your website, the signage and everything,you can put all that information that alexandria was talking about,front and center on your website, so we don't have to dig 17 pages into find out what you do offer. i think the biggest thingis customer service. which doesn't cost anything.

you can educate your front of house staffand say when somebody calls, have the answer to the question. if somebody says, i'm blindand i need assistance with a ticket, don't say, "hold on a minute,i'll find somebody for you to talk to." everybody at every level should knowexactly the person to go to, and if they don't know the person,they should say, "i'm going to findthat information for you." whether it's referring them to tdf, or whether you have your in-house person.

everybody who enters that-- (phil) listen, the ticketmasterhas my phone number on their website, so does telecharge,feel free to put it on yours. no i think with that, there's manyorganizations that will do training, sensitivity training,disability etiquette, things like that are mostly for free. and if you're lookingfor the audience perspective, shameless [plug] tdf has a nationalopen captioning initiative, where we pay for your firsttwo years of captioning,

while you develop an audience. we also have the same thingfor autism friendly performances. (christine) that's awesome. (phil) so if head to our websiteand head to the accessibility section, you can find that.(laughter) (christine) and inclusion in the artsdoes many patron services training, so we can come in and talkto your front of house staff about the best way to dealwith the customers that are coming, whether or notthey have disabilities,

it's just good customer service. (laura) and it needs to be on-going,it can't just be one conversation and then you feel like you're finished. it needs to be an on-going conversationthat's refreshed every few months, as often as it needs to be,so people feel confident to serve all the patrons. (diep) i don't mean to plythe place i work for, (panel laughs)but i work for an organization called theater communications group

and we offer grants called,audience (r)evolution, where you can actually applyfor initiatives like what you're talking about. we just gave money to six theatersto fund more autism friendly performances. question? yes. (woman 2 in audience) so i've gota friend who used to live here in new york, and she's got a group called,"performance link for able imagination." and she used to go outinto the communities, mostly children and teenagersand some of those groups

with autism and down's syndrome. and so she used to work [inaudible]. now she's moved to the ukand she tells me that the uk is just overall built generallybetter for disabilities. is that the case?is america behind? (phil) well so the dynamicis a little different. - (diep) oh i have to tell...- (phil) sorry go ahead. (diep) the question is,is the uk better than america in terms of...(laughter)

(phil) listen, my british girlfriendwould agree. (panel laughs) the dynamic is differentin that most theater and arts in the uk receives government funding. so they are required to do certain things,as opposed to the commercial aspects here. where the requirementsare a little bit different, and the government can't really knockon the door at me like, "hey man, you got to do this!." while over there, they can. (christine) yeah, it is a big difference.

i'll speak to my own experienceas an artist. i've worked more in the ukthan i have here, which i say that onlybecause that's indicative of what we've been talking about. my skills are much more embracedover there because of the culture. because over there, they followthe social model of disability which i won't get intobut there's a difference between the social model of disabilityand the medical model of disability. basically, in this country, we're stillsort of following the medical model,

which means that i have a problem,and the onus is on me to fix it. in the uk, the onus is on the societyto make the society inclusive for everybody. and that's really-- i just threwthat out there and i know that's like a hugebrain exploding concept. but that's basically the difference. (woman 3 in audience) i'm just curious,you've talked about autism and i'm curious as to, as an artistwith a mental illness, how you feel like mental illness

and some of the moreinvisible disabilities fit into the conversation. (diep) how do invisible disabilitiesfit into the conversation? (woman 3 in audience)such as mental illness. (diep) such as mental illness.yeah. (phil) well it's removingthe preconceived notion that every disability is visible. that's step one right? you know, we've been at autismfriendly performances

and i've heard a volunteer say,"well, what are they doing here, they don't look like they have autism?" and i pull them to the side and say,"let's talk about that real quick." (laughter) but you know, it is. it's just understanding that you're notgoing to be able to see it upfront. accommodations wise,without prompting then though, i'm not going to have it ready unless it's already partof the institution,

that it's something there. but if it's something beyondwhat the institution already has, i mean you're right, it's the indicativeof the medical versus the social model. (christine) yeah. and unfortunately i think it's still with peoplewith invisible disabilities, it's kind of encombant uponthe person to speak up and say what they need. which it shouldn't be that way. and i don't have the answerbut that's sort of what we see,

is that the onus is stillmore on you than it should be. (woman 3 in audience) and speaking also from the accessibilitystandpoint for artists, because someone who went throughan mfa program, and the sort of boot camp army modelof no sleep, red bull all the time, i feel like that's presentin the arts too, and it's not very inclusiveof people who are trying to make an active effort to take careof their mental health. (diep) are there any more questions?

fantastic! yeah and thank you all for comingand thank you to our wonderful panelists. and to our interpreters.

the black lyrics asking alexandria

the black lyrics asking alexandria

no, i never said it was easy we're starting over again oh, you fucking gotta believe me we nearly fell off the edge circled by the wolves circled by the wolves, they want me dead look me in the eye, i'm no longer afraid i've come so far, i won't turn away let go of the past and live for today

i don't run fucker, i kill motherfucker and i'm here motherfuckeryou can try to beat me step inside fuckeryou're next motherfucker and you'll see motherfuckeryou can't fuck with me you're long dead to me fuck yeah! our fingers raised in the air so can you hear me now? say my name

no longer wasting my time your words don't bother me i don't care cheers! oh god.. i can't believe you thought we couldn't see you wanted closure - now it's here for you f u c k y o u we're all just running in circles

forever chasing a dream as if everything that we long for is not as far as it seems who the hell are you any way? who the fuck are you to say we're done for?

the black by asking alexandria

the black by asking alexandria

well, first of all i want to apologize for not having posted anything last week, i recorded a video, but in time to edit the file was corrupted and i had no time to do it all again. i promise i'll make it somehow. today i will talk about "the black", new album asking alexandria finally came out after nearly 3 years of waiting. the album was released on march 25 (last friday), we had around 6 singles and was produced by joey sturgis. the album's first single was "i will not give in" which was released on may 26, 2015, almost one year ago and this single brand to enter the denis stoff in the band. it also marks the band's return after a "hiatus" comes the departure of danny and the entry of denis. the second single was "undivided" which was released on september 25, 2015, shortly after the release of this single the band toured around south america with blessthefall passing through brazil, they did two shows, one in sã£o paulo and another in rio de janeiro in december. the third single and the first official single was the title track of the album "the black", was launched on february 1, 2016 with an official video.

the fourth single was the track "let it sleep" which was released on march 4, 2016 also with an official video. the fifth single was "here i am" which was first played on bbc and was released on 11 march. the sixth and final single "send me home", he was played for the first time on bbc on march 20 and if i'm not mistaken, released 1 or 2 days later by sumerian records on youtube. well, one thing that marked me on this album beyond the entrance denis, was the "diversity" of the album styles. on this album you can hear from avenged sevenfold to lana del rey, each song has a different style from the other for example, "let it sleep" is a more aggressive song that closely resembles the album "reckless & relentless", but you can hear "gone" and remember enough of lana del rey by the way ben sings which makes the album is diverse with many different styles where you can hear songs that quite resemble the old albums of the band but additionally has music, that are showing that the band also this with one foot in the future and showing an evolution of the band such as the song "i will not give in" which is different from the previous work of the band. i liked the album, for me the album was good, but i feel something missing on this album, the band could have done more.

one thing that kind of broke my expectation and my anxiety for this album was the number of singles released, much material has been disclosed so when the album was officially released, it had little that you had not heard yet so, for me, the album was good, but still something missing. changing the subject a little, brutal kill will launch a new collection, the release date has not yet been released, will likely be in early april, but every day up to the launch, the brand launches spoilers of the new collection in social networks if you want to know more about the brand, links will be in the description, do not forget that every day at 7pm est they will post something about the new collection. well, if you enjoyned the video, subscribe the channel, share the video, like the video and until next time!

the black asking

the black asking

welcome back. now, there's beenan odd phenomena happening in the trump campaign, and i'm not talking aboutthe trump campaign. uh, it's aboutsome of his followers. and you have a lot ofblack people supporting trump. um, black peoplesupporting trump? (exclaiming) so, where arethese black people? well, i had some of themin my studio the other day,

uh, where i asked themthe simple question: what the (bleep)are you thinking? i just want to aska very straight question from the beginning. um,why do you support donald trump? i'm a registered democrat,let me start first, and i lost faith and belief in the current stateof our party right now with our two candidates. i'm open to donald trumpbecause i feel like,

um, he's a gangster. -he's a gangster?-he's a gangster. is he a gangster or gangsta? -he's a gangsta.-okay. he's going out hereand he's kind of gangstering the whole situation.he's like, "if you come up to my mic,you know, i'm taking you out." -right. -coming fromthe hip-hop community, i understand his language.

right, becausehe is kind of like a rapper. -i mean, he's into gold.-that's what i'm saying. -right? he has his own vodka.-absolutely. -uh, he's got a private jet.-that's right. -and he really likeswhite women. -exactly. -and his wife was a model.-correct. would that sway anybody else--those qualities? the way you express it--i-i never thought of it that way, you know,but he's pretty cool.

have you told other black peopleyou're voting for donald trump? -be honest. -yeah, absolutely.-absolutely. kevin, be honest.have you told family members? -i've told family members, i'vetold... -you've told your mama -that you're voting for...-i told my wife... -that i'm... we fightevery morning about it. -mm-hmm. but i stand on my own, too. this is america.america is greedy. america is going to tryto cut corners,

so we have to make a placefor ourselves. so, donald trumpis the president who can get black peoplethose low-paying jobs again. no, we don't wantthe low paying jobs. lower-paying jobs arethe first rung on the ladder so you can't-you can'tclimb up the ladder -till you start someplace.-donald trump will get black people back on thatfirst rung of the ladder. if you're on the ladder here,you're gonna climb up more.

should the mexicansbe allowed to use that ladder -to climb the wall?-yes. -most definitely. not the wall... do you have a messagefor other black people out there telling them why they mightwant to vote for donald trump? i'll just...i would say just know that donald trump is not gonnamake you a slave. -he's not gonna make youa slave? -he's not gonna make you a slave,you're not gonna be

-back in the cotton fields. -andyou're sure about that, gary? -i'm pretty sure about that.-okay. -everybody's tryingto enslave you. -mm-hmm. but the main important thingis how much i'm gonna get paid -while i'm enslavement,you know? -mm-hmm. so, you're pro-slaverybut with pay. -that's right, that's right.-you're anti-slavery. yeah, anti-slavery. -okay,anyone else pro-slavery here? donald trump says he has a greatrelationship with the blacks.

okay, as one of the blacks, how would you describethat relationship? -the fact that he says "theblacks"... -"the blacks", right. ...means that his relationshipis a little skewed, because he wouldn'tcall us "the blacks" if he really understoodwhere we were coming from. does it feel like he'sin an abusive relationship with the blacks?are you guys secretly tryingto get out of this relationship?

-not at all. -okay, so how didyou guys feel when trump said he wants to ban muslimsfrom coming into the country? -we don't have any muslimshere, right? -i'm muslim. -you're kidding me.-no, i'm not kidding you. -and you're gonna votefor trump? -most certainly. -really?-yes. would you be opposed, uh,to having trump waterboard you just to get more informationabout islam? -um... -if trump came in hereand he had to pick one person

to waterboard,who do you think he would pick? rhymes with schmuslim? um... let's pretend likei'm your father, okay? you guys are all my kids and you have to convince me -that i should vote fordonald trump, okay? -absolutely. hey, kids, how's it going?why do you guys... why are you guys all here?what's going on?

dad, we're about to vote fordonald trump, and we need you... jenay, you're so funny. jenay is always the funniestmember of this family. all right, you guys want to goto the movies tonight? -what do you want to do? i'msorry? -no, we need you to... we need you to castyour vote as well. -what are you talking about?-because we can't just -be democrats becausewe're black. -that's right. wait, hold on.winston, you believe this, too?

i believe her 100%. (bleep), please. come on,what's going on in here? are you voting for trumpbecause, as an orange-american, he's the only remainingcandidate of color? i'm tired of the jokes.stop the jokes on donald trump. you guys knowi'm a fake journalist, right? absolutely. what kind of disturbs mein some of these rallies is you guys have seen this,where trump gets everybody

to make a pledge?have you seen that? where he has thempledge to vote for him? i just want you guysto raise your hand and we'll justtake a pledge right now. okay. and, um, just say, i will nevertell black people... i will never tellblack people... ...that i am votingfor donald trump... ...that i amvoting for donald trump...

...until after the election. ...until afterthe election. i love the fact that, uh, you spoke so freelyand passionately about this. and, uh, thanks for coming. -pleasure having us. -thank you.-thank you very much.

the black asking alexandria

the black asking alexandria

well, first of all i want to apologize for not having posted anything last week, i recorded a video, but in time to edit the file was corrupted and i had no time to do it all again. i promise i'll make it somehow. today i will talk about "the black", new album asking alexandria finally came out after nearly 3 years of waiting. the album was released on march 25 (last friday), we had around 6 singles and was produced by joey sturgis. the album's first single was "i will not give in" which was released on may 26, 2015, almost one year ago and this single brand to enter the denis stoff in the band. it also marks the band's return after a "hiatus" comes the departure of danny and the entry of denis. the second single was "undivided" which was released on september 25, 2015, shortly after the release of this single the band toured around south america with blessthefall passing through brazil, they did two shows, one in sã£o paulo and another in rio de janeiro in december. the third single and the first official single was the title track of the album "the black", was launched on february 1, 2016 with an official video.

the fourth single was the track "let it sleep" which was released on march 4, 2016 also with an official video. the fifth single was "here i am" which was first played on bbc and was released on 11 march. the sixth and final single "send me home", he was played for the first time on bbc on march 20 and if i'm not mistaken, released 1 or 2 days later by sumerian records on youtube. well, one thing that marked me on this album beyond the entrance denis, was the "diversity" of the album styles. on this album you can hear from avenged sevenfold to lana del rey, each song has a different style from the other for example, "let it sleep" is a more aggressive song that closely resembles the album "reckless & relentless", but you can hear "gone" and remember enough of lana del rey by the way ben sings which makes the album is diverse with many different styles where you can hear songs that quite resemble the old albums of the band but additionally has music, that are showing that the band also this with one foot in the future and showing an evolution of the band such as the song "i will not give in" which is different from the previous work of the band. i liked the album, for me the album was good, but i feel something missing on this album, the band could have done more.

one thing that kind of broke my expectation and my anxiety for this album was the number of singles released, much material has been disclosed so when the album was officially released, it had little that you had not heard yet so, for me, the album was good, but still something missing. changing the subject a little, brutal kill will launch a new collection, the release date has not yet been released, will likely be in early april, but every day up to the launch, the brand launches spoilers of the new collection in social networks if you want to know more about the brand, links will be in the description, do not forget that every day at 7pm est they will post something about the new collection. well, if you enjoyned the video, subscribe the channel, share the video, like the video and until next time!

Kamis, 22 Juni 2017

the black asking alexandria lyrics

the black asking alexandria lyrics

♪ ♪ ♪ ♪ remember the moment youleft me alone and ♪ ♪ broke every promiseyou ever made ♪ ♪ i was an ocean, lostin the open ♪ ♪ nothing couldtake the pain away ♪ ♪ so you can throwme to the wolves ♪ ♪ tomorrow i will come backleader of the whole pack ♪ ♪ beat me black and blue ♪ ♪ every wound will shape meevery scar will build my ♪

♪ throne ♪ ♪ the sticks and the stones thatyou used to throw have ♪ ♪ built me an empireso don't even try ♪ ♪ to cry me a rivercause i forgive you ♪ ♪ you are the reasoni still fight ♪ ♪ so you can throw meto the wolves ♪ ♪ tomorrow i will comeback leader of the whole pack ♪ ♪ every wound willshape me every scarwill build my throne ♪ ♪ i'll leave you choking onevery word you left unspoken ♪

♪ rebuild all that you'vebroken and now you know ♪ ♪ rebuild all thatyou've broken ♪ ♪ and now you know ♪ ♪ every wound will shapeme every scar will build my ♪ (music ends)

the black asking alexandria album

the black asking alexandria album

o heavens, o tenderness, o eyes that stayed up all night for us o haven, o safety, o nectar of sweet-smelling flowers i can never thank you enough. may allah grant you paradise in the hereafter all the languages of the world utter you name, mother lips join to call out to you, my mother mamma, mommy, yamma, ummi since my birth the letter ‘m’ has been dancing on my lips playing with me and keeping me company in the dark then my eyes light up and i say: “mother”

mama anne ibu ᚥምዬ maman madre মা ø£ù…ùš

the black album asking alexandria

the black album asking alexandria

♪ ♪ ♪ ♪ remember the moment youleft me alone and ♪ ♪ broke every promiseyou ever made ♪ ♪ i was an ocean, lostin the open ♪ ♪ nothing couldtake the pain away ♪ ♪ so you can throwme to the wolves ♪ ♪ tomorrow i will come backleader of the whole pack ♪ ♪ beat me black and blue ♪ ♪ every wound will shape meevery scar will build my ♪

♪ throne ♪ ♪ the sticks and the stones thatyou used to throw have ♪ ♪ built me an empireso don't even try ♪ ♪ to cry me a rivercause i forgive you ♪ ♪ you are the reasoni still fight ♪ ♪ so you can throw meto the wolves ♪ ♪ tomorrow i will comeback leader of the whole pack ♪ ♪ every wound willshape me every scarwill build my throne ♪ ♪ i'll leave you choking onevery word you left unspoken ♪

♪ rebuild all that you'vebroken and now you know ♪ ♪ rebuild all thatyou've broken ♪ ♪ and now you know ♪ ♪ every wound will shapeme every scar will build my ♪ (music ends)

songs by asking alexandria

songs by asking alexandria

hey guys what's up and welcome to rock gameryour number one stop for all things guitar hero live related and today is tracklist tuesdaywhich means that activision released another 9 or 10 tracks that will be on guitar herolive. it's not clear as to whether these are guitar hero tv songs of whether these areon disc songs but lets go through the list. so we have one republic counting stars, paramorenow that song was in rocksmith 2014, the mowgli's san francisco, cypress hill featuring tommorello rise up, asking alexandria the final episode, the vines metal zone, wolf alicemoaning lisa smile, disturbed down with the sickness that's already been on rock band2, tv on the radio lazerray and foster the people coming of age. the other piece of newsthat came out today is that elliot from the

hero feed posted two videos on twitter i guessit's footage from this week's footage from comic con san diego. there's people playingblack veil brides song as well as the fall out boy song my songs know what you did inthe dark if you guys want to see those you can click the link in the description boxbelow. and i also want to give a shout out to @jclexicon on twitter he gave me a linkthat said if you pre-order guitar hero live from gamestop you'll also get one month freeof pandora's music streaming the service so if you guys haven't pre-ordered the game maybethat's an incentive to do so and that basically does it for today's news i want to thank youguys for watching if you guys want to stay up to date on all things rock band 4, guitarhero live and amplitude related be sure to

click the subscribe button. take care.

singer of asking alexandria

singer of asking alexandria

ww-w.. what? what is that? are you shooting me, yes? as usually... look... :) one. ("ass somersault!")... two. three! there is.. there... hmm.. i just can't always talk exactly :) shoot my ass on video! shoot my ass! listen up, friends! by three put your hands up in the air! three. two. one!

Rabu, 21 Juni 2017

singer alexandria

singer alexandria

little snowberry, snowberry,snowberry of mine! little raspberry in the garden,my little raspberry! ah, under the pine, the green one, lay me down to sleep, rock-a-bye, baby, rock-a-bye, baby, lay me down to sleep. ah, little pine, little green one, don't rustle above me, don't rustle above me.

ah, you beauty, pretty maiden, take a fancy to me, take a fancy to me.

saving alexandria

saving alexandria

loni monroe: welcome to "metro focus. in thisepisode, we are back in virginia. we're gonna visit some places that are loved by localsin the community and you'll definitely want to take those out-of-town guests that cometo visit during the holiday season. we will hop on the silver line and visit the practicefacility for the d and d's beloved hockey team, the washington capitals, have some warmand delicious coffee and chai tea at an eclectic coffee shop in alexandria, visit a historiclandmark that served as a pharmacy in the late 1700s, and spend some time learning aboutthe arts at a local gallery. of course, we're gonna show you how metro can take you to allof these destinations, and we'll tell you the story behind the giant art installationat the spring hill metro station. so sit back,

get comfortable, and enjoy this "metro focus"ride. john bordner: i'm john bordner, and we'rehere at del ray artisans, anchoring the north end of mount vernon street. there's a veryunique culture here, a very art-centric culture in del ray. we get a lot of traffic just becauseof the vibrancy of this neighborhood and the artistic, eclectic feel of it. it makes ita real tourist destination in the local area, and we're basically a 501(c)(3) gallery wherewe try to be the incubator for new talent and also offer a place for experienced artiststo show their work. we have people that work in glass, ceramics, in oils and watercolors,sketches, you name it. we have all kinds of artists here.

what drew me to this place was just the vibrantnature of the people, just very open, fun-loving artists that want to be able to show theirwork. it's a small yearly fee to become a member, and you get to participate in allof the shows. we have coursework as well. dra, we have a new show every month, everymonth, and we have an opening, a show opening, the first friday of every month except two,december and july, and actually, we're really excited because next year is our 25th anniversary.that's 25 years in del ray that we've been here helping create what is del ray and bringup the art scene here, and we're marching right through to the 25th year and beyond. del ray artisans actually got their startfrom a group of locals that were walking their

dogs together, and they just shared theirlove of art and dogs, and they go, "you know what? we need to come up with a group thatsupports arts in the community and helps new people get into the art scene and be ableto express themselves," and they founded del ray artisans 25 years ago. people that come and visit oftentimes willtake advantage of the metro bus, and we have a stop on the number 10 line, which is feetoutside the door. you can exit the bus, and you don't even get wet if it's raining, justboom, right in. if it wasn't for metro, we would be just a local, tiny gallery that onlygets people from across the street or down the road a little bit. metro really opensup our viewership, our membership, to the

whole area, the whole d. c.-maryland-virginiametro area. and especially as congested as we're starting to get around here, peopleare more and more relying on that public transportation. everybody showing here are local artists,and we love supporting them, one, because they're your friends and neighbors, right?and it also helps promote the artistic community that we have here. some of these artists areprofessional artists. that's how they make their living, and it really gives you a greatsense of accomplishment when someone comes in and buys your artwork and hangs it in theirhome. loni monroe: i am sitting in the very chilly--excuseme if i'm shivering--kettler's capital iceplex with the director of marketing and events,danielle, and the front desk manager, colton.

thank you guys for having us. danielle mchugh: thanks for coming. colton callahan: yeah, definitely. it's apleasure. loni monroe: tell us all about the iceplex. danielle mchugh: we are actually located onthe top of the ballston common mall, which is actually going under construction, andit's gonna be all-new in 2018. colton callahan: the facility was built in2006 just to kind of create a new recreational area in the city. we're actually a two-rinkfacility. there's two sheets of ice so that there's plenty of, like, activities that peoplecan do year-round, the entire time.

danielle mchugh: we have public skating everysingle day, and it's open to all ages, which is great. young or old, you can come, getsome skates, get on the ice, and just enjoy some music, have fun with your friends. it'sgreat. colton callahan: $9 for an adult, $8 for achild, and if you need to rent skates, it's $5 extra. we've actually partnered with arlingtoncounty for a couple special sessions. on those sessions, they're called the arlington countysponsored dollar skate. it's just a dollar including your admission and rental. that'stuesday afternoons 2:00 to 3:30 right now. always check the schedule before you comein. and then the first friday of every month, that evening skate is also a dollar.

we're actually the practice facility for thewashington capitals. we have the caps practice here pretty much every morning. you can checktheir schedule, actually, on their own website. it's called capstoday.com. danielle mchugh: so they'll have after-practiceinterviews, and they do all of that here, and they have their locker rooms and all ofthat on their side, but it's really great 'cause their practices are free and open tothe public, so they can come in, watch in our bleachers, and it's pretty awesome. loni monroe: tell us a little bit about thespecial events that you guys host here. danielle mchugh: so we actually have a tonof different events. we've had anywhere from

bat mitzvahs to reunions to even a weddingthis past summer, and we do birthday parties every weekend, so you can either rent theice or rent one of our rooms for any event. it's up to you. just contact us, and we'lllet you know available dates. colton callahan: we have a lot of events comingup. we host a blood drive here about every three months just so that people can get donationsin. we're a great space for big events like that just because we have this open spaceup top here on the mezzanine, and then if people want to do something fun while they'rewaiting or have something else going on, we have our stores where they can go shoppingor even skate here on the ice. we also have a couple other events that are really funfor families. one that i really like is called

recess at the rink. it's specifically for,you know, the little tots, the little munchkins to go out there and really develop a lovefor skating. it's $12 for admission for an adult chaperone and for the kid and to renttheir skates, so it's a pretty good deal too. once they get out there, we throw out foampucks and mini nets so they can try their hand at hockey a little bit, some beanie babiesso they can practice skating around or picking stuff up. we just try to make it really funfor the kids, and it's a great session that i enjoy. danielle mchugh: so we run a 'learn to skate'series every seven weeks, so if you miss one session, it's okay. the next seven weeks,you can start from the beginning. we have

all ages starting from three years old allthe way to adults. loni monroe: and it's so nice that you guysare metro accessible. colton callahan: i love that we're metro accessible.i take the metro into work every day. i take the orange line usually, and, you know, theballston stop is literally two blocks north of us. it's, like, right there. it's justa quick walk from the metro, and then you're right here. i've taken some of the buses too.the 38b, i think, is the one that runs to farragut. they always run pretty on time,so it's really convenient for me. danielle mchugh: i love it 'cause i get togo to caps games. whenever i'm at work, i look at the clock, and i'm just like, "okay,now i can just walk over, head to the metro,

and then head to a game." it's awesome. colton callahan: the nice thing, though, isthat even if you're not taking the metro, it's still pretty easy to get here. we havetons of parking 'cause we're located on top of a parking garage, and it's actually prettyaffordable. it's only a dollar for your first three hours, or if you get here in the evenings,for, like, evening sessions, after 6:00 it's a dollar the whole night. loni monroe: colton, you have to tell ourviewers about your experience. one of your fondest memories here. colton callahan: this is one of my favoritestories to tell people just to kind of give

you an idea of what kind of rink it is. sothe capitals practice here, so you get to see them a lot, honestly, so one of them,i don't know if you know--his name's justin williams. loni monroe: mm-hmm. colton callahan: he came in one day, and hesigned his kid up for rhl, which is our rooftop hockey league. it's a hockey league that wehave for the kids here, goes all the way from, like, age 6 up to, like, age 14, and he'slike, "oh, and i work for the caps, so i get the discount, "and so i said without eventhinking about it--it was just, like, an automatic reflex--i was like, "could you show me proofof id, sir?" so he just responded. he was

like, "well, my name's on the jerseys in thestore over there," and i was--i was very apologetic, and that's when the penny dropped, and i waslike, "oh, i just asked a capital who they were." loni monroe: tell our viewers where to findyou guys, website, social media. give us all your information. how can we get in touchwith kettler's? colton callahan: yeah, if you guys have anyquestions or concerns, you can always reach us on the website, kettlercapitalsiceplex.com. danielle mchugh: and we're also on twitterand facebook and even instagram. loni monroe: oh.

danielle mchugh: yes. we are located at 627north glebe road, suite 800. we're just at the top of the mall. you can see us if youdrive by. colton callahan: there's, like, these bigbanners with the caps players on them so everyone knows that there's an ice rink here. danielle mchugh: right. colton callahan: the facility itself is openpretty much from 5:00 a. m. until whenever our adult league gets out, which is, like,midnight, 1:00, that kind of time. loni monroe: a full day? colton callahan: yeah, and then the frontdesk itself is staffed from 7:30 to 10:00,

so if you ever have any questions about programsor want to get in touch with someone, you can just call the desk at 571-224-0555, andanyone at the desk will be happy to help you. loni monroe: well, i look forward to comingback. don't be too much embarrassed about me when i bust something out there, but i'llhave fun. danielle mchugh: you can sign up for lessons. loni monroe: absolutely, absolutely. well,thank you guys so much for having us. colton callahan: of course. colton callahan: yeah. lauren cleason: hello. i'm lauren gleason.i'm the site manager of the stabler-leadbeater

apothecary museum. this was a real pharmacythat opened here in 1792 in alexandria, virginia, and it was run by the same family for 141years until they went bankrupt during the great depression. it closed down and was savedby locals and turned into a museum immediately. it's been a museum ever since, so everythingin this museum is original to this old pharmacy, the furnishings, even the ingredients insidethe bottles sitting on the shelves. this isn't a collection of objects taken from pharmaciesaround the country or even pharmacies around the state of virginia. it's this one specificfamily business that was here on this site. we even have the archives from the business,so their record books, their accounts, their prescription books, and we don't have everything,but we have most of it. our best piece is

a note from martha washington that she sentto mr. stabler, the owner of the pharmacy, asking for castor oil in 1802. we have so many original contents inside thebottles and inside the drawers and the tin cans as well. we also have a laboratory onthe second floor of the museum that has barely been touched since the pharmacy closed downin 1933, and it would have been employees only. visitors, customers would not have beencoming in this room, and this room is entirely original, just as it was when it closed in1933, and it was probably fairly old-fashioned by 1933. maybe it's looked like this since1850 or so. about 20% to 30% of all of the drawers, tin cans, jugs around this room havetheir original contents in them still, whatever

was left behind in 1933. people are awestruck when they come in thismuseum. the room that i'm currently standing in, the old retail shop of the pharmacy, isvery beautiful, but when visitors go upstairs to the laboratory, they frequently gasp asthey step into the room. i have done thousands of tours. i have a lot of volunteer tour guideswho give tours here at the museum. some are retired pharmacists. some are history buffswho like to volunteer here on the weekends, and when i don't have volunteers, then i givethe tours myself, so there have been many tours that i have led in this museum. we also do a lot of special programs for children,for girl scouts, and we do girl scout media

journeys. we do harry potter-themed birthdayparties, or we do magical-themed birthday parties. this museum has a lot of links toharry potter. when j. k. rowling wrote her harry potter books, she used historic medicineas the inspiration for potions and herbology, so there are about 30 ingredients in thismuseum that are mentioned as potions ingredients in harry potter, in the books, the movies,the video game, or j. k. rowling has mentioned them in interviews. dragon's blood is definitelythe most loved ingredient at the museum. the regular tour is a 30-minute-long tour,and we unfortunately can't let visitors touch too much in the museum since it's all original,but we try and give a few hands-on items. we have one of the original mortars and pestlesout that we always have some kind of spice

in it. we've got lavender in it today, andso visitors young and old are welcome to grind up the lavender, and it not only makes theroom smell nice but gives busy hands something to touch, and we always have a few other hands-onvials that are ingredients that are on the shelves in the historic bottles, and licoricesticks, which don't fit very well into a bottle, but myrrh sap, which you can open and touch,get an idea what dried sap is like, nutmeg. nutmeg was mostly used as a flavoring or tohelp counteract another ingredient in a drug that would induce nausea. we are on the king street metro station. thismuseum is just one building off of king street itself, so we get a lot of visitors that cometo the d. c. region, and they stay maybe in

d. c. or crystal city, often in alexandria,but they can take metro blue or yellow line to the king street metro station, and thenthere is a free trolley that goes from the metro station all the way down king streetup to the potomac river, and there's also a number of buses that go up and down kingstreet and throughout old town to get visitors to all the historic sites in alexandria. ifwe were not very easily accessible by metro, we would have much lower visitation. we getabout 15,000 visitors a year at this point, and it is certainly because we are so metroaccessible. if visitors had to drive here, a lot of visitors would not come 'cause peoplecome to d. c., and they're told by the guide books, "don't rent a car."

old town alexandria is delightful. there area lot of locals who live here, so this isn't just a tourist setting. there are regularswho walk by every day. the apothecary museum is guided tour only on most days. that meanstours begin on the 15s and 45s. they're half-hour-long tours, and they are $5 per person, $3 forchildren. the volunteer tour guides and i love to share stories about how it's so muchfun to give tours here because visitors are so impressed by the space, by how originalthis museum is. loni monroe: i am standing in the middle ofst. elmo's coffee pub with the general manager, willis nichols. thank you for having us. willis nichols: oh, absolutely. thank youfor coming.

loni monroe: it's such a treat to be herein the virginia community, obviously. tell us what made you choose virginia for st. elmo'scoffee pub. willis nichols: well, st. elmo's has beenhere for almost 20 years. loni monroe: wow. willis nichols: there's been growth. there'sbeen opportunities, lots of new businesses, and the area is fantastic because it's locatedclose to washington. it's close to maryland and obviously virginia. loni monroe: tell us a little bit more aboutst. elmo's coffee pub. what happens during the week? what's the community like? what'sthe feel here?

willis nichols: well, we start early in theday. we start 6:00 a. m. in the morning monday through friday, so we get commuters in rightat 6:00 a. m. we open the door; they're here 'cause they're people who have to catch themetro. they're people who are driving in or doing carpooling. they come here. they gettheir coffee. they may do a little work here first and then head off to the metro. thebus line is right outside our door, which is fantastic. during the week, we're busyfrom 6:00 to about 10:00, dies down a little bit. sometimes during the evening, we haveevening performances. we've done poetry readings here. we have a wonderful group, the not-so-modernjazz band, that's been playing here for 20 years.

loni monroe: wow. willis nichols: they're here at night. youcan come in and see seniors dancing, and now we have the kids coming in and dancing aswell too. we're known as the other living room, so you don't have to stay at home. loni monroe: right. willis nichols: you can come here. you canhang out. you can be comfortable. and this is your home. this is your second home. loni monroe: so you've mentioned, obviously,being metro accessible is very important for you. we have the metro bus 10 lines that runacross mt. vernon avenue. tell us what that

means for your customers and your employees,how important it is being metro accessible. willis nichols: well, for the customers, it'seasy for them to get here. for employees, when they're excited to be hired at st. elmo'sbut they're afraid of not getting here when we open, since we open so early, i tell themthe bus line's right outside, and the metro's 15 minutes away. loni monroe: so tell us what makes st. elmo'scoffee pub different than another coffee shop. obviously it's a smaller community, and ithas a much more closer feel to it, but tell us exactly what you think makes it different. willis nichols: we really care about whatwe do, and we try to do our best. i'm not

saying that others don't, but we focus onwhat we do and try to do what we do the best we can. we're carrying a new line of coffee,stumptown coffee, out of portland, oregon, which is one of the best coffees around. wehave baristas here who have gone through extensive training to give the absolute best cup ofcoffee. if you don't like coffee, we have chai tea. we've got a new line of teas, benjaminteas, out of austria that are amazing. we care about what we do, bottom line. loni monroe: what would you say is a customerfavorite? give me some of the top items that i have to try when i come to st. elmo's. willis nichols: all right, coffee is numberone.

loni monroe: okay. willis nichols: if you don't drink coffee,the chai tea is fantastic. loni monroe: and i had that. it was amazing.so i can definitely attest. willis nichols: it's rich. it's smooth. it'screamy. you're really gonna enjoy it. and you'll still get your caffeine buzz from that,not a crazy buzz, but a nice caffeine buzz. we're known for our muffins as well too. they'rea little on the big side, but they're absolutely delicious. and we've got bagels. we just starteddoing breakfast sandwiches too. there is a burrito with spinach and roasted red peppersand eggs, turkey sausage and cheddar cheese. oh, it's so good, so delicious.

loni monroe: it sounds good. what's in thefuture for st. elmo's? what can we expect? willis nichols: we're working on expandingour evening entertainment. we've added beer and wine, so we have seven taps going rightnow, and these are all from small craft breweries in the neighborhood, preferably, and we'relooking to really build our evening business 'cause we have a fantastic morning business,but now we want to get people to come here at night, relax, have a beer, see a nice show,and then go home and--without having to go too far, which is kind of nice, you know? loni monroe: right, right. willis nichols: a year ago, st. elmo's wasactually bought out by another company, so

we're now larger than we used to be. we'rea part of market to market, which is next door, which is a deli where you can get freshdeli sandwiches. now you can get fresh deli sandwiches here at st. elmo's as well. we'relike sister stores, so you can go back and forth. we got a fantastic selection of beerthere as well. you can come over here, have your beer, have your sandwich, all one-stopeating and drinking. loni monroe: nice. so tell our viewers howthey can get in touch with st. elmo's, where it's located. give us all the things we needto know to get here. willis nichols: now, we like to say that we'rein the heart of del ray. they can go on our website, which is stelmoscoffeepub.com. theycan get all the information on how to get

here. we have directions on there as well.we're right at the corner of mt. vernon avenue and east del ray. loni monroe: well, thank you again so muchfor having us. willis nichols: loni, it's been a pleasure.thank you. announcer: securing the homeland, protectingthe environment, educating a nation, every day metro riders take on the toughest problemson the planet. they come to the nation's capital driven by a sense of duty, a desire to makethings better, and a commitment to their cause. the entire world depends on them doing theirjobs, and at metro, we are well aware that they depend on us to do ours. we want ourriders to know that we recognize the hard

issues facing our system. we know that beforewe can regain their trust, we need to restore their service. we'll do that first by gettingback to good, then eventually returning metro to the world-class transit system it oncewas, and our promise to the region is that we will bring the same passion and commitmentto our job as our riders bring to theirs. barbara grygutis: my name is barbara grygutis.i live in tucson, arizona. i am an artist, and i work in the public realm. this pieceis called "eccentricity." in this particular instance, we have circles that kind of overlap,and that's what "eccentricity" is about, is our kind of lives running around and overlappingall these things that are going on. this piece is 40 feet tall. the building is36 feet tall. i definitely wanted to trump

the building. i thought that that was veryimportant for art to trump the building, and i want the work of art to stand on its ownand make its own statement. drawings that we did, computer renderings of this, and itlooks exactly like it looks, and so looks exactly the same, so it's been in my headfor a long time, so this is actually a thrilling moment for me to see it all come togetherfinally. the light flows through the piece. it's not a solid piece. the light comes throughthe piece. every view you have at a different time of a day, it looks a little bit different.there's more ray patterns, and then at night the piece is lit up and has changing coloredlights, and it looks different from every vantage point.wmata commissioned a few virginia poets, so

i had to incorporate that poetry. i hope that this tiny, little place next tothe station, when people get off the train, if they're, like, harried or really busy,maybe they'll take five seconds to stop here. we put some seating that fits into these eccentriccircles. it's for everybody. what i try to do as a public artist is give the built environmenta little bit of oomph, a little bit of extra twist. loni monroe: we are standing in the metroheadquarters in washington, d. c. i am joined today by a strategic planning advisor hereat metro, michael. thank you for having us. michael: thanks for having me.

loni monroe: today we're gonna talk all aboutthe new pass called selectpass, right, here in metro? michael: mm-hmm, yup. selectpass is a newpass program that we created as a way to give our customers something back. we know thatthere are a lot of challenges right now with our service and track work program, and sowe crafted a pass that will allow our customers to pay for 18 days' worth of their normalcommute trips and then travel the whole month for that one price. during a month, you generallyhave 20 to 23 workdays, so you can save up to, you know, 20% on a given month. we dida lot of research internally. we did some customer survey work and discovered that thepass would be desirable to customers even

who didn't actually travel every day. maybethey only traveled four days a week, but they still found it a desirable product. we thinkfor some customers it's a savings, and for other customers, it's more they don't haveto worry about whether they have enough value on their card or constantly rolling in another$5 at the fare machine or getting stuck at the fare gates. so it gives them the peaceof mind that is also of value to them, maybe even beyond the value of the trips they'retaking, so there's a saving of dollars, and there's also a saving of worry and anxietytoo. that's part of it. loni monroe: peace of mind, you can't buythat sometimes. michael: exactly. people are telling us thatthey don't have to worry anymore, that they're

saving money, that it's providing them optionsthat they didn't have before. loni monroe: how can you obtain a selectpass?what's the information how to get it? michael: sure, go online, and you choose theprice point that you're interested in, and that's generally the price point of your usualtrip. so let's say your usual trip is from union station to farragut north. it's actuallythe most popular trip in the system. loni monroe: that's such a short trip. michael: it is a short trip, but we have alot of customers coming in on commuter rail, and then they want to just go to farragutnorth, so that trip is--i think it's $2.15, so the base fare pass at $2.25 will accommodatethose trips. you go online. you choose the

fare that's best for you, and then at thecheckout, it loads it onto your card the next time you tap your card on the fare system,and you're good to go for the rest of the month. loni monroe: now, with the selectpass, isit a different pass? does it look different than my normal smartrip, or is it just likean add-on kind of like the smart benefits is? michael: sure, yeah, it's actually a virtualproduct. there's no physical product. you simply just buy it online, and it's a passthat's loaded onto your current smartrip card. in addition, there is a bus option. for $45,you can add unlimited bus to your pass. that

bus option is only currently available onmetrobus, so hopefully within the next six months or so, we'll be able to work with ourlocal bus providers, including montgomery county ride on, circulator, art in arlington,and actually have the bus add-on work on all of the regional bus operators, so that's anotherstep that we can take to provide even more value to our customers. loni monroe: well, thank you again, michael. michael: sure thing. thank you. loni monroe: welcome back. hope you enjoyedthe ride and learning more about fun and exciting things to do in virginia that, of course,are all metro accessible. i know you don't

want to go, but don't worry. we'll be back,and we'll be exploring more neighborhoods that make this wonderful place we call homeso great. till the next time we meet, take care.