I Popped My Cherry…Again.

And I did so in front of a room of very talented artists and an incredible acting teacher. On Thursday, February 18th at approximately 9:30pm, Lindsay Hopper and I took to the stage and got into place. The lights went down in the theater and Robin Karfo called out the name of our scene. Accompanied by her amazingly talented boyfriend, Jordan Bull, on the guitar, Lindsay and I began to sing “That Would Be Enough” from the insanely brilliant Broadway smash musical, “Hamilton”.

Weeks leading up to our song, she and I received texts, emails and in-person shout outs from various people who couldn’t wait to see us sing together. After our song ended Thursday night, we received a wonderful round of applause and cheers. We sat downstage center and received our assessment from Richard Lawson. It was a great first take.

I popped my cherry again because the first thing I said when I sat down for the assessment was, “I have to say that this is the first time I’m singing in front of an audience, with someone else and with accompaniment in 9 years!” I cheered and everyone in the room immediately cheered and applauded for me.

Singing in front of my peers and friends was a big moment for me. To give you some context of the magnitude of this event, please check out two previous blog entries I wrote in 2015 that addressed a failed purpose I had with singing and what I did to fix that:

Part 1: How A 15-Year Old Inspired Me:
http://wp.me/p8uI5M-3d

Part 2: Care-Fronting My Director:
http://wp.me/p8uI5M-3c

The rehearsal process was fun and it was a re-training of my ear in terms of singing with someone else and singing with an instrument and being able to re-learn the song quickly whenever the key was changed. It was like stepping into a dance studio after not having trained in a long time…you’ll always be a trained dancer, but you start re-learning, you start rehabilitating, you start re-awakening and the rust slowly but surely comes off.

I was like a giddy five-year old kid during rehearsals. I would then obsessively rehearse the song on my own. I also found myself singing additional songs in my free time. I started to remember how much I love to sing. I started to remember that I once sang at Madison Square Garden!

Lindsay and I will repeat the song and take it to the next level with the notes we received. I’d like to continue putting up musical scenes in class. How singing will fit into my overall dream remains to be seen, but maybe it’ll find its way into characters I write for myself in feature films and TV series. Perhaps my character will be that one that busts into a song in the middle of the restaurant to profess his love for someone. Or maybe when my character comes home from a long day of work, he busts out in a musical number to shake the day off. Sky’s the limit as a writer.

But in terms of staying in alignment with the concept of “Chasing The George”, singing “That Would Be Enough” after 9 years of not singing in public is an example of and testament to that: To move full steam ahead and commit. To not flinch. To have fun. To do the work and then let it go the minute I get on stage because I know the work is in me.

Here’s to more!

Chasing The George.

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“Hamilton”…with a twang.

Happy Super Bowl Sunday! I hope everyone had a great weekend! This has been an action-packed week and it was awesome to end it with a great rehearsal with Lindsay Hopper. We’re working on “That Would Be Enough” from the smash Broadway musical, “Hamilton”, and at the end of our rehearsal last night, we decided to do a silly take. With her amazing boyfriend, Jordan Bull, on acoustic guitar, here is 45 seconds of us singing the song in a country twang…and me trying to understand how to sing and dance on the 1 and 3 instead of the 2 and 4 LOL.

After a great week of career administration and Chasing The George, it’s important to have a moment of fun too! Click on the link below and enjoy!

https://youtu.be/W5VV3Wx4hrg

Race-Blind Casting

Happy Thanksgiving! I hope you all had an incredible time with family and friends. I’m sure many of us are still in our food-induced comas, so I will do my best to keep this entry short 🙂

I was inspired to write today’s blog entry because of Lin-Manuel Miranda. He’s the genius behind the Broadway smashes “In The Heights” and “Hamilton”. He wrote the lyrics and composed the music for both shows. “Hamilton”, which came out this year and is killing it at the box office, will inevitably dominate the 2016 Tony Awards. Make space on your mantle Mr. Miranda!

I found out about “Hamilton” through my good friend, Lindsay Hopper. She is obsessed with the show and she recently played a few songs for me during a class break. While the songs played, she also gave me a quick history of the show from conception to finished product. As the songs played, I immediately became intrigued by the premise of a hip-hop and R&B Broadway musical centered on the life and career of Alexander Hamilton. How the fuck do you make that work?! Who the fuck makes a musical about Alexander Hamilton?! She then told me about the race-blind casting in the show. That fucking blew me away!! How about that for radical?!

Lindsay, flipping out over the brilliance of “Hamilton”, said that she wanted us to do a song from it for scene study class. Not knowing anything about “Hamilton”, I still agreed to work with her. The tracks I heard resonated with me on an exciting, visceral level. Here was something radical and different. So, we are currently on the schedule to perform “That Would Be Enough” in scene study class. I am playing Alexander Hamilton and she is playing my wife, Eliza.

That weekend, I began researching the musical on Wikipedia. Interestingly enough, Lin-Manuel Miranda work-shopped “Hamilton” at my alma mater, Vassar College! I also listened to the soundtrack with lyrics in hand. As each song progressed, I began to realize the insane genius of Lin-Manuel Miranda and I quickly understood how he made Alexander Hamilton’s story work. His complex mastery of words was a beautiful assault on my senses. The intelligence, irony, humor and charm that he infused into the lyrics and music was thrilling. Again, this is a guy who created a HIP HOP MUSICAL ABOUT ALEXANDER HAMILTON AND THE FOUNDING FATHERS OF THE UNITED STATES OF AMERICA!

I’m like, “This guy is fucking insane! He reminds me of Quentin Tarantino!” And I absolutely LOVE Quentin Tarantino. Both are masters of language and are wildly creative, ground-breaking, etc.

By the time I got to the last quarter of the soundtrack, I was balling my eyes out.

Oh shit! I promised to keep this entry short and I’m writing “War & Peace” again.

Okay, so today’s entry was inspired by the following explanation that Lin-Manuel Miranda gave regarding his race-blind casting of historical figures like Thomas Jefferson and George Washington. Now, I know he’s not the only person who has ever practiced race-blind casting before, but it was great to see his take on it in this new unit of time. And it was great that he had a CONCEPT behind his race-blind casting. From Wikipedia:

“Miranda said that the portrayal of Hamilton, Thomas Jefferson, George Washington, and other Caucasian historical figures by black and Hispanic actors should not require any substantial suspension of disbelief by audience members. “Our cast looks like America looks now, and that’s certainly intentional,” he said. “It’s a way of pulling you into the story and allowing you to leave whatever cultural baggage you have about the founding fathers at the door.” He noted "We’re telling the story of old, dead white men but we’re using actors of color, and that makes the story more immediate and more accessible to a contemporary audience.”

Wow! How fucking cool is that?!

And…I will call myself out. I have been guilty of conceiving and writing things with Caucasian actors in mind. It’s conditioning from my entire life of witnessing and being inundated with media images and castings that favor Caucasian people in film, TV, magazine covers, product endorsements, etc.

So, from here on out, as a writer, I am making a commitment to race-blind writing and race-blind casting. If I want to see change, I need to be the change. With my commitment, I hope to open the door and the (Hollywood) camera aperture even wider to a more exciting and representative display of the human experience.

Now, will there sometimes be an exception to my commitment? Sure. For example:

1) If I create and write a role specifically for someone in mind. Where this particular person has to play the part. Now, if they turn down the offer, then I can say, “Looking for a John Doe type. Race not important.”

2) If the race of the character is integral to the story I’m writing about. For example, I’m currently writing a new provocative series set in NYC that centers around a Dominican/Puerto Rican family. Unfortunately, I’m not going to cast Irish or Asian actors for these roles. And there is one character outside of the family that I have made a specific race because it will create a particular conflict that I’m going for in the story. HOWEVER, I will apply race-blind casting to all the other characters in it. ADDITIONALLY, I am already taking these Latino characters a step further. These Latino characters, like I do with all of my Latino characters, are going to be layered, complex, three-dimensional, flawed, contradictory, forward and modern. I want these characters to continue defying the Latino stereotypes that Hollywood continues to project.

I have a responsibility as a writer to show Latino people in a different, more compelling light. I am so tired of seeing the endless, stereotypical, one-dimensional casting breakdowns for Latino characters: Maids, gang bangers, prisoners, troublemakers, thugs…and all of them with accents. I just saw breakdowns like these last week! That’s not my reality. I am a second-generation Latin American citizen and grew up with many other second-generation Latin American individuals. No one in my family has a “Latino” accent. Rather, they have accents based upon where they live: Brooklyn, Iowa, Florida, Maryland, etc. And many people in my family have careers. NO ONE IN MY FAMILY IS A MAID.

My youngest sister works in the ultrasound and sonogram department in a Manhattan hospital. My eldest brother is a police sergeant. I have a first cousin who works in media and television. I have another first cousin who is a high school math teacher and an accomplished, competitive salsa dancer. Another first cousin who is a private investigator for insurance companies.

And when I look at younger Latino generations–for example, my third-generation nephews, nieces and cousins–they are complex human beings chasing after important things in their lives. My nephew is 21 and went to school for animation. My first cousin–also in his early 20′s–is finishing medical school and taking his final exams in July 2016. My Latino friends are forward thinking, intelligent, driven, passionate, artistic, articulate, career-focused, etc. That’s the reality I know and the reality I want to include and share with others.

I’ve always wanted to defy stereotypes of what Latin people can do. And I’ve always wanted to defy stereotypes of what gay people can do. With the latter, I like to shake up expectations: The person you assume is the top is actually the bottom and the person you assume is the bottom is actually the top (literally and figuratively in many situations, not just sexual.) I like to shake up and challenge the notions of what being a man is and what being gay is. I am fascinated by taking the institution of Latino machismo and turning it upside down.

So, that being said, I am also including race-blind writing and casting into my mix and joining the growing list of people who do so as well.

Bravo to Lin-Manuel Miranda for thinking outside of the box and having a concept to back it up with. And bravo to the many others who do the same thing. More and more TV shows and films are having casts that reflect contemporary society. But we need more. Till it becomes the norm.

I’m about to start a third draft of my James Franco screenplay and I’m going to remove all mentions of race from the character breakdowns.

Will there be challenges to my commitment to race-blind casting? Yes, of course. I’m sure the same ones that others experience. Factors like the economics of casting; reaching and appealing to the largest audience possible; appealing to advertisers and sponsors; the story that is being told; etc. I’ll never forget a TV producer telling me to include as many Caucasian characters in my script as possible because it’ll make it more marketable and it’ll appeal to the largest audience possible. I said, “‘Largest audience possible’ as in a white audience?” And he said to me with a straight face, “Yes.”

What do you guys think about race-blind casting? What are your exceptions, if any, to race-blind casting?

Care-Fronting My Director

Last Sunday, I posted a blog entry that revealed how a brave 15-year-old inspired me to reclaim my love for singing: http://wp.me/p8uI5M-3d. One of the actions I listed to reclaim my love for singing was to care-front the director of “A Chorus Line” with a clean, blame-free communication which addressed an event that made me give up singing for many years afterwards.

I composed a Facebook message that same Sunday night. FIVE MINUTES LATER,
she wrote back! What she wrote blew my mind and made me emotional.
Below is what she wrote:

“I am very moved and blown away by your message and it brought me to tears. I am going to listen to your songs tomorrow because it’s late right now and I was actually in
bed on my way to sleep when your message came in. I will write you back
more too.

But let me just say this tonight. You WERE right for Richie and you did a FABULOUS job with the role. Just because you couldn’t hit a couple of notes doesn’t mean that it wasn’t the right part for you. And you are right, as a director I look to put on the best show and sometimes that means tweaking some things a bit. Many shows I’ve directed have had modifications of some sort. It’s creating a work of art that is molded to its perfection.

You would make an awesome Emcee. I directed that show as well. Love that song you
mentioned and I am looking forward to hearing you sing it.

More to be shared tomorrow. ACL will always hold found memories – you made it special with the rest of the cast. I am very proud to have brought such an incredible piece of work to the stage!

So here’s a little more to add to my message that I wrote to you late last night. I do remember the incident that you referenced in your message after I reassigned some of Richie’s vocals to NAME (I, Jorge, removed his name)  On a personal level, I felt very bad making that decision, but as you said and I agreed, I did it for the show. I recall that we were moving close to production week and sitting in the back of the auditorium looking at the line and seeing an open space. I didn’t realize who was missing at first, and then our assistant manager told me it was you … that you were upset and went to the restroom. I realized it had bothered you very much and I felt bad. When I directed Cabaret, I had to pull an entire song from the fellow who played Cliff. It just wasn’t working for him. The song is often struck from the show, so it really didn’t impact the run of the show. But it made me feel really bad as well, but it was for the good of the show.

I see now that you will be directing some music videos. I don’t know your other directorial experiences, but I would imagine that you have had to make some tough decisions as well. And if you haven’t, you will more than likely come across times when you will. You know the saying … “it’s lonely at the top.” Well, it’s true.

I’ve listened to the links that you sent me and I’ve read your blog about Juliet and how she inspired you. Very well written piece. The vocals are wonderful and you are a very talented singer. I’m sorry that the experience in ACL impacted your choice not to further your singing career. Don’t know if you knew this, but you were not the only male with dark skin (who auditioned for “A Chorus Line”) I will still go by what I said before …you were a fabulous Richie!

So, without rambling any more, I’ll close by saying I wish you well in all your future endeavors in the entertainment world, whatever they may be. I like reading your FB posts. I have a VHS tape of our ACL show … and I’d be happy to make you a DVD
of it … if you would like. Just let me know. Again … wishing you well.“

The exchange we had really created a powerful sense of resolution and closure for me. I can move on cleanly and powerfully from this. The event I experienced many years ago no longer has a hold on me. I hope that my experience inspires you to care-front someone or something in your life right now. Because the biggest lesson I learned from all of this is to DO IT NOW. I had a failed purpose with singing for MANY years. That could have been easily avoided if only I had handled this immediately. Do it now. Handle it now. Don’t wait to take care of something.

How A 15-Year Old Inspired Me

I witnessed something so beautiful, courageous and moving in my scene study class this past Thursday. So much so that it inspired today’s blog post.

A very talented and beautiful 15-year old actress named Juliet started scene study class about a month ago. I actually interviewed her and was blown away by her maturity and clarity with what she wanted as an artist. Her attitude was great and I knew she was a “yes” in my book to be a part of the Richard Lawson Studios.

This past Thursday, she did a Song & Dance exercise in class. The Song & Dance exercise is drawn from Milton Katselas’ book, “Acting Class: Take A Seat”. This is the book we use to understand the acting approach at this studio. The point of this exercise is to get the student present and relaxed so that they are emotionally available. This exercise combines singing and dancing as tools to break down and free the student from ticks, nervous movements, tension, habits…basically anything that will prevent the student from experiencing the emotions that are underneath. And experiencing emotions can only happen if the student is absolutely relaxed. This exercise is great for understanding how to be relaxed in a performance or for a close up on camera.

This exercise is not about being a great singer. And many people already have a button or a consideration about singing for a VARIETY of reasons. I have seen people flinch from this exercise just because they did not want to sing in front of an audience. Juliet got up on stage and as she began singing, she broke down into tears. The tears continued throughout most of the exercise, sometimes to the point of hyperventilation. However, under the masterful and nurturing supervision of our teacher that night, Doug Spearman, he was able to keep her present and to push through the tears.

My heart went out to her, but at the same time, I was quietly rooting for her. As was everyone else in the room. We were all on her side. We were her cheerleaders. The reason she inspired me and this blog entry is because of the courage she had. To be 15 years old, to be a teen, is not an easy thing: Peer pressure, hormonal changes, demanding school work, etc. But despite all of that, she had the courage to stand in front of a group of adults and work her way through her Song & Dance. She could have run away. She could have quit halfway through the exercise. She could have not shown up to class. But she showed up and she kept fighting through to the end.

And I said to myself, “If she has the courage to sing, then I should too.” Why? Because I love to sing. Music is a big part of my life. But I buried my love for singing a long time ago. Which is a shame because I grew up doing musicals. My senior year in high school, I was cast as Tulsa in “Gypsy”. “Gypsy” is my second favorite musical of all time. I worked my ass off in rehearsals. At home, I would rehearse my song, my lines and all the dance numbers for HOURS. I wanted to put out the best product possible.

The show ran for several performances and we had sold out audiences each night. On the final night, one of the drama teachers told me that I was so excellent and professional in the role, that I could be on Broadway right now. He said my performance was Broadway-level. That same night, after we took our final bows, the director of the production introduced me to an agent that was blown away by my work. He gave me his card and I set up a time to meet with him. The agent really liked me and represented me. I was now signed to one of the top agencies in NYC. One of the biggest auditions he sent me out for was “The Lion King” on Broadway.

I knew musical theater was my path. I applied to different musical theater conservatories during my senior year in high school and got into prestigious programs at the Tisch School of the Arts and Syracuse University. In the end, I decided to go to Vassar College. During my freshman year at Vassar, I auditioned for a major, off-campus production of “A Chorus Line”. This is my favorite musical of all time and I could not believe how fortuitous it was that they were holding auditions for it. And I loved that it was a production outside of Vassar because it felt more legitimate and important. In other words, real-world experience.

The first round of auditions included a singing and dancing component. I believe I also performed a monologue. I knew I wanted the role of Paul (the soft-spoken, gay, Puerto Rican dancer) I got a callback and read for Paul! I really thought that I had Paul in the bag. When they finally cast the show, I got in! But I was cast as Richie instead (the more street, sassier, dynamic black dancer) I soon figured out that the only reason I got cast as Richie was because I was the darkest person who auditioned for the production. So on one hand, I wasn’t too disappointed because Richie is a great character and I got CAST in “A Chorus Line”. But on the other hand, I was disappointed because he’s not my casting. Plus, his solo numbers are WAY TOO HIGH for me to sing. As soon as I got cast as Richie, I knew that his solos would be a struggle.

Rehearsals began and I was doing great on the acting and dancing fronts. We were doing the Broadway choreography for most of the show and I loved it. On the singing front, I was doing really well in the group numbers. We rehearsed for five months straight and I was also balancing a full, demanding course load at Vassar. When rehearsals finally began on my solos, I struggled. I tried hard not to freak out when I was not hitting the high notes. Richie has two solos in “And” and “Gimme The Ball”. “And” was just painful and “Gimme The Ball” was okay. My confidence started to decrease every time we would rehearse those solos. And man did I try. I really gave it my all.

About three months into rehearsals, the director pulled me to the side and told me that she was giving my “And” solo to another person. She knew I was struggling with it and was looking out for the production as a whole. I remember being crushed. It felt like I had been shot in the chest. If anyone knows me, I work my ass off. And so to have something taken away from me was devastating. I walked away from her and locked myself in the bathroom. I sat down on the floor and cried my eyes out. It took her 20 minutes to finally convince me to come out.

Another reason why it took me so long to finally come out of the bathroom was because I didn’t want to confront the entire cast. I knew that today’s rehearsal was starting right after the opening number, “I Hope I Get It”. That meant that the 19 potential dancers we follow throughout the show were already lined up on stage and facing out into the audience. All of them, plus the musical director, were waiting for me to get out of the bathroom. The bathroom was at the back of the theater. I was like, “Oh fuck. On top of this awful news, I now have to walk down the aisle towards the stage with everyone looking at me and knowing what just happened.” So, I braced myself, opened the bathroom door, and with my eyes blood-shot red from crying, I marched down the aisle with my head up high. With everyone looking at me from the stage, the walk down the aisle felt like an eternity. I finally walked up the stage and passed by the person who now had my solo. I gave him a death stare and he took two steps back (He later confessed to me that he was afraid to talk to me for a while because he thought I was going to kill him.)

I was only 17 years old. I was incredibly young and vulnerable. I was the youngest person in a cast of adults. I felt invalidated. I felt that my singing voice was no good. I felt like I failed. I got a taste of the real world and had no support system to help me up. Rehearsals continued and I worked even harder to make sure nothing else was taken away from me. The show opened in May and we were sold out every single night. My “Gimme The Ball” solo had improved, but it was still something I did not have complete confidence with. One night, after a performance, a representative from a major record label approached one of my cast mates and gave him his card. I remember being jealous and hurt because I knew that I had worked harder than him on every level. But because he was a better singer, the record label representative approached him instead. So, I was even more convinced that I was a terrible singer (Ignoring of course that the record label rep did NOT approach any of the other fantastic singers in the production as well.)

In the end, my dream show turned into a bittersweet experience. I had wins with it on the dancing, acting and singing levels, but not with my solo numbers. After “A Chorus Line” ended, I never did musical theater again.

Looking back at all these years, I’ve only sung a few times in public. And it sucks because music is a big part of my life. I love music. I believe I was a pop star in another life. I would love to have a career like Madonna, Jennifer Lopez or Justin Timberlake (modern-day artists who act, sing and dance) What a wonderful fusion of disciplines!

I recorded one of my favorite songs recently in one take (“The Girl and the Robot” by Röyksopp featuring Robyn) and was really pleased with what I heard. I was like, “Wow, that’s me????” I even uploaded the song onto Youtube, but I didn’t want to share it with anyone. I totally flinched. But for fuck’s sake! Why?! I have a good voice. I got into conservatories for musical theater, I had a great agent in NYC, I was auditioning for Broadway. But I experienced such a loss with “A Chorus Line” that it wiped out all of my previous statistics and influenced the rest of my life.

But when I heard “The Girl and the Robot”, I realized how much I love to sing. And that I can sing. What I experienced with “A Chorus Line” does not mean I can’t sing. It was just WRONG casting. Which is why CASTING is so fucking important. If you’re cast in the wrong role, you don’t have a chance to shine. You don’t hum like fine crystal because the role doesn’t fit you like a glove. Wrong casting means that you could potentially walk away from the experience with a tremendous sense of loss. An actor cannot play every role out there. A singer cannot sing every song out there. I shine best as a singer when it’s the right casting and in the right genre of music. I can’t compare myself to other singers. I have to embrace my unique voice and maximize that in the right arenas.

I had a similar experience with acting. I almost quit acting when I was new to LA. I got an agent and they turned out to be really good. They got me out on a lot of auditions…for gang bangers, cholos and prisoners. They saw that I was a Latino male with a buzz cut, and because I didn’t understand the concept of driving my own career bus at the time, I let them call the shots. They sent me out on so many big TV auditions and I would be in the waiting rooms with people who actually looked like they just got out of jail. I worked as hard as I could to be those guys, but it’s just not in my nature. It’s not my CASTING. I would leave each audition feeling okay about my performance, but never with a feeling of a SLAM DUNK. I started getting discouraged and thought that I couldn’t act.

Finally, I stopped the madness and took control of my career. I got real clear with my agency about my casting and what I could play. Once they heard me, I started going out for things that I could really play. And I started producing winning results. Today, I would not accept the role of Richie. I’m clearer on my casting.

Seeing Juliet in her Song & Dance inspired me to action. Seeing her cry at the age of 15 reminded me of ME crying at the age of 17. The only difference is that she is part of an incredible community of people who will support her and hold her up. I wish I had artistic supporters when my event occurred. Things could have turned out differently for me. If Juliet at 15, starting out brand new with acting, could have the courage to cry through her Song & Dance in front of a room of seasoned, trained, professional adults, then who the fuck am I to keep hiding my own singing?

So here is what I am doing to take action. And I hope that my actions will inspire you to reconnect with something you have let go of or something you have a failed purpose on.

1) I am including links to two songs I recorded in one take. The first song is “The Girl and the Robot” and the second song is the ending of “I Don’t Care Much” from “Cabaret”. I LOVE the role of the Emcee. It’s one of my dream roles. But because I had such a failed purpose on singing, I heard “I Don’t Care Much” and freaked out over how high the ending part was. I was so convinced I was a bad singer that I could never sing the song. Every time I tried to sing it, I failed. Until two weeks ago, I finally said fuck it. I’m going to nail this ending part. I gave it my all and the notes came out…beautifully. I shared “I Don’t Care Much” with my good friend Lindsay Hopper and she said, “Dude…You need to sing more…WTF? Why do you hide that?”

2) How do I move forward to destroy this failed purpose? Do I sing songs in scene study class? What are my current castings in musical theater? What other genres could my particular voice shine best in? Do I begin vocal training to rebuild my voice? Do I sit down and figure out how to incorporate singing into my overall picture and business plan as an artist? Where does singing now fit in, if any, within the bigger picture of my career?

3) I am going to send a Facebook message to the director of “A Chorus Line” to finally address what kind of impact that event had on me. Writing a letter or sending an email communication, without blame or anger, is an effective tool that I have learned at the studio to handle something. It worked beautifully for me before on another occasion and so I am excited to do it again. In the message, I will let her know how I’m doing and that I hope she’s doing well. I will let her know why I’m writing, how the event affected me and what I’m doing now to reclaim my love for singing. And I’ll end the communication by sharing the two links with her as well and wishing her the best.

I look forward to sharing with you all how action number three turns out.

And thank you Juliet for your bravery and inspiration.

Here are the songs I recorded in one take:

The Girl And The Robot: https://youtu.be/ItV-n4iMSAc

I Don’t Care Much: https://youtu.be/81uwLM7mRSM

Onward and forward.