The story of Dr. Kildare. What's the weather house I enter, there will I go for the benefit of the sick? Or what's the weather things I see or hear concerning the life of men, I will keep silence thereon, counting such things to be held as sacred trust. I will exercise my art solely for the cure. The story of Dr. Kildare, starring Lou Ayres and Lionel Barrymore. Metro-Goldwyn-Mare brought you those famous motion pictures. Now this exciting, heartwarming series is heard on radio. In just a moment, the story of Dr. Kildare. Starring Lou Ayres as Dr. Kildare and Lionel Barrymore as Dr. Gillespie. Player General Hospital, one of the great citadels of American medicine. A clump of gray-white building is planted deep in the heart of New York. The nerve center of medical progress where great minds and skilled hands wage man's everlasting battle against death and disease. Player General Hospital, where life begins, where life ends, where life goes on. Jeepers, I gotta get some advice. This is Joe Weyman. I gotta talk to Dr. Kildare right away. Step on it, huh? Okay. Boy, this is Joe Weyman. Oh, hello, Joe. Doc, you know that call I got to pick up some dame over here on the east side and bring her back to the hospital? Yeah. Yeah. Well, there ain't no address like that. I asked all up and down the block. Well, must have been somebody's idea of a practical joke. May as well forget it. Come on back.  When I got back into the ambulance, guess what I just found in the front seat? A baby doc. Somebody must be giving him away. Here I am, minding my own business. All at once I got a baby. Oh, everything's going to be all right. There now. That thing he's wrapped in, Parker, isn't that the jacket to a woman's suit? Well, yes, it is, Dr. Kildare. Some kind of a wool plaid, I think. Why is one? I just rather warn at that. So is this baby Kildare? He's been suffering from malnutrition for a good long time. Here, young fella. Here, let's have a look at you. Could I see that jacket, Parker? Oh, of course, Dr. Kildare.  Can you imagine anybody just leaving him with me like that? Not if they believed in the influence of environment. And you don't have any business up here, Wayman, so get out. Oh, Japhers, doc. I mean, sir, I feel like I was kind of responsible for the little Japhers. Well, you can experience the joys of motherhood just as well in the ambulance room as you can here. Go and beat it. Oh, gosh. I never get to be in on nothing. Nobody else sees it. Dr. Gillespie, it looks as though you can get ready to experience a few of those joys yourself. What determination are you talking about? Well, there was a note in the pocket of this jacket, and it says, quote, I have nothing to live for, but my baby has his whole life ahead. He needs help. So I give him to Dr. Gillespie at Blair Hospital to do with as he sees fit, and it's signed Jackie's mother by the Great Horn Smith. Oh, good heavens. Another abandoned child. No, this is more a transfer of ownership, Parker. Parker? Doctor? This one seems to be your case. Come, found it. Parker, take the boy over to one of the examination rooms and strip him down, and I'll be over there in about five minutes. All right, Doctor. Come on, young man, and let's go get cleaned up now. Jimmy, unless that baby has some fast medical attention and a lot of luck, we'll have a corpse instead of a case. Maybe two corpses. Two? Jackie's mother. I don't know who she is, but I'm betting she needs help and needs it fast. A woman's in pretty serious trouble when she's willing to give a child away. Is this generally considered the last resort? Then we've got to try and find her. That next step after the last resort could be anything. Oh, this is Kildare. Oh, hiya, boys. Say, Detective Lieutenant is on his way up here to see me. Yeah. It's in regard to the mother of that baby you found. Now, will you stand by, Joe? He may want to talk to you. Yeah, OK, sure. I've got a hunch we have to find this girl right away, if we find her at all. Yeah? Oh, just a second, Joe. You're right. Yes, Parker, what is it? A Lieutenant Dan Riley from Precinct Headquarters is here to see you. Oh, fine. Send him in. He's here now, Joe. See you later. Yeah, OK, boys. Come on in, Lieutenant. Thanks. Sit down. Got here in a hurry. Yeah. I just did somebody over here was burning up to have this girl found. You, by any chance? That's right. Why? How come you're so worked up about it? Well, I think a girl who's forced to abandon her child needs help. That's all. Can't help her unless I find her. Simple enough, isn't it? Yeah, when you say it real fast. Is that the jacket there the kid was wrapped in? Yes. Now, that's our best bet, but the odds are long. Exactly where was it your driver left his ambulance parked? I'd see. I have it here on the report. On the east side of First Avenue, about 100 feet north of Dutton Place. He went into the apartment houses at 1042 and 1046. What was the time? The call came in here at 624. Joe got there at 645 and was away from the ambulance for about 10 minutes. Well, I'll see what I can do to kill there. Looks like a matter of trying to match the suit material. Somebody may recognize it that a girl may still be wearing the skirt. Do you know that neighborhood? I know it.  Mostly floaters and down-and-outters. Yeah, I know it all right. Well, don't tunnel anything, Kildare. All right, I won't. We can't both be over-enthusiastic. Okay, so you're all fired up to do a good deed. I suppose we do find her and give the kid back to her. She had some reason to dump him in the first place and she'll do the same thing again. Only the next time, she'll make sure of it. We'll probably fish him out of the river. What's the percentage? Pretty low. Only sometimes you can change the percentage by stepping in and helping at the right time. The doctor learns to make his own odds. This is one case, Doc. I've seen a thousand of them just like it. Cynical, aren't you? You get that way if you keep your eyes open and watch human nature? Well, I usually do. Helps in diagnosis. I've developed a theory from it, as a matter of fact. A theory, huh? The more soft-hearted a person is, the more chance you'll try to throw up a hard-boiled front. Yeah. Well, everybody's got a right to his own opinion. Kildare, I'll give you a call if I turn up anything. Jimmy, right now it's a toss-up. I'm going to keep him under oxygen tonight. We'll try to keep his lungs clear, but... I don't know. Talk about percentages. Now it's bronchial pneumonia. On top of anemia, malnutrition, the deficiency of every vitamin from A to Z. Yes, and abandoned, besides. Oh, I just can't understand how any mother could do such a thing. Dr. Walker, the limitations of your intellect are quite well known already. Well, I like that. He's got to find that girl. I'm suppose he does. Maybe all we can tell her is that her baby just died. Yes, there's a chance of that. Dr. Kildare speaking. Lieutenant Riley, I picked up the girl's trail killed there. I thought maybe you might like to come over and string along with me. Where are you? A farmhouse called Hogan's Rooms. It's on first, just below Delaney. General 38, come on up. Be there in 10 minutes. She and the kid lived here for three days, Kildare. She paid for the room in advance for the first two days, and then skipped out around six this evening. She owed the proprietor one day's rent, 25 cents.  And I'll make you a bet, Riley. You paid that two bits, didn't you? She didn't have any luggage, no visitors. There's nothing in the room that gives any lead on her. She brought in a quart of milk yesterday, and the empty bottle's over there in the corner. 25 cent room, quart of milk, alone, nothing to live for, and she gives her baby away. Add it up. When a dame dumps her kid, it's usually one of two reasons. A new boyfriend or she's down and out. I'd say this one's the down and out kind. Why do you have a description of her now? That ought to help a little. Maybe. She's still wearing a skirt to this jacket. A faded blue sweater with it. She's blonde, thin, 20, 21. I sent out an APB. One of the cars may pick her up. I thought we'd check some of the cafes around here. All right, let's go. OK. Oh, by the way, she was registered as Eleanor Mason. From where? From nowhere. From around here, nobody cares. Look, Riley, suppose we get something straight right now. All right, shoot. You wanted me to see this place for one reason. Because you think I'm a hot house boy living in a plush and chrome office up at Blair Hospital without ever realizing just how rough life can get. Well, do you? Riley, I worked in a clinic less than six blocks away. I worked in a clinic less than six blocks from here while I was interning, and at one time or another, I've been inside all these tenements and plough houses. I've treated hundreds of these people, suicides, alcoholics, dope fiends. I know what they're up against and what you're up against. There are no arguments on that score. All right. But here's the difference between us. You think the problem's too big for any one person to tackle, and I think the only way we can ever hope to whip it is to keep on trying. That's why I'm on the staff at Blair, running a gold-plated pill factory on my own somewhere up on Park Avenue. Okay, Kildare, sorry. The guy can be wrong, you know. Yeah. Yeah. That's right, a guy can be wrong. All right, let's check those campaigns. The old child is still holding his own, Jimmy. Good. I don't really expect a crisis before tomorrow night. We're doing everything we can, but he simply doesn't have any reserve strength to fall back on. So, well, I don't know. Incidentally, his last name is Mason. I found out that much, at least. Yeah, but you didn't find his mother. No. No, we traced her as far as a cafe on 10th Street, where she had a cup of coffee a couple of hours ago. Cash here remembered her because she had just poor sense. The coffee was a nickel. Then she's flat broke, and she can't travel very far on the foot. As far as eternity, that's what she has in mind. Well, she's desperate enough. That's what Riley thinks. She's been over there a while ago, still at it. She's a good man. It's too bad he's got that cynical attitude. Well, with him working the district and the whole police force alerted, there's still a chance, Jimmy. There's got to be a chance. You know, it's funny. I've never seen this girl, yet all at once, she's the most important thing in the world. Kill there, speaking. Lieutenant Riley. Look, kill there. I'm at Pier 21 East River. You better get over here. What's happened? We just pulled a Mason girl out of the river. You were about 15 minutes to live. I thought I told you the one about a doctor making his own odds. I'll be there. Hang on. We will return to the story of Dr. Kildare. Pick her up in one of the police boats. Yeah. Watch the plane. Yeah, yeah, sure. You're the doctor. No, no, keep feeding her oxygen. No. What do you think? There's still a chance. Heart stimulant may help. Joe, hand me that kit. Yeah, okay, doc. We got most of the water out before we gave her the oxygen. Yeah, hold this, Joe. Where'd she jump from? The bridge over there. The patrolman saw her and called the river patrol. We picked her up with a search light and we had her out in six or seven minutes. I was on the boat. Yeah, so I gathered. How's your baby? Pretty bad. Won't know for about 24 hours yet. Hey, you're pretty, isn't she? Yeah, she will be in the newspapers anyhow. They're always beautiful in the papers. If this doll would be a knockout any place. All right, so she's a doll. Yeah. She's coming too. Riley, how did you happen to be riding that boat? I was a lucky guess. With a dame, it's usually gas, poison, or the river. For gas, you need a room and a room costs money. So does poison. I took a chance on the river. We've been patrolling this area for the last hour. All right, take the respirator off. See if she can make it alone. Now, Joe, start her out with artificial respiration. You're right, boss. No, honey. Let's you and me start breathing. What time is it anyway? That Mason girl getting along. How do I know?  I'm not on 24-hour duty around here. It's six o'clock in the morning. Riley, go back to bed and get some more sleep. I'll call you when she's able to talk. And that'll probably be noon or after, OK? Sure, I know. I know. You've got to fill out a report. So long, Riley. Wow. Jackie, my baby, how is he? He's in Dr. Gillespie's hands, Mrs. Mason. Then believe me, they're very capable hands. You're not to worry about him.  You picked Dr. Gillespie yourself, remember? I saw his name in a newspaper. I was so frightened and so desperate. I didn't know what to do. I can understand that. You're from outside the city, aren't you? Mm-hmm. From a farm in Ohio. I ran away and got married. It's a big mistake. We came here to New York. He left me two months before Jackie was born. I've never seen him again. It's all over. Everything's going to be all right. But it isn't all right. It isn't over at all. Nothing's any different than it was before. Oh, why did you have to bring me back? Now, you don't mean that, you know. I'll give you a 10 to 1.  But he's also hopeless. Oh, come in, Dr. Gillespie. So this is the fish you pulled out of the East River last night. How do you do, sir? Mm-hmm. I'll have to get some bait myself. Maybe another one like you. Well, this particular fish seems to think we ought to throw her back. Ah, nonsense. I had too much trouble catching her in the first place. Dr. Gillespie, my baby, how is he? Young lady, I never discuss the condition of patients with other patients.  Besides, he's my baby. You gave him to me. Yes, but I thought that... Come in. Well, Lieutenant Roddy. Well, maybe that you forgot to call me. Yeah, I know you. Well, I guess you don't need to be introduced here. I don't know whether you'll remember me, Ms. Mason. Oh, yes. It's your voice. I remember hearing it when I was in the water. If you feel like talking, Ms. Mason, I have to get some things for my final report. Dr. Gillespie, I think we're going to be in the way here. Well, I never like to interfere with official business, Jimmy. Shall we go? Oh, oh, pardon me. By the way, Lieutenant Riley, the commissioner called me a while ago and said he was glad the case had turned out all right. He'd just been reading your final report. Isn't there any sign of a bright temperature still rising? May not reach the peak for two hours yet. The worst part is always this waiting.  Well, we've given him everything medicine has to offer. But that's as far as we can go, Jimmy. Nobody can get inside that oxygen tent and help him fight. It's his battle from here on, his and... Lieutenant Riley's outside in the hall. Back again? Parker, stand by here. I'll be right back, Dr. Gillespie. All righty. How's the baby? Too soon to tell you. Would you mind if I sort of hang around here in the hall? Better yet, go on down and stay with Mrs. Mason. Will that be okay? I mean, I know it's way past visiting hours. Special case, Riley. We had to tell her late this evening how serious this is. It was a nurse with her, of course, but when you go on down and talk to her. All right, children, thanks. For what? Anything? Nothing? I don't know. Mrs. Mason, everything's going to be all right. A simple statement of a fact is no reason for hysterics. Boy's going to live and has a good chance of growing up to be president or bank robber or a gin-rummy place, something or other. Oh, Dr. Gillespie. And you, Dr. Kildare, thank you both of you for saving him. For saving me. I... I don't know what else to say. Ah, Kildare, you stay here and listen to this. For two nights, people giving away babies and jumping off the bridge. Looks like the dawn is starting to break out there. Might as well turn these lights off, I guess. It's a wonderful world. You didn't think so yesterday. Do you promise to keep on believing it tomorrow? Yes. Oh, yes. Don't worry, Kildare. I kind of think she will. I want to know something, Riley. I kind of think you will, too. Tough guy. We will return to the story of Dr. Kildare. How about you and Dr. Kildare? What it certainly looks to me is though mother and son are doing nicely. You know what I mean. Ms. Mason, I've been wanting to talk to you before you left. I know you don't have any place to stay, so I thought we might... Thank you, Dr. Gillespie, but... Well, Lieutenant Riley has already taken care of that. I'm going to stay with his sister and her husband for a while. Well, about money. Well, Lieutenant Riley's already loaned me some money. Enough to last until I start working. Working? Now, there might be just a chance of a job here at the hospital if you... Dr. Gillespie, I understand. Lieutenant Riley has already arranged for a stenographic position at Precinct headquarters. Yes, that's right, Dr. Kildare. A confounder? I suppose you two are going to get married then. Yes. Not right away, of course. But then may I buy you a silver tea service? Well, if... If you could make it something else. You see, Lieutenant Riley's grandmother left him a... By the Great Horn School. Well, I mean, I appreciate you thinking of these things, Dr. Gillespie, but I... No, don't mind awfully if I use your table here to... Go, Mason. As a matter of fact, I'm overjoyed to find one thing that Lieutenant... A story of Dr. Kildare starring Lou Ayers and Lionel Barrymore. This program was written by Les Crutchfield and directed by William P. Russo. Original music was composed and conducted by Walter Schumann. Supporting cast included Virginia Gregg, Ed Max, Jack Webb, Lillian Bayef, and Jerry Hausner. Dick Joy speaking.


Let's do it! My name is Taylor Mack. I'm interviewing harp artists in a series for a HowlRound so that we can all get to know them and their amazing projects that they're doing. If you don't know, Harp is a program, it's a residency artist program at the Hear Art Center. They give you multiple years to work on a project. It's artist driven, so you get to kind of decide what you need. Sometimes they produce your projects, sometimes they co-produce. Often the artist can say, I want to work on it for four years. I want to work on it for one year. I want to work on it for many, many, many years. So it's all just kind of how you want to do it. There's usually a lot of hybrid type of work, so combining music and theater and puppetry and dance and video and all of that kind of often gets squished into the work. And why don't you guys introduce yourselves and tell us a little bit about your projects? Yeah, because I don't really know either one of you, but I'm excited to get to know you. Do you want to start, Spencer? Go for it, Micah. I'm Michael. I'm Michael Kikuchi. So I started my theater career based on visual arts. So I, like, 2013, I started like first puppet show and, you know, since then, I just keep making my own puppetry works, extended from my visual artworks. And then we met, like, I met Spencer through the Lamas, like, I think that was like a puppet slam. And then we really like each other as a piece, and then we become friends. And he asked me to... That's the best way. I'm sorry to interrupt, but it's just the best way to... I know. To audition or apply for things. And the best possible way to find people is just to hang out in various festivals and watch their work and fall in love. Yeah, I agree. Through the puppets. That's the best. So, and then he asked me to collaborate and then apply for this here at Residency 2017, I think. And then he brought up the ideas, and that is the actual Japanese and America's World War II history, which I didn't know actually at the time. And I was so interested in, and then we decided to collaborate and apply for the here. So we got in and we've been making for over three years. And then now aiming to premiere our piece, more like leaning to the digital form, but at the same time having the live audience, if it's possible. This fall is September, November. Yeah, like November. So that's where we are at now. And is that a usual amount of time for you to work on a piece or do you tend to take that much time or is longer or less? We thought like it's actually we were premiering our piece like this past December. But then like right before we, you know, getting in more process to like make everything together, then like the world shut down. So it's extended. But I imagine you've had a lot of workshops in that period. Is that true? Yes, working progress shows and yeah. Yeah. All right. And Spencer, why don't you tell us a little bit about you? Yeah, yeah. I'm a puppet artist. I design and build and perform and direct and write and kind of the puppetry is the through line for lots of different kind of artistic careers. I create my own work independently. My kind of day job is in film and television puppetry. But then my kind of passion is theater. And like Michael said, I felt we saw each other's work and fell in love with, I fell in love with Michael's work. It's so visually dynamic and interesting and unique.  How can I get to work with that person? And so I heard a radio lab story about these paper balloons coming from Japan and inspiration struck. And I was like, oh, this might be the perfect excuse to get to call up Michael and say, hey, do you want to jam on this? Do you want to see what we could make together? Yeah. So my piece is called 9000 Balloons. Is that what it's called? 9000 Paper Balloons. Yeah. Paper Balloons. And so talk a little bit about it. It has to do with World War II and internment camps, Japanese ghost stories, all of that. All of that. So it's actually a history, but almost blacked out. So that's why I didn't know the details about the first place. But the story is, the history is about, like, Japan's made 9000 Paper Balloons. So balloon made by the paper. But it's very, like, like a rigid balloon that oversees, like, over the Pacific Ocean. So it's a balloon that can travel all the way across the Pacific Ocean. Yeah. Exactly. Oh, so there wasn't any navigation. They were just, they send them up and they hope that the wind takes them there. Right. Yeah. So Japan, the scientists, like, military, all, like, figuring out how to make the weapon. And then the balloon has the bomb. Attaching to it. All right. Yeah, of course. No, it's not just a balloon. It's the bombs in the air. Yeah. I hope the jet stream would take them to the U.S. Isn't that ridiculous? That's exactly it. Japan was the first country to understand the jet stream. So they had measurements that there was this fast current moving of air. And they thought it might distribute over North America of the United States. And they were running out of materials. They didn't have a jet that could get across the ocean. They didn't have a missile that could get across the ocean. And so they made this was one of the secret weapons they developed. And it worked. These balloons, hundreds and hundreds of these balloons made it across the Pacific Ocean and then landed all over North America. There's one balloon as far east as Michigan, Kansas, Iowa, Oregon, Arizona, you name it. There were hundreds and hundreds of them. And they blew up when they landed? Is that the idea? Yeah, the idea was that as the balloon lost its air, it was full of hydrogen, it would fall. And as soon as it would touch, it would detonate. It was ultimately a failure. But their hope was that they would start forest fires and that really it was an act of error. The idea that Americans look up and there were silent bombs dropping from the sky. And so that's why we might go talks with the blackout. That was a military and oppressed blackout so that so that the American public didn't panic was was the idea. And then we talk about some of the casualties. There was one family in Oregon that discovered the shrapnel discovered a live bomb on a picnic and it detonated and killed these children. And so it's part of part of the narrative that we're weaving into the show. So it was blacked out from the American perspective, but was it blacked out from the Japanese history? Yeah, because because the Americans were so tight lipped about it, then the Japanese weren't sure if it was successful or not. They had no way to track it. So ultimately they gave even though they were reaching America, they ended up giving up the effort. It seems it's so both poetic and terrible. It has all these things that we were drawn to. Yeah. Yeah. And how do the internment camps work into the piece? So it's actually like not including the detail of the internment camp. Oh, okay. Is that an old idea? I read something. I read an idea. We were thinking about it. We were thinking about it when we apply and then we totally change. But yeah, we were kind of thinking about including the more detail about the internment camp at the beginning of the beginning stage of this piece. So our piece, we will show the clips later, but our piece is kind of shifting from some sort of the story we made up to more real, more involving each family's history. So yeah. And then so like my grandfathers also like what point in World War II and since that's grandfather too. And so like they're, you know, like essentially they're enemies, even though they're never met, but then they are grand children, become friends through puppetry and then making the piece together. Wonder of puppetry. World piece of puppetry, right? So that's kind of like become more important theme for us. So that's why we are not, our family history is like not really related to the internment camp. So that's why it's kind of like a little fading. But we are using from that time period, we are incorporating a lot of propaganda, both from the Japanese side and from the United States side, which kind of fills in Michael is this incredible collage artist. And so we're using these kind of really kind of bombastic intense propaganda images to kind of to kind of show the sense of the other things that we're going on racially during this time period. And how does juxtaposition work into this? Because, you know, balloons are so whimsical and beautiful and magical. And yet they're delivering this violence or this desire for violence. And so how is, how are you working with juxtaposition with your piece? Or is it just naturally there? I mean, that's been the question, right? As we explored shadows and all different types of puppetry, that's been the ultimate crux of how, what is this intersection? And we brought on a really talented director a couple of years ago, Aya Ogawa did Suicide Forest, a number of great shows. And we kind of circled around, we kind of landed on this question, how do we collapse the distance between us? And it felt like a broad enough question that it could approach that juxtaposition. And then it also fits with the kind of artwork that we're drawn to. We're kind of taking the 3D and collapsing it into 2D. We're collapsing the distance between our grandfathers, between two nations, between Michael and I. So that juxtaposition has become this kind of central question of collapsing distance. And I imagine anticipation too.  And that time that you're waiting for it to either arrive or... So, I mean, did the Americans know that this was all coming? I mean, was there, I don't know, spy knowledge that had been launched? They just know about it when it was arriving. That's exactly right. So there was a series of kind of unique, weird occurrences where somebody would get this giant scrap of paper in their farm. Or they would see something floating by that they thought were a UFO and they couldn't identify it. And they finally, in the military, the balloons were unmarked. So they weren't sure if it was a weapon, if it was a weather experiment or something. And they finally found out that it was a weapon and it was from Japan. So on the balloon bomb, on this ring that carried the bombs, there were all these sandbags that would release at timed places so that the balloon could stay in the jet stream as the temperature went up. So some of these sandbags dropped, I know, it's amazing. It's amazing like old school school. And so they looked in these sandbags and they discovered that the sand in the sandbag was only found on one specific beach in Japan. Oh, wow.  And at the time, they weren't sure if they were going to carry chemical weapons or if there was going to be other payloads coming along. So I mean, it's straight out of science fiction, right? This floating kind of death. And were the balloons all manufactured? As designers, are you able to make as many different kinds of balloons as you want?  And is that part of it? Or are you even showing the balloons? I don't know. Yeah, I mean, the balloon is like they're trying, they're testing out like what's the best way to make the balloons. And then like, they're like some, the certain process, like how to make the balloons. Like they're layering a lot of Japanese paper and grueling with like what is, what's kind of gruel. It's like a blueberry paste. Yes. So when it's dry, it makes like really hard. So, so like, I, like, there is like the prototype of the balloon. And then like, they made, like, it transformed the school in Japan into the factories. And then so many Japanese guard students, they're like making the paper balloons. So that's like, I imagine like, this is in my fantasy version of it all. They're like, Oh, arts and crafts, we get to make all these balloons, right? They don't know what it's for. But there's like, we're making lots of balloons that everyone gets to be different. Or they're like, no, the balloon has to be exactly like this.  I'm sure there's some photos of these balloons, right? Yeah. Yeah. It's like a huge balloon. Like it's really like, I, it's, it's like, kind of, I can't believe that big balloon. It looks really perfect. Like, you know, sphere balloon. It's like made by like a people's hand. Yeah. And then, yeah, as same as the, the Oregon's family, the kids got killed by balloon. In Japan, we are focused on like the guard student who is making balloon. They like, I think when we watch the documentary, like some of them knows what to make, what, what they are making. And some of them like really ambiguous what they're making. Like they told, it's a secret weapon. Don't tell anybody. But some of them like knows like this is a special weapon. So like, they're very proud of themselves to work for like Japan, like work for the infillar. So there are so many complicated like feelings in the teenage guards. So that's where kind of emerging and then making the, you know, the one of the scene of the show. And then the theatricality, Taylor, like what you mentioned is, is that's been part of the fun and the challenge is figuring out how do we, how do we fill the space? How do we feel 9,000 balloons? How many, how many balloons do we have to see for us to believe it's 9,000? Are they, can we get away with flat paper? Do they need to be spherical?  We've, we've gotten some giant weather balloons and played with those. We've, the versions of balloons right now that we're, that we're experimenting with are light up. Kind of kind of, we've added this kind of light up low from the, from the inside, almost like a lantern. But it's been a, it's been a really fun design challenge to figure out what, how much do we need to show? How much can we get away with? And now that we're going virtual, there's going to be entire scenes that, that we're going to be able to shoot from the balloons point of view, bird's eye view, looking down. So it's been a fun, it's been a fun challenge. Wow. So, so you're making the, you're, you're making this show for a virtual audience, but, but then also for a live audience in November. Is that the, yeah. So the hope is, the hope is we'll be performing it live. We'll both be in the space performing it live there at here. And it'll go out to a virtual audience, but they will also have a small group of people, or at least this is the plan right now, right? If it can be, if they have, is to have kind of VIP behind the scenes, seating their live. So, so people can see how we're doing everything with all the different puppet setups, all the different camera setups. It'll all be mixed and engineered. They're live on site. So that's kind of like a scenes experience. Yeah. And so I know that a lot of the black and white, well, this is what you said in the, in the description that black and white photography is inspired some of the aesthetic of this and also Japanese wood prints.  And, and then when you're making a virtual show, of course, then it becomes maybe easier, but maybe harder because it's a live performance. So those are all the technical weird things that I'm curious about. That's a great question. We, I mean, I think we were excited initially about, first of all, that kind of black and white sets you in a specific time period, right? Or it gives the audience cues to maybe where this story is taking place, the juxtaposition, going back to that juxtaposition of these two kind of this black and white, this color scheme, this like floating beautiful white object and then the black death that it's carrying.  Our grandfather's being enemies, us being friends, those kind of things. But then, but then I'd say now, Michael, I feel like it's growing so much due to Michael's design and her sensibility. I feel like I feel like we're definitely like kind of fleshing out the world in a, especially one thing we've been considering is what does Japan feel like and what does America feel like. So as our balloon, we travel the journey of, you know, like of one balloon. And so when we, our storytelling in Japan feels very compact and specific and tight and that's based on Michael's experience and our director IA's experience.  And then, and then the United States, it becomes even, there's even more distance between, we're kind of leaning into like the Americana, the planes, that kind of space that you could see if you were a balloon traveling. So, I mean, as puppeteers, I feel like the coloring of the world is a huge opportunity for us. But then to the virtual aspect, we're still figuring it out. It's going to be really interesting to see like how what we've built already will translate to camera and where we're going to need to boost things or take things away. Yeah. And how are you working, Michael? How are you, how are you, do you make it home? Do you, do you just build it at home or do you, so you don't have a studio but that you built? I do have a studio so I'm working in my studio and at home at the same time. But for this project, it's because I'm in New York and Spencer in Kansas. So, we literally have the distance and so the things we have been doing is like making the storyboards or animation versions of the storyboards or we even make the mock-up like the toy theater, all the toy theater like this tiny like model of the toy theater, like especially about the Garza students scene. And then we just like meeting in the Zoom and then so here I made an emerging like how the show would be, what do you think, that kind of things like we've been doing. It's been really hard. You know, it's been incredibly difficult. We had all this momentum.  And so we had all this momentum going and now we've had to, you know, we've had to meditate for an entire year. I know. Exactly. But I imagine that working with a lot of paper, right? You're working with a lot of paper. And my experience working with paper is there's means you have to constantly be built even as you're performing, even as you're rehearsing, you're just rebuilding, rebuilding, rebuilding. Is that true or are the structures that you're working with solid enough that you can reuse the same thing over and over? So I would say it's kind of hard to, like, reuse. So it's kind of based on my courage work. So it looks like a two-dimensional and then using the cardboard stuff as well. But at the same time, we were thinking how to transform, try how to make the two these collage artworks in the 3D, you know, the space. So that's, so we need, like, certain friends and, like, it looks too deep but, like, also it's, like, needed to, like, visit, like, the structure. So it's kind of back and forth. Yeah. We try to be, you know, because as a puppeteer you can spend all your time building things and neglect other parts of your process. So we've been trying to be super specific and really do detailed storyboards so we know exactly what we do need to build and what we don't. With the knowledge that then once we get in the space, we'll discover things and things will get scrapped or combined. But yeah, one thing we're excited about in the virtual space is that we only have to fill the screen, right? Working in here, even though here's a small intimate space, we love playing with scale. And so we were building these giant cardboard heads and giant cardboard hands and all these things that, you know, take up storage and transportation and, like, all the things that are practical as a theater maker drive you crazy. And so we are excited to scale down for virtual space, but still be able to push into the frame to hope to get the feeling of that, the flight and expansiveness. So, yeah, it's a great process. Well, in kind of keeping with the storyboarding, what is the Japanese ghost story still part of this? Is that kind of what you're doing, telling a ghost story to some degree? Yeah, so the ghost story. I don't think we're like using that ghost story. Yeah. I just love that because it's the thing I hate most about writing a grant or an application is, you know, you write the description before you've made it.  Like, okay, well, look, 10 years ago, and I wrote that.  Yeah. Can we watch a little sample? Can we see something? Sure. Yeah. All right. Yeah, why don't you set it up? Tell us what this exactly was, what stage it was coming in.  The first car jammer, and then a little experimental walking progress at the years, the DOT downstairs theaters.  So we have like a four different walking progress and we, we are trying like a different approach for each walking progress to figuring out what we need and then how to develop the first one. So you will see the differences, even though we're like based on the same story. And then, like, at the end, like, just a little creep for the tiny mock-up, the guard's story we were making during the pandemic. So, again, I'm going to share my screen. Several branches of Japanese military hopes, a co-group meeting, where they brainstorm ways to attack the United States. One scientist, a meteorologist, stands in the head. Dixon, where are you? I'm waiting for you. We have a show tonight at the Dixon Place. Tonight at Dixon Place, I thought I was going to tell the 18th. What? Tell them the history. I can give them the prologue, okay? Are you ready? I'm sorry, but it's going to be great, okay? It's extraordinary. And what I love about them, I've never seen a work sample like that, where you show the process in various videos. It really gives people a sense of how long it takes to make something and how you're experimenting. It's a great work sample. Oh, thank you. And beautiful imagery, especially at the end there, with where you guys are right now. Aw, thank you. It's so fun to see just the ideas that stick, right? Over four years, like the cardboard phone, and there's a few kind of like tent poles that we found. Like, oh yeah, no matter what, we'll have a version of this, this, and this in there. So it's fun to look back and see how much it's grown. And are either of your grandfathers still alive? My grandfather passed away almost seven years ago. Yeah, but the thing is, my solo performance is always I wearing my grandfather's face. It's not because he passed away. Like I start making my puppetry show wearing his face, like a year, two years before he passed away. And then I even ask him if I can use his face and he said no. But I use it. But you did it anyway. That's an artist for you. He's very difficult to stop on Japanese grandfather. He hates America so much. He was so disappointed I come to U.S. But yeah, but he care about me a lot. And then he's very happy to hear like I have a lot of friends here. But he never want to visit me in U.S. So he's how he like have the trauma for America is that much. And also Spencer's grandfather is still like he's 92? Yeah, 96. Oh, my God. He's still he's doing great lives in Iowa. And he I've actually interviewed him and recorded our conversations about the kind of the time period. And we had we had conversations about the Japanese internment. And we're we we're hoping I'm hoping to be able to include more and more of his story. And he wrote this great biography just for our family of his stories in listening. He enlisted just a few months after Pearl Harbor. And so he's got these. He's got his his biography of all these things that happened. So we've been weaving those into the narrative as well. And then and then part of our show part of this collapsing of distance. Imagine what if what if Ocean, Michael's grandpa, we're able to meet Papa Jim. What you know, what would happen then so we've had fun. It's been fun to kind of smash these two worlds together and to imagine that they that they would meet in some way. Yeah, yeah. Thank you so much for talking to us. It's such a wonderful project. And when it's June actually have dates to know exactly when it's hopefully when this goes up. We maybe in the chat or something we can put up the actual dates we I think November. I think it's I think we're pretty sure it happened in November that they're at here and then and then virtually. Okay. All right. Yeah, hopefully people can check back in. Awesome. All right. Thank you so much. I can't wait to hang out in person. Yes, that's great. Thank you so much. Thank you.


Aloha, welcome to Kids to Success, which is live on the ThinkTech live streaming network series weekly on Thursdays at 11am. We are your hosts, my name is Danelia D-A-N-E-L-I-A. And I'd rather have to do well, John Newman, welcome to the day's show. The goal of this show is to provide professional and personal development tools and profound insights on how to achieve success in life, career and or business. Tiffany Stanton, Realtor Associate from Locations LLC, Diamond Head Office and Stefan Kant, Lender from Honolulu Home Loans, were our guests on our last week's show and their words of wisdom can be accessed on Newman Consulting Services website, NewmanConsultingServices.com or our landing page, Danelia.org. According to the SBA or Small Business Administration, there are over 121,000 small businesses in Hawaii with almost 24,000 small businesses with employees, 97,151 small businesses without employees and 258,345 workers employed by small businesses. Bottom line, small business in Hawaii is over half of the state's private workforce and we are thrilled to have a successful Hawaii business owner as our guest to provide insights on how to be a successful entrepreneur. Today's topic is Imagine, Believe and Achieve. Joining us in the studio today as our guest is Mr. Paul Brown. He is a successful international recognized master hairstylist, educator, businessman, founder and CEO of Paul Brown Companies, Mahalo. Paul. Thank you so much for having me on. Good to see you, Paul. It's been a while, so we're really thrilled to have you on the show. I'm happy to be here. And everybody wants to know how they can look better.  Exercising is really important. All right. Getting enough sleep is really important. All right. That's very true. So Paul, briefly share with our viewers if you will. What prompted you to pursue a career? Well, I'm a major dyslexic. And when I was going to school, they didn't even have it diagnosed yet. Dyslexia, ADD, I'm obsessive, compulsive, all of those wonderful things. So my parents were, you know, somebody from private school, but we're kind of concerned about what direction being that I had a really hard time reading and anything that dealt with, you know, that kind of using your visual for reading or numbers. So it was very difficult for me. And my uncle, my great uncle was a captain in the merchant marine fleet from the UK. He'd come to the Oakland Harbor. And the kids that worked on the ship were 16 years old. And they brought the, I want to hold your hand by the Beatles. And at 45, make some of your views. Most of your views are not at 45. Yes, I remember. But, you know, and I love the hair and my hair was really thin. And they were, you know, using clippers for it. So I started cutting my own hair. So, you know, we live close to the Haight Ashbury in San Francisco. So it was a time of a lot of change. So I started cutting my own hair. I started cutting my brother's hair. Started charging 50 cents a haircut in the neighborhood. The girl down the street went to cosmetology school. She showed me how to do perms and colors. So my time was 1450 and I was making a couple hundred dollars a month. And at that time, that was a pretty good change. Oh, yes it was. And I was very frugal, so I saved it. But that's how I started the industry. When I got out of high school, I don't know how that happened. But I was able to go to cosmetology school. My parents sent me to cosmetology school. I was hired out of school by a company in New York to come to New York to get trained by Mr. Kenneth, who was Jacqueline Kennedy's hairdresser and Lady Astor. So for six months, I had this incredible experience. I was 18 years old from 19 in New York. Then I was made an art director, like 12 of us. They had 1600 salons. Hawaii was on the horizon. They were doing a lease at the Liberty House at the time. And I said, yes, nobody else wanted to go. And I said, yes, and that was 1970. So you were an entrepreneur right from the beginning. Yes, right from the early start. I was in regards to that because I come from the depression mentality with grandparents and grandparents are very frugal. So I understood what cash was. I think yes, probably. As far as that part of it. So you started your first hair salon in Hawaii in 1971. Yes. What was your vision for it? I went back to New York. They brought me back to New York. Last New York was like a year. They gave you a lot of press. In Hawaii, of course, I met everyone. There was no one here. I did what I did at the time. Hair cutting with a scissor because everyone was doing tees and wigs and scents under the dryer stone. So I brought in this new technique. So we got a lot of press. I loved it. I bought a house of Kailua. I got a hobby cat. I was on the beach. It was 5 a.m. on my hobby cat. And then driving over to Hawaii was incredible. It was incredible.  That's how they grew the company. And at the time it was winter. I was there two months and I went to the office at Seymour. I got to go back to Hawaii. He got to let me have my job back. I can't do this. He said, you know what? You know we can't do that because we've sent somebody in your place that we're growing. And he said, you know what? You should open your own shop. There you go. And at 92 he passed and I knew him and saw him every time he came to Hawaii for dinner when he came here because that was the most amazing thing for a guy like that who had trained me how to dress. They trained me how to go to theater and opera. Even though in Seymour I had to go to opera sometimes because of the school I went to. It was really the interviews with the Warhol scene, Versace, Steve Rebelle. That company was really understood the fashion industry so I had a credible education for these guys. It doesn't exist anymore, this kind of opportunity. And that's how we got started in the business. What was his name again, you said? Seymour Finkelstein. He sounds like a true philanthropist. Oh, the family still is. I still know the sons very well. The company became Glembie. It's publicly traded now. In the most recent, you know, it went crazy. I mean they really grew it. Regis grew it. It had so many different brands, many different brands including the Los Assum brand. So they grew this company and unfortunately it shifted. The industry shifted dramatically. But he's selling you what you are today. They had such exposure and they understood artists, of course, and Mr. Kenneth was the major player at the time in the United States. And he was an amazing artist. And so they understood how to groom artists, how to train that side, the left side of the brain, how to bring an intellect. And yeah, he was a great guy. So Paul, how do you define success and what do you most attribute your success to? I think my success, a lot of it had to do with luck. You know what luck is? Preparation meets opportunity. I know that. But really, I had this little innate talent. So I was able to utilize the talent. I love people. I love being around people. I love that whole experience. So I really am a hairdresser. I love that still experience that I have with my clients. The fun of growing things was interesting. So I just started developing growing companies. We went from hair salons to advertising. We did companies that would help support the growth of the salon division, which became successful on their own, model agency. We had a little jewelry business that we rolled. We got into the food business with David Paul Catering. It became David Paul Restaurants. We had no affiliate. Because we had parties and we had socially lens. So all of those things synergized to create this identity that became an international. It was one stop shopping. It really was. And we did a lot of stuff for Liberty House. We did a lot of stuff for operations in San Francisco because we all have the San Francisco Salon. So I was going back and forth and then to New York once a week also at that time to do editorial. It was a lovely fabulous experience. Bottom line though, you can do any kind of career. Like you could be a hairdresser, a hairstylist, pardon me.  Well, you've got to be willing to fall down and get up. That's the biggest thing for any entrepreneur is to admit that you're going to realize and going into it. Because I didn't even think about being an entrepreneur. It wasn't even the thought. I was living this life. It wasn't like this plan to... It became that, but it was just fun.  I think passion is really important. Being able to get up and keep moving and make mistakes. And just keep moving forward. I do think that if anyone out there, and I'd be young or somebody that really wants to get into an entrepreneurial spirit, passion is what's going to drive you. It's loving what you do. And just getting up and wanting to eat it, breathe it, and live it. What we teach in our school, we have a vocational school, and we teach our students to... You don't have to win every time, but you have to give it a win in effort every time. And once you do that, the universe will be there for you and help you through those challenges when you don't win. You know, this is perfect kind of logic. The reality for me is so different because it wasn't... I mean, we had struggles, but when we hit, we hit so hard that it was just even nuts. I mean, it was like... Anything we did was... The opportunity for me here also was there was nothing here. There was nothing like we had here at that time. Now there's plenty of creative things going on here. Really, it was nothing. So all the creative people in town, in photography, or any of them wanted to... And the models, anyone who wanted to be involved with something, they came to us. They worked with us. So actually, to create an identity or to create this kind of opportunity was a lot of people. It wasn't just me. I mean, there's a lot of talent and a lot of people that got me excited to keep going, keep moving, keep doing this. Well, because sustainability now, we've been in business for over 30 years, you as well. Well, my industry is unheard of. I'm 46 years old. Isn't that something? Yeah. I mean, it just doesn't... Matter of fact, I'm one of the only ones left in the industry of my gentry. Probably the... Well, one of the only ones. I don't know of any other, but there has to be that has salons that are still employee-based because nobody has... Everyone leases them. They lease or 1099 or whatever. So it's a very different movie. It's a very different industry from when I was... But it's totally different. Yes. It shows that you love what you do. Oh, no, I love what I do. You love what you do. I wouldn't know what to do.  Rarely, though, I'm right. Well, now a little more. A little more. A little more. Like, I'll take it to the off. And here you are. And we thank you so much. We thank you so much. I'm taking you to the off. You know, I'm doing this. I worked out this morning.   I'll figure out something. But I actually... You know, I'm selling the roses more. I work about 40 hours a week. I used to work 100. I mean, it was... My whole life was work, you know, because I get in the elevator. Yeah. You know, when you're Paul Brown, you're always going to be Paul Brown. So I'm getting on the elevator, getting in the... Yeah, yeah.  I'm very privileged to have... to have the opportunities that they've had. You're blessed. Well... Something like that. Well, we're going to take a short break. This is Keys to Success on the Think Tech Live Streaming Network series. We're talking with Paul Brown from Paul Brown Companies regarding our topic, Imagine, Believe and Achieve. My name is Danelia, D-A-N-E-L-I-A. And I'm the other half of the duo, John Newman. We'll be returning in a minute, so please stay tuned for more Keys to Success with Paul Brown. Hi, I'm Donna Blanchard. I host the show Center Stage on Think Tech Wednesdays at 2 p.m. and this is Crystal Cork. That's right. I'm Crystal and I host Cork Talk on Tuesday mornings. I like watching Donna's show. You do? I like watching your show. I like watching your show because you talk about... you're not afraid to really dive into issues that are important and sometimes they're a little shocking and you always bring us information that is sometimes the underbelly that we need to know and we need to see. Thank you. It's important. Hi, I'm Marianne Sasaki. We just completed another great episode of Life in the Law and I'm here today with Jay Fidel. Hi, Jay. Hi, Marianne. And what do we love about the law, Jay? There's so much to love about it, right? There's more to love about it all the time. No kidding. We have to be a nation of laws. We have to be a nation of laws and we have to be a diligent nation of lawyers and citizens. It's all about the rule of the law, Marianne. Yes. The rule of law is alive and well and life in the law. Yes, it certainly is. You're watching Think Tech Hawaii, offering lifelong learning from passionate hosts and fascinating guests ready to explore and explain Hawaii's place in the 21st century. Great content for Hawaii from Think Tech. Welcome back. This keeps the success on the Think Tech live streaming network series. We encourage you to call our hotline at<PHONE_NUMBER> to join our conversation or tweet us at Think Tech HI if you have any questions or comments. We've been talking with Paul Brown from Paul Brown Companies regarding our topic Imagine, Believe and Achieve. My name is Danilia, D-A-N-E-L-I-A. And again, I'm the other half of the duo, John Newman. Welcome back to the show. Paul. Thank you, John. We're gonna put you to the test. Okay. All right. We're doing well. Can you just share with us, do you feel that there's a formula for success? What do you think each entrepreneur should ask themselves? If they're willing to give them totally to their passion, which would be the business that there is an entrepreneur in business. That's the question that they should ask themselves. In business, I think you have to be willing to move with the flow and, you know, things change. And you have to have a passion. If you don't have passion, forget about being an entrepreneur. If you're just doing it to make money, forget about it. Yeah, we agree with that. You have to love it. No, no. You go through so many challenging times, which brings me to the next question, which is, how do you get through the challenging times? Because there are times when you don't feel like getting out of bed in the morning because it's just so overwhelming. Well, if I look back at things, and I know that's probably one of the questions, I probably only didn't feel like coming and getting out of bed because I partied too much. Frankly.  I partied like a rock star because I hung out with them. So I partied like one.    So I just had to keep moving. The attitude has a lot to do with it.  That really is the substantial part of being successful. Absolutely. And that brings us to the next question. What do you feel the top three keys for long-term success? I'm going to tell you the same things again. Well, passion is number one. Passion. Passion. And the other two now are going to be a very different passion about what you're doing, focus, direction, that makes you comfortable, that's going to, you know, and the other two things is really taking care of yourself, getting enough sleep, eating the right foods, you know, being compassionate. You know, all the things that makes a good human being because especially now in the marketplace of IC, you know, you really need to, people need to feel engaged. And if their employer or their, you know, manager or whatever doesn't, you know, share that feeling with them, their passion or, you know, I think you won't be successful.  You know, all the things that in my industry, a lot of these people don't know. They have no clue because they're artists. I mean, I didn't pay taxes for a long time because I didn't know what it was to pay corporate tax. Seriously. And so I had to reinvent and start paying tag and learn, I had to learn all of that, other things. You know, and it's not that I love it, but I had to learn it because my love required it. Right.   Actually, still he walks even. But the amazing thing about him is, you know, he was here a while ago with the Sony, had a party for him when Mr. Marita was alive. I was one of his hairdressers, Marita.  He said, you know, all the things that happened with your finances, because you know, he said, well, I got ripped off so many times by managers and by people. I went back and learned how to accounting. That's right. So he now takes care of all his own financial stuff. I think that is an artist. You know, if there's any artist entrepreneurs, you should really take a look at that. Right. Yeah, because I think in any business too, you know, people want to focus on that. But you know, when you're a business owner, you've got to know everything. You cannot just focus on your craft. Sorry about that, but that's the reality. You have to know ordering. You have to know the whole game so that you can watch out for, you gotta watch it all and know how to read the financial. Whatever artist you are. Or you're going to get ripped off. So what mindsets, what mindset helped you make you successful?  There was just no stopping.  You know, I really believe that it has to do with loving what you're doing again, but also taking responsibility for loving what you're doing. You know, you have to take responsibility and so many times you don't want to, like in the process, but you have to. You have to just you know, get over yourself. Right. Move on.   Right.  You know, we've got this one life here and we've got to enjoy every minute of it and the moment we let things wear us down and tear us down, it just, you sacrifice in that time that you have. Absolutely.   But I got to tell you that there was never once and I still don't feel like I missed out on anything because I had such a great ride, you know, it's like, I'm still riding. I'm still riding.  So, you know, I'm looking at maybe doing something new and you know, you know, sometimes when it's really challenging, you always look back and you get to the next level and you get to the next level and you look back and you go, you know, was it worth it? And you go, absolutely. Absolutely. Because you feel, you empower yourself by going through it. So true. Every time that you're down on the floor and you know, catatonic because, you know, how am I going to get that dime to take care of this and you go, you know what, you did it. That's right. So just keep going. And just let it go and just let it go. Just let it go. But forgive yourself, number one. True. And let it go. And forgive the whole scene. Yes. Just move on. Just keep what you can control and you control and what you can. That's right. Now, share with us, if you will, what is one of the most successful moments that you've had in business? You know, they're always successful moments. Yeah, I can't think of one in particular. Well, share a couple. Yeah. Well, you know, when we hit a certain fruition, and I'm not going to go into numbers, but I have this goal, you know, once we start rolling this thing and I understood how to redefine the actual which I did and understood how the whole thing worked and I got pretty good at it. And it was like this innate talent in that direction. So, you know, that was where I wanted to hit and we hit it a couple of years before we were before the team and the management team and everything thought we would and I was really happy. You know, because that in my industry, you know, it's about creativity but also it's a business. Like I was on that board of the international salon business now. Well, tell us about the board. Well, I was there 10 years, vice president and it represents 15 billion in sales and services. Chains, you know, 1600 operations, 3000 operations. Well, I mean, this kind of thing, pennies, you know, these kind of big operations, sports clips and I was the only hairdresser. So, I learned a lot from those guys. Oh, yeah. And they used me as a lobbyist on the Hill. So, I was able to, you know, be the lobbyist for the industry in DC. That was an incredible experience. You know, so I think that was, in business, as a business acronym, this was the most interesting because I learned so much more about, you know, multi-units, you know, how they managed them and how, because we didn't do it that way. It took you all over the world. Oh, in Asia, in Italy, United Kingdom, Egypt, Germany. We've done shows pretty much in even Shanghai. We've been around for a long time having a good time doing these shows. You travel back to day one of your start-up and have 15 minutes with your former self to communicate any lessons you've acquired with the intention of saving yourself mistakes and heartache. What would you tell yourself? I wouldn't have partied. You wouldn't have partied. You mentioned that. Yeah. That was my... Because that weighs down your body, your mind, everything, right?  Yes. You know, so, you know, there is a lot of embarrassing situations, and that would be the only thing I would change, actually. Oh, great. The only thing. That's great. Because everything else was important for the growth, my personal growth. Yes. You know, I guess I was a businessman, but I was way more an artist than a businessman. I still am, but I did learn how to become a businessman as far as, you know, making sure the numbers and the taxes got paid. Right. Yeah, we all have to do it. And roles of business. So, if you were conducting this interview, how would you ask this last question? I think, you know, I would ask why, you know, at this point, you know, I'll be 69 in a week. Why are you still doing this? Oh, happy birthday. Yeah, why are you still doing this? Why are you still doing this? Because I know I wouldn't know what else to do. Yeah. I mean, really, I love life. I love swimming. I love to go out. I work out. I mean, I wouldn't, I just need something to keep my mind active. Yeah. It just, I'm not ready yet. Yeah. Okay. Because everybody keeps asking me, well, why don't you come here? Yeah. Believe it or not, we're out of time. Did that go quick or what? Thank you so much. Thank you. So, we'll have to wrap it up. John, would you like to share your quote of the day? Yes, I would. My quote of the day is by Stephen Covey, which says, I'm not a product I'm a product of my decisions. Paul Brown's Words of Wisdoms with regards to Keys to Success can be found on Newman Consulting Services web page, NewmanConsultingServices.com and landing page, denilia.org. Thank you so much, Paul, for joining us today, sharing your insights on your Keys to Success, very, very valuable information. Think Tech Keys to Success will be back at Thursday, 11 a.m. So, please tune in and ask your friends and families to do so as well. My name is Denilia. D-A-E?  You're my husband. D-A-N-E-L-I-A. And I'm another half of the duo, John Newman. We thank you all. Aloha. Aloha. Alrighty.