November 24, 2025 • 46 mins
Welcome back to the studio. This is My Day of Play, where you’re taken into the real events and actions of how it happens long before the process of editing or cleaning up. The original purpose of these episodes was to give my broadcasting students something to edit, to practice with and to call their own. Then I realized that you are just as important. Share the reality of how it really went. We begin things with Theresa Rawson the daughter of the legendary French pianist Gaby Casadesus. Then we’re taking a trip back to the states to share a conversation with Morgan Kohan from the CW’s Sullivan’s Crossing. And we’ll wrap things up with singer songwriter Mickey Thomas from the legendary Rock band Jefferson Starship. This is My Day of Play. Completely unedited in the way of meeting the wizard behind the curtain.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
I've been blessed with the opportunity to share conversations with
each and every person who has appeared on NBC's The
Voice from twenty sixteen to this present day. We now
have it all on one podcast, That Voice. It's on
ARO dot net, A R R E dot net. He
I'd like to welcome you back to the studio. This
(00:20):
is my day of play, where you're taking into the real,
evincing actions of how it goes down before the process
of editing or cleaning.
Speaker 2 (00:26):
Up takes place.
Speaker 1 (00:27):
The original purpose of these episodes was to give my
broadcasting students something to edit, to practice with, and to
call their own. And then I realized, wait a second,
you're just as important as they are share the real
story of how things really take place inside this studio.
We begin things with Teresa Rawson, the daughter of the
legendary French pianist Gabby Casadaeis. Then we're going to take
(00:52):
a trip back to the United States to share a
conversation with Morgan Cohen from the CW's Sullivan's Crossing, and
we'll wrap things up with singer songwriter Mickey Thomas. You
know that name. He's from the legendary rock band Jefferson Starship.
This is my day of play, completely unedited in the
way of meeting the wizard behind the curtain.
Speaker 2 (01:12):
Hello on good morning, everybody?
Speaker 3 (01:15):
Good morning? Is this hour o'collen?
Speaker 2 (01:17):
It would be me. Is this Gabby?
Speaker 3 (01:19):
No, it's truett.
Speaker 2 (01:21):
How are you doing?
Speaker 4 (01:22):
I'm fine. I'm Gabby's daughter. And so that's what we're
going to talk about.
Speaker 5 (01:26):
Is the book.
Speaker 1 (01:27):
Well I'm feeling Gabby. Move right through your system of
everything you're doing, because I mean, the energy is very vibrant.
You can tell it inside that book.
Speaker 3 (01:36):
We're good. So before we go online, I'm online. I
don't know whatever on name I should say.
Speaker 4 (01:44):
I always tell every host I have the pronunciation of
the name. Oh good, it's a little tricky. It's Gabby's easy.
Speaker 2 (01:54):
I can I take a guess at it? Can I
take a guess at it?
Speaker 5 (01:56):
Sure?
Speaker 3 (01:57):
Go ahead?
Speaker 2 (01:57):
Casads nou. Now that's musical. That's musical.
Speaker 4 (02:07):
And I always say it kind of rhymes with kalamba
zoo in terms of the access on the syllables.
Speaker 1 (02:14):
Let me put kalamazoo in my notes here. For you
to bring this book to this this generation, I mean,
it had to be very special because you know, we're
starting to see a lot of people turn toward music
and we need to know the roots of what was
really going on around the world.
Speaker 4 (02:31):
Well, that's true, absolutely, Now we are you let me
know when we are actually on air.
Speaker 1 (02:38):
Well, we're actually we're pretaping, is what we're doing. Okay, fine,
so this this, this way, I'm gonna make you sound
so good.
Speaker 3 (02:45):
All right, Well, what is it?
Speaker 4 (02:50):
What is interesting is, and this is what pushed me
and my sons to publish, to try to get the
book published, is that there.
Speaker 3 (02:58):
Is a renewed in yes, in two things.
Speaker 4 (03:02):
Number One, women who have been somewhat neglected as artists
because they were overshadowed by a father or a brother
or a husband, and they are now rediscovering these women
artists that were someone in the in the shadow rather
than being in the limelight.
Speaker 3 (03:21):
And then the second thing is.
Speaker 4 (03:23):
A renewed interest I find from you know, this generation
of young you know musicologists or even young fans of music.
Classical music of course, is that period between the two wars, uh,
you know, the twenties and the thirties.
Speaker 1 (03:42):
See, that's that's what got my attention right off the bat,
because that's that's a lost time period that a lot
of people they'll they'll always say, you know, the Golden generation,
you know, the hardest working people, but they don't go
into what helped that happen, because you know, I mean,
you know, what was it. The Roaring twenties had to
have somebody, and those musicians were there to provide that
music and that entertainment.
Speaker 4 (04:02):
Oh absolutely, And you know, it was a very sort
of heady period because obviously World War One had been
such a devastation, and so there was a you know,
an urge to do as much and you know, cultural
things to prove that you know, Western culture, especially European
(04:24):
was still very much alive and discovering new things and
so forth and so on, and so there's a lot
in the book, of course, which is called My Musical
Notes by Gabi Kasatsu, there's a great deal about the
cultural life going on, you know, the concerts, especially the
(04:45):
concerts of course, since both my parents were you know,
professional pianists, so yes, there's a.
Speaker 3 (04:51):
Great deal about that.
Speaker 4 (04:53):
And then towards the end of the thirties period is
you begin to see the shadow of World War Two,
and it's mentioned in the book. It's very interesting in
the late thirties. How you know, people were beginning to
see that something was going on.
Speaker 1 (05:12):
Was there a shift in music between that period, because
I mean, I mean you're going from dark a little
bit of light back to darkness. I mean, as musicians,
they pick up the energy of the universe.
Speaker 4 (05:22):
Well, I would say first of all, that a lot
of the composers.
Speaker 3 (05:27):
That they felt they spent really their whole.
Speaker 4 (05:30):
Career bringing forth were musicians who had already started.
Speaker 3 (05:36):
Prior to World War One.
Speaker 4 (05:38):
You know, those three great musicians of the early twentieth
century were Claude Debs, Gabrielle Fat and of course Maurice
Ravel and Revel is probably the most well known in
the United States, and they spent a great deal of
time not only performing their works, but you know, teaching
(06:00):
the interpretation of their works to all the American students
who came to study in France during the twenties and
the thirties, and at the American Conservatory in Fault and Blow,
which is also very well known because of the presence
of the great composer and particularly teacher Nadia Boulonchet.
Speaker 3 (06:25):
So that was my parents taught there. She taught there, and.
Speaker 4 (06:29):
It was kind of a car ron for young Americans
to come and study all this culture in the twenties
and thirties, and they came both in music and also
in the fine arts.
Speaker 1 (06:42):
I find that to be very interesting because I'm sitting
here trying to figure out I don't remember reading or
speaking with another musician from today sharing their skills with
tomorrow's musicians. I mean, this is a lost time in music.
Speaker 4 (06:55):
And my parents spent a great deal of time teaching,
especially my mother, and after my father passed away in
nineteen seventy two, he was the one who was really
internationally renowned with all the great conductors of his time.
But they also performed as a duo pianist, and they
(07:16):
were very, very popular, especially during the Second World War
in the United States, because they had come to the
United States right in nineteen forty when my father was
supposed to have his regular tour. He had started coming
here in nineteen thirty five, and they came with my
two brothers I was born yet, and settled in Princeton,
(07:37):
and then they ran the summer program at Fulton of
Faulton Blau in the United States for several summers, and
so they have a whole host of students who studied
with them and so forth during those years, and then
continuing that the school still exists today and it's called
(07:57):
Faultin Blue Schools or gee you can, you know.
Speaker 3 (08:02):
Google it up and it'll tell you a lot.
Speaker 4 (08:04):
About this history, which is absolutely fascinating because the school
itself was founded at the initiative of General Pershing and
he wanted American soldiers to be able to come to
France or stay in France to study music.
Speaker 3 (08:20):
Fine arts and so forth. So that was very interesting.
Speaker 1 (08:23):
Coming from the first family of the piano being up
on that stage is one thing. I know what that
that energy is like. But when you're at home as
the family, what was that like? I mean, was everybody
just into their own little thing or was it still
just as close?
Speaker 4 (08:37):
Oh, it was very close. I mean my parents played
a lot of foehand repertoire just for their own pleasure.
I remember a little child, you know, going to sleep
and hearing them at the piano. I mean, that's what
they love to do for entertainment.
Speaker 3 (08:54):
And then my.
Speaker 4 (08:55):
Brother Jean was also they you know, taught him of course,
and then he actually wasn't living at home. March after,
you know, he was about twenty or twenty one. But
they got together because of the three piano repertoire that
they performed. Now, there isn't a great deal of three
(09:15):
piano repertoire. There's a Bach Concerto for three pianos, Mozart
Concerto for three pianos, and then a concerto that my
father wrote in the mid sixties for their group, for
the three of them, And that's about that time that
the video was they made that movie called The First
Family of the Piano because that was such an unusual
(09:40):
thing basically to have these three pianos on stage at
the same time, and it was very popular at the
time for sure.
Speaker 1 (09:48):
How difficult was it to evolve this book from you know,
into English form, because I mean, you know, we over
here with English, you know, we we have too many words,
too many words.
Speaker 2 (09:58):
So were you able to utilize that?
Speaker 3 (10:01):
Well, first of all, I am not.
Speaker 4 (10:03):
Actually I decided to have the book translated.
Speaker 3 (10:06):
It was originally written by my mother.
Speaker 4 (10:08):
Yeah, as a base on basically conversation she had with
a radio broadcaster with a big radio station in Paris
who said to her, Gabi, have you ever thought of
writing your memoirs.
Speaker 3 (10:24):
And my mother said, oh, you know, I like to
teach and all that. I don't have a whole lot
of time for that. And so this lady then she
pulled out her tape recorder.
Speaker 4 (10:33):
And said, you know, let's sit down and talk about
your life. And then my mother got kind of engaged
by it, by this whole thing, and she said, well,
you know, it does so happened that I have.
Speaker 3 (10:43):
These little date books, you know, I wrote what we.
Speaker 4 (10:45):
Did, and my husband kept all these little date books,
and I'll be able to come back to you, you know,
with some little more precision to tell you, you know, like
in the early thirties when you had this tour of
Egypt and then we had tours in Russia and all that.
So she was able to really pull out a great
(11:05):
deal of what's in the book.
Speaker 3 (11:07):
Now.
Speaker 4 (11:08):
Of course, because it's a translation of the book, I
could have done it, but I felt it should be
done by a professional translation. And frankly, I think it
was a good idea, because it's good to have somebody
who has.
Speaker 3 (11:21):
A little distance, you know what I mean.
Speaker 4 (11:24):
And so I was very I mean I worked with
him very closely, of course, but I found that I
was very pleased with the work he did with this translation.
And one of my motivations was, frankly number one also
because of my granddaughters. And I said, you know, I
have one who's actually now living in France, so she's bilingual.
Speaker 3 (11:45):
But the other one, you know, lives here.
Speaker 4 (11:47):
And I thought, well, you know, she she'll get to
hear read about her grandmother if we get it translated.
Speaker 3 (11:53):
And also I thought of all.
Speaker 4 (11:54):
The students that my parents had, and we still keep
in touch with many of these through this fonte Bleau
Schools program, and so I thought, well, you know, it's really.
Speaker 3 (12:05):
Worth it to try to get it published. And as
I told you.
Speaker 4 (12:08):
Earlier, on the reason I think it was attractive to
publishers is this renewed interest and you know sort of
neglected women artists. And also that period of the twenties
and the thirties.
Speaker 2 (12:22):
Did your mother play for Albert Einstein?
Speaker 4 (12:25):
Well, it actually didn't quite happen that way. Albert Einstein
was our neighbor in Princeton, and as soon as he
as soon as he heard that my parents had moved
and so to speak, and he had a practice of
you know, inviting people to a little tea he was
living with. I believe it was his stepdaughter and maybe
(12:47):
a stepsister something like that. There were two women in
the house and they would invite the new people would
come to Princeton for tea.
Speaker 3 (12:57):
Then he found out, of course that my parents the piano,
and especially my mother.
Speaker 4 (13:02):
He basically maybe she went to the t and my
father did it, but I don't remember, but I.
Speaker 3 (13:07):
Wasn't there really, I was there later.
Speaker 4 (13:10):
But anyway, my mother He said to my mother, oh,
you know, I played the violin, and wouldn't it be
nice if we could get together a little bit and
you know, play a little music together. And so they did,
you know, they had some afternoons doing some mozarty and
then of course somebody had a famous club in Princeton
(13:30):
heard of that and said, oh, wouldn't it be wonderful
if we could present you both in a concert to
benefit a French relief.
Speaker 3 (13:41):
And that was in nineteen forty two.
Speaker 4 (13:43):
I believe that they did this concert at the present
day club it was called in Princeton, and they raised,
of course a lot of money for the you know,
the French relief, which was an effort of course to
send packages to France during the occupation, which was of
course a period of great hardship in France.
Speaker 3 (14:05):
So anyway, that's how they got to play together.
Speaker 4 (14:08):
And then later on I got to meet again in
one of those little tea's when I was maybe I know,
four years old or five years old, and my mother
told me that I used to sit on the floor
and play with his fur lined moccasins, and she.
Speaker 3 (14:26):
Would look at me and say, don't do that. And
he said, oh, don't let her. Let her do that.
Speaker 5 (14:31):
Shit.
Speaker 3 (14:32):
I love children. So that's an interesting kind of early memoy.
Speaker 1 (14:38):
Wow, where can people go to find out more about
you and this book? Because this book plays out like
a novel, but it's an autobiography.
Speaker 2 (14:44):
That's what I love about it.
Speaker 4 (14:46):
Yes, exactly, it does kind of play out like a
novel because there's so much going on. Well, the book
is available on Amazon, and all you need to do
is to type it in the search my musical Notes
by Gabby Cassida Sioux and it comes right up with
a little synopsis you know, of what the book's about.
Speaker 3 (15:09):
And I think that's the easiest way to get the book. Wow.
Speaker 1 (15:13):
Well, you've got to come back to this show anytime
in the future. I love where your heart is. You're
a storyteller.
Speaker 3 (15:19):
Now where are You're in Virginia right now?
Speaker 2 (15:21):
I'm in Charlotte, North Carolina.
Speaker 3 (15:23):
Oh, in North Carolina, Okay.
Speaker 1 (15:24):
Where it's it's a beautiful winter day out here. We
don't have snow, but it's cold, it's rainy, but but
it's just a beautiful, beautiful day.
Speaker 6 (15:30):
Oh.
Speaker 3 (15:31):
I know Charlotte.
Speaker 4 (15:31):
Well, I had a very good friend who lived there,
and fortunately she passed away a couple of years ago,
so I would go down and visit.
Speaker 3 (15:38):
Yeah, so there's a lot going on in Charlotte.
Speaker 2 (15:40):
Absolutely.
Speaker 3 (15:41):
Oh, yes, it's great.
Speaker 2 (15:42):
Well, it's great.
Speaker 4 (15:43):
Well, good, so we will have another maybe little chat
at some point.
Speaker 2 (15:47):
Absolutely, will you be brilliant today? Okay, all right, thank you,
great day, right.
Speaker 1 (15:53):
Please do not move. Morgan Cohen from Sullivan's Crossing is
up next. Hey, thanks for coming to my day a play.
Now let's get into that conversation with Morgan Cohen from
Sullivan's Crossing.
Speaker 7 (16:05):
Recording in progress.
Speaker 2 (16:07):
What's going on, mister Michael?
Speaker 6 (16:09):
Hello, O A long time, no speak since yesterday? Yeah, right,
I have morgankah Hand from Sullivan's Crossing. You'll have twenty minutes,
my friend, go ahead.
Speaker 2 (16:19):
Good morning, Morgan. How are you doing, h how are
you doing it?
Speaker 8 (16:22):
Thanks?
Speaker 7 (16:22):
How you doing?
Speaker 2 (16:23):
Absolutely fantastic. I gotta tell you.
Speaker 1 (16:25):
One of the things that I've always loved about Sullivan's
Crossing is the fact that I think that you guys
have redefined what acting is in this modern age, because
I feel so much emotion and connection that it's like whoa, whoa, whoa, whoa.
I have to remind myself that this is a TV show.
Speaker 7 (16:40):
Oh wow, that's such a compliment. Thank you so much.
Speaker 2 (16:43):
Is it the set? Is it? The writing? Is it
the director of the actors?
Speaker 1 (16:45):
I mean, how is it that you're creating this, this
this modern day magic on that screen.
Speaker 9 (16:51):
I do think that we have to give a lot
of praise to our showrunner and writer Roma Roth. She
does a brilliant job of that, I think, bringing bringing
in these like beautiful, relatable and emotional moments that are happening.
But the sets, I mean, I feel like, you know,
Halifax is a part of the show, and with that
it brings like a coziness of comfort, and that gives
(17:13):
you the like openness and vulnerability to have these things
like really land I think so.
Speaker 7 (17:18):
And I'd like to.
Speaker 9 (17:18):
Think our actors too, you know, we all we all
bring a little stuck to it.
Speaker 1 (17:23):
I mean, yeah, so much of what Maggie does people
can relate with. I mean, it's like living in the
presence of now while still you know, kind of touching
on everything in the past, and it's just people, can
you know, are drawn to that kind of a storyline.
Speaker 7 (17:35):
Yeah, I think definitely.
Speaker 9 (17:37):
I mean I think we're probably all struggling with that
at some point. You know, how to let whether you
want to let go of a past or you know,
be able to bring that into the future with you,
because a past will always you know, inform your current
circumstances your future going forward. So I think it's you know,
fair to to keep that in view, but without letting.
Speaker 7 (18:00):
It take over, which I think is what happens with
her a little bit.
Speaker 2 (18:03):
Playing that role. Have you learned anything about real life?
Speaker 7 (18:07):
Absolutely?
Speaker 9 (18:08):
I think every role you do, I think, you know,
any role, whatever the character is going through, for me anyways,
it forces me to like really think about these different
things that they're going through.
Speaker 7 (18:19):
What would I do in those circumstances? How I feel
about it? Are there things that have happened to me
that I can bring into this.
Speaker 9 (18:26):
So absolutely, Yeah, I've learned so much about myself while
learning about Maggie.
Speaker 1 (18:31):
I love the way that you break it down, because
I mean that's one of the things that I try
to do as well when I do voiceover working things,
is that who am I talking to?
Speaker 2 (18:37):
What's your name? How many kids does she have? What
car does she? This way?
Speaker 1 (18:40):
Then I get into that mindset of who it is
that I'm trying to reach.
Speaker 9 (18:45):
Yeah, absolutely, I mean a context is king for all
of it too, right, like so what, yeah, your whole
your whole perspective around whatever the scene is or whatever
this character is, every part of its shape you yep.
Speaker 1 (19:02):
Growing up in British Columbia. I mean, come on, Vancouver, Victoria,
those are two of my favorite places on this planet.
Speaker 3 (19:10):
Is that right?
Speaker 9 (19:10):
Yeah?
Speaker 3 (19:11):
Sunny A, Oh really, I mean.
Speaker 1 (19:12):
It's just you know, especially Victoria. You take that ferry
over there to Victoria and you just you just get
lost in a whole, completely different part of the world.
Speaker 8 (19:21):
You know.
Speaker 7 (19:21):
It's funny.
Speaker 3 (19:21):
I haven't been to this.
Speaker 7 (19:24):
I went to Victoria in the high school, I remember, but.
Speaker 9 (19:27):
I grew up in the Okanagan Valley mostly.
Speaker 7 (19:31):
So that's that's another part of BC. You've got to
go check out. It's beautiful. It's wine country. There's lots
of ski hills around there.
Speaker 9 (19:39):
There's a desert close by, kind of got everything.
Speaker 5 (19:42):
See.
Speaker 2 (19:43):
I love it.
Speaker 1 (19:43):
I love it when when there are deserts connected to
mountains like that, because it opens up the imagination. And
I've always wondered if actors and musicians, even like Gordon Lightfoot,
see something like that and you go, WHOA, I have
been touched by the universe.
Speaker 7 (19:56):
M yeah, something magical about it, you know. I while
I I was living there, I was.
Speaker 9 (20:01):
Like, acting wasn't even on my radar at all. So
I don't think that I necessarily took it in that regard,
But going back and visiting it, it feels like walking
into like a magical place.
Speaker 1 (20:12):
And it's got to be magical for you to be
a filming in Nova Scotia. I mean, we're talking about
another beautiful place on the planet.
Speaker 9 (20:21):
My goodness, we're so lucky. It's so beautiful. I can't
imagine doing the show anywhere else. But I really do
think it brings like it is a character in the show,
and it brings something really special to it also because
of like I mean, all of most of our crew
is from out here too, and and the people in
the East Coast they're just so sweet and down to
(20:41):
earth and kind and just want to have a good time.
So it brings that kind of energy to the work
as well. And I think, you know, it's it's the best.
Speaker 1 (20:52):
We live in a binge watching age where people are
just discovering season number one, and that's where they need
to begin with this, because I mean, it's a total
setup as to what go on with season number two.
But but I just love the fact that that the
CW has made this available on their on their their
appter where we can go back and watch any episode
anytime and and just experience it.
Speaker 9 (21:11):
Yeah.
Speaker 7 (21:12):
Absolutely, I mean it's so nice when it's first coming out.
I think I think.
Speaker 9 (21:15):
Because we've gone down such a binge culture and we're
used to that that when the show started, I think
I feel like there was like succession that was the
one that started hitting it off for me of the
like one episode a week of then realizing how kind
of nice that is too, though, you know, like because
then you get to really.
Speaker 7 (21:33):
Sit with the episode, You get to marinate and like
think about it and be like, hell, I didn't really
think about this.
Speaker 9 (21:38):
You can like talk with your friends it's over like
more specific stuff, and then you're excited about that next episode.
Speaker 7 (21:44):
So it's kind of nice that we've got both on
the CW.
Speaker 9 (21:46):
You know, you can you can either like do it
weekly or wait for the whole thing to be out
and just crush.
Speaker 2 (21:53):
That's it.
Speaker 1 (21:53):
I'll usually go about three four episodes in a row
and say, man, we gotta stop, we gotta go do something.
This isn't what we're supposed to do with But for
an act being an actress and living in this age,
I mean, it's got to be something absolutely spectacular for
your creativity because I mean, look at that stage that's
available to you nowadays.
Speaker 3 (22:10):
The world.
Speaker 7 (22:12):
Yeah, I mean there's there's so much content out there.
Speaker 9 (22:15):
There's so like anything you want to see you can
find out there, which you know is pretty incredible.
Speaker 1 (22:23):
H Now, one of the things that opens up in
season number two is that you build that relationship up
with your father once again. This is another one of
those subjects that draws people in water cooler conversation begins
and all of a sudden, we have a conversation because
of Sullivan's crossing.
Speaker 9 (22:38):
Yeah, I mean, family dynamics are we've all got them.
Speaker 7 (22:43):
You know, no family is perfect, so I.
Speaker 9 (22:45):
Think, you know, yeah, it's something everyone can relate to,
whether it's exactly the relationship of Maggie and Fully or not.
But like, and because you know, they're both good people,
we want we're like, you know, we're we're cheering for
both of them.
Speaker 7 (23:03):
We're cheering for them to figure it out and really
come together. So and it's nice to see that.
Speaker 9 (23:08):
Like, I think we all want that in our own
life too, Like these dynamics that maybe have gotten a
little messy or not quite worked out the way we want.
Like there's always that part of you that just kind
of wants that second chance or or could imagine that,
whether or not it's the reality or not.
Speaker 7 (23:23):
So it's nice to see.
Speaker 1 (23:25):
So when the scripts arrived, are you learning as it's
happening or do you get to know what's going to
be happening for the entire season and then we'll dive
into the deeper stuff.
Speaker 7 (23:34):
We kind of get.
Speaker 6 (23:38):
Too.
Speaker 9 (23:38):
I think it was kind of like a bit of
an overview, like I knew knew some big thought points,
but didn't know like all the little stuff in between
or how we'd get there.
Speaker 7 (23:47):
So it is always very exciting when the scripts do land.
Speaker 9 (23:52):
Yeah, just to know how it all worked out and
what extra doozies we find.
Speaker 2 (23:57):
So do you get to play around with it?
Speaker 1 (23:59):
Because once again, there's something about your emotion on the
show that comes across so real and I sit there
and go, man, she really that came from her heart.
That had to have been a improv type moment.
Speaker 7 (24:12):
Thank you sweet.
Speaker 9 (24:14):
We don't really do any improv, but we do our
show learn a Roma is very generous and like, if
there's a scene I feel really strongly about, or like
some wording or the way something said, I can go
to her. We can all go to her and be like, hey,
I kind of feel like if we go in instruction,
this feels a little more you know, truthful or whatever.
(24:36):
So she's been very open to that, which I so
appreciate and I think that that helps a lot. Yeah,
But other than that, it's just kind of, you know,
sitting with the character and kind of like what we're
talking about before, like really really thinking through all of
it and putting your own heart into it, my own
art into it and.
Speaker 7 (24:58):
You know, opening up that imagination and trying to let
it all land.
Speaker 1 (25:02):
Each episode feels like a major motion picture in the
way that the quality is there, the texture is there. Now,
is is it something that you film like an independent
film or is it one of those where it's like, Okay,
we're going to do three or four different cuts on
this and then we'll decide how we're going to piece.
Speaker 2 (25:15):
It all together.
Speaker 7 (25:18):
No, it's pretty well decided.
Speaker 9 (25:20):
I think, like seeing from the script to then to
like how it's all put together is pretty spot on.
Speaker 7 (25:26):
I mean some of the.
Speaker 9 (25:27):
Editing, like you know, Aroma again is all over the
edit as well, which is incredible and she does you know,
they do a beautiful job of it. So yeah, but
also it's nice to see like we were all kind
of saying season one, we're kind of you know, figuring
out what the show was and what it looked like,
(25:47):
and then season two feels like.
Speaker 7 (25:49):
It looks like a different Like everything feels like a
bit of a step up. I think, so we love
how it looks.
Speaker 9 (25:56):
The feeling, the pacing fe feels like spot on this season,
and you know, you're still there's a lot going on,
but it doesn't feel too rushed, and I think we're
all very proud of how it's turned out.
Speaker 2 (26:10):
Well.
Speaker 1 (26:10):
In season two, you get to fall in love. So
one of the things that I've always loved about shows
like this is the fact that it's almost like the
magazines at a grocery store. We sit there and compare
our lives to what's going on on that cover, and
then this way we'll feel better about ourselves because as
you grow in love, as Maggie is like, oh, oh,
I know what's going on here because this is what
happened in my life.
Speaker 7 (26:30):
Yeah, yeah, no, absolutely, absolutely. It's funny.
Speaker 9 (26:34):
I sometimes watch you know, terribly wonderful wonderfully terrible, like
reality and love shows or whatever to make you feel
better about.
Speaker 7 (26:45):
Your own life, and you're like.
Speaker 9 (26:46):
Oh God, if someone's going this far off the handle,
then like I'm doing a great job.
Speaker 7 (26:51):
You know, he kind of got full aside of it.
Speaker 1 (26:54):
Where can people go to find out more about you?
I want them to understand who you are as an
actress and how you're growing inside this world.
Speaker 7 (27:02):
Oh that's so sweet. I mean I'm just on Instagram.
That's kind of the way to go. Yeah, I love it.
Speaker 1 (27:11):
Please come back to the show anytime in the future.
The door is always going to be open for you.
Speaker 2 (27:15):
Morgan.
Speaker 7 (27:17):
Thank you so much. It's been lovely chatting with you.
Speaker 2 (27:19):
Will you'd be brilliant today.
Speaker 7 (27:20):
Okay, thank you as well too.
Speaker 6 (27:25):
By uh Arrow?
Speaker 7 (27:28):
What were you trying to say?
Speaker 3 (27:29):
Arrow?
Speaker 2 (27:30):
Yes, you still have ten minutes.
Speaker 1 (27:32):
Well, how are you doing, Morgan, It's been a while
since I've talked with you. Let's let's talk about that
acting career. Let's talk about how you've gotten to word
is because I mean, you're in a position on Sullivan's
crossing that that really so many people dream of one
day attaining and look you're there.
Speaker 3 (27:53):
Thank you.
Speaker 9 (27:54):
Yeah, No, it's been like a really wonderful journey. I yeah,
I don't know, I've I've been very lucky. It's but
I didn't start in acting. I was a dancer first,
and I kind of felt I ended up in a well,
ended up in a like a musical theater college, which
was kind of where I first opened my eyes to
(28:16):
the world of acting.
Speaker 7 (28:17):
And what that could be like.
Speaker 9 (28:19):
So that was yeah, college, college years, and you know,
it took a took a bit of time with that,
and then I felt like love love the theater musical
and musical theater is such a special place in my heart,
but it didn't quite feel like the.
Speaker 7 (28:35):
Right fit for me, so I always kind of had
a feeling that maybe film and TV would be more it.
Speaker 9 (28:41):
So, you know, went on and did the wonderfully terrible
student films for a while there.
Speaker 5 (28:49):
So I've got some good, like you know, laughable stuff
to go back and look at when I'm eighty and
laugh at myself, and then just kind of slowly work
from there, you know, just auditioning and hoping someone would
say yes to me, and doing classes constantly, and you know,
(29:11):
just just trying to learn and just.
Speaker 7 (29:13):
Enjoy every part of it.
Speaker 9 (29:14):
And I've been really lucky to meet some really wonderful
people along.
Speaker 1 (29:17):
The way, well coming from that musical part of your life.
I mean, one of the things I've always loved about
musical theater is the fact that that's where storytelling begins,
because you've got to be able to do it through
the music, and those lyrics aren't just a bunch of words.
What it is is telling the story.
Speaker 7 (29:33):
Absolutely, and someone that's told me or I read it
somewhere that in these musicals, like.
Speaker 9 (29:41):
A song should begin or the reason a character has
to sing is because the words aren't enough, or like
it's the only way to get out truly how they're feeling,
like like just speaking it and just living in a
space isn't enough for for you know, whatever the circumstances.
So I find it's so beautiful in musicals that these stories,
(30:03):
these songs are coming from a needs and like an
expression that's beyond just talking.
Speaker 1 (30:11):
See, I'm glad you explained that. And the reason why
is because I am a fan of Joker too. Whe
Joaquin Phoenix is singing with Lady Gaga. So many people
didn't like that, and yet to this day, I still
love that story because it needed it. He was dancing
around in the first movie. This one, it needed the music.
And seeing you understand that.
Speaker 7 (30:29):
I haven't seen that movie yet, I am so excited. Yeah.
Oh so that's great because I feel like there have
been some very mixed reviews about it. So it's nice
to hear your side of it.
Speaker 1 (30:38):
Well, maybe it's my addiction to music and storytelling in it.
You know, you grew up and listening to you know,
the nineteen seventies and stuff like that, where and even
today with Taylor swift. I mean it's all about storytelling.
Speaker 7 (30:51):
Yeah, yeah, absolutely.
Speaker 1 (30:54):
You know, when you're filming in Nova Scotia, one of
the things that you have to deal with as an
actress the weather.
Speaker 2 (31:00):
How do you do the weather? And does it ever
get in the way.
Speaker 9 (31:05):
Yes, Oh, I'm going to do the first seasons out here,
And one of the things I went quick fast, very quickly, was.
Speaker 7 (31:14):
If you don't like the weather, wait ten minutes.
Speaker 9 (31:16):
That's it, because it's constantly changing. We get four seasons
in a day. So yeah, that's definitely a part of it.
And as like season two, we were filming into December,
so yeah, it got cold and snowy and windy, so
(31:38):
you know, we have to be on your toes and
we had a great crew that was ready to like, you.
Speaker 7 (31:43):
Know, okay, it looks like we've got a snowstorm coming in.
We're not going to be able to.
Speaker 9 (31:46):
Be outside these days. We're going to pull up all
these scenes instead. So you kind of got to be
on your toes a little bit and get used.
Speaker 7 (31:53):
To wearing a lot of layers, and.
Speaker 9 (31:54):
There are now it seems like every item of clothes, clothing.
Speaker 7 (31:59):
You could want, there is a heated version of it.
Speaker 9 (32:02):
There's like heated socks that you can wash, there's heated vests,
there's heated skirts, there's just everything.
Speaker 7 (32:09):
So that was news to me too.
Speaker 1 (32:11):
See, and a lot of viewers won't understand this, but
when you're that high on the map or on the globe,
what happens is is that it starts getting cold way
earlier than the rest of the country.
Speaker 7 (32:22):
Yeah. Yeah, yeah.
Speaker 9 (32:23):
And well and because you know, we're on the water,
we're on the ocean, so that brings in a lot
of change too. Yeah.
Speaker 7 (32:31):
Yeah, so it keeps it interesting, that's for sure. There
was I think a scene or two.
Speaker 9 (32:36):
Where we were having to try and like dry out
the snow or melt the snow in the background.
Speaker 3 (32:43):
So it would still looks like summer.
Speaker 9 (32:46):
Chad and I got as a rap gift for everyone
at the end because because that the season takes place
over I think it's like forty five days, forty eight
days or something like that. But we got everybody tukes
it said, is it's still all gets on it.
Speaker 7 (33:02):
It's by the end.
Speaker 1 (33:04):
It's like filming a Christmas movie or doing Christmas music.
I mean, everybody does it in the summer months, but
yet it's going to affect when it's cold and it's
near Christmas and everything.
Speaker 7 (33:12):
I know, it's so funny. Yeah, well, I don't know,
it's what's worse.
Speaker 9 (33:17):
What's better of doing summer in the winter or winter
in the summer.
Speaker 1 (33:23):
Now I realized that Sullivan's Crossing is only two seasons old.
But there's got to be a picture book coming soon
because because of everything that's going on behind the scenes,
we like the full picture of what's happening. And it's like,
so I like paging through these gigantic books that have
the you know, the set and different scenes and everything.
Speaker 7 (33:41):
That would be great. I'd love that too. I don't
think there is onecoming, but I love that.
Speaker 1 (33:47):
Yeah, because I mean it's part of the relationship with
with the viewers and things, just to have that book.
I then, like I mentioned before, I just love paging
through those books and reading the storylines of what it
was really like to be on that set.
Speaker 7 (33:58):
Oh cool, yeah, uh.
Speaker 8 (34:01):
Well, all, let's.
Speaker 7 (34:03):
Let everybody know.
Speaker 1 (34:06):
One of the things that we never get to hear
about are the people that are behind the scenes. I mean,
I understand that we woul name drop with the different
directors and the writers and things but man, there are grips,
there are people, There are people on the lighting. We
never hear their story. Is it because they want to
stay the big mystery or is it that they feel like, eah,
I don't need the fame.
Speaker 9 (34:25):
I don't know, you have to talk with them, but yeah,
it's funny. Anytime I brought family to set, they're always
like shocked by the amount of people that it takes
to do this, like to make a show, to make
an episode. There's like over one hundred people on our
on our cruise sheet, on our like our call sheet
every day.
Speaker 7 (34:43):
So yeah, it takes everybody to make it happen, you know.
Speaker 9 (34:47):
And the amount of funny little jobs that you wouldn't
even think about of, you know that that people don't
necessarily know that go into it, like people who are
on clearances to make sure that you know, oh, we
can show this book in the scene in the arc
of you get sued, or like you know, set dressing,
who's gone and chosen the.
Speaker 7 (35:05):
Right lamp for this bed like this bedroom or whatever.
You know, there's there takes so many people.
Speaker 1 (35:13):
I can't imagine the continuity on the set of Sullivan's Crossing.
I really can't because there is so much that's going
on in the background.
Speaker 9 (35:21):
Yeah, no, continuity, it's as a special that's the special job.
Speaker 7 (35:27):
Yeah, it's incredible.
Speaker 9 (35:28):
I mean I can't imagine people on like really intense
medical dramas doing continuity on that and like any blood
or anything like that, like all.
Speaker 7 (35:38):
The stuff that goes on. Oh, that'd be crazy.
Speaker 1 (35:43):
You got to come back to this show anytime in
the future. The door is always going to be open
for you. I know I already said that to you,
but man, I really do mean it.
Speaker 7 (35:50):
No, thank you so much. Erro, that's so sweet. Hope
you have a great day.
Speaker 1 (35:54):
You bet same to you. Be brilliant, Please do not move.
Mickey Thomas, a rock and roll legend from Jefferson's Ship,
is up next. Hey, thanks for coming back to my
day of play. Let's get into that conversation with Mickey
Thomas from Jefferson's Starship.
Speaker 2 (36:09):
Good morning Arrow.
Speaker 9 (36:10):
Hey.
Speaker 1 (36:11):
I'm sure glad that it's you, dude, because I'm I
You've got to get this album on your Christmas station.
Speaker 2 (36:18):
You know what's funny. I was just telling Micky about
that earlier. I'm gonna I'm gonna add a couple of
songs on it.
Speaker 1 (36:23):
When I get home, you have to Oh my god,
I mean, Mickey, I'm telling you, there's something about this album.
I keep listening to it over and over again. There's emotion,
there's you give me the chance to have childhood memories
and then and then you give me a new touch.
Speaker 2 (36:36):
Of a song.
Speaker 10 (36:39):
You know, I'm so glad to hear you say that,
because that's what I wanted to create.
Speaker 8 (36:43):
You know exactly what you just said.
Speaker 1 (36:45):
And it starts with that album cover, Classic Coming. It
really is one of those album covers where when when
you have it in the collection, you know exactly what
it looks like on the side.
Speaker 8 (36:55):
Yeah, it does.
Speaker 10 (36:56):
It does look very nostalgic, doesn't it yearn everything.
Speaker 3 (37:00):
You know.
Speaker 8 (37:00):
I'm not really a hat person.
Speaker 10 (37:03):
I hardly ever wear hats, so it was kind of
unusual for me to don a hat for the photo.
But it's actually the hat belongs to my wife, really,
so I borrowed her half of the photo.
Speaker 1 (37:15):
But see that that's part of the magic of music
and the you know, the theater of the mind that
you guys, as singer songwriter performers give to us.
Speaker 8 (37:23):
Yeah, you know, stepping outside of the box.
Speaker 10 (37:26):
You know. I mean that's what we that's what we
have to do sometimes. And I you know, I really
I did that with this record. It, but I stepped
outside of the box. But it also felt very felt
very comfortable and natural for me singing this way. I
think I've been told that I was maybe born about
twenty or thirty years too late, that I should have
(37:46):
been a crooner in the forties and things.
Speaker 2 (37:48):
Yeah, so I can hear you do that. You know,
you set me up like that.
Speaker 1 (37:52):
You're absolutely right, because that your emotion has always been
a part of every single song that you bring to life.
Speaker 2 (37:58):
I mean, it's there.
Speaker 8 (38:01):
Yeah. And that was a challenge, you know, with the
Christmas album because you know.
Speaker 10 (38:04):
As you mentioned it, it's down, you know, lower register
than I normally sing, you know, in my rot voice,
you know where I'm.
Speaker 8 (38:10):
Up there screaming in the strategy.
Speaker 10 (38:12):
So so I brought it down with much breathier, warmer vibe,
and you know, I had to in a way, I
had to concentrate a lot more to create that the
atmosphere that I wanted to create with it, and like
you said, you know, the spirit and the soul. And
it was a challenge, but it was really fun and
(38:34):
this style of singing came very natural to me.
Speaker 1 (38:37):
Well, you can definitely feel that when with the song
White Christmas, because I mean it's like you're it's like
you're saying, please come over here and sit down. I
want to share a story with you. I mean, you
really do bring us into it with the emotion that
you have, and it's and it's almost like you studied
the song, you really learned what the song was about
these and then all of a sudden, it just comes
flowing through you.
Speaker 8 (38:56):
Man, you got it. That's exactly it.
Speaker 10 (38:58):
You know. I could most of the vocals are all
done live when we were cutting the tracks with the musicians.
You know, I was I was in my little iso booth,
but I'm in the studio with the guys as we're
recording the track, and.
Speaker 8 (39:11):
That really helped me to create the vibe.
Speaker 10 (39:13):
You know, it was just kind of sort of lost
in the you know, in the take and the music
as we're doing it. I tried to I tried to
recreate a couple of the vocals later without without doing
it live with the band. It just did not have
the same feel, the same atmosphere at all.
Speaker 1 (39:30):
Yeah, because I mean being in there with the band.
I mean, come on, I thought that's the way it
was supposed to be with Nowadays people just send tracks
through the mail, but it's say come on, feel it.
Speaker 10 (39:38):
Well, that's you know, and that's the way the guys
back in the day did it, you know, with you
know Frank and Andy Williams and Nat and those guys.
You know, you go out in the studio with the
orchestra and you sing the song live. And we tried
to we tried to stick to that, to that process
as much as possible.
Speaker 1 (39:54):
Please tell me that you were outside having a snowball
fight or ice skating when you did the song have
Yourself on Merry Christmas, because I mean you can feel
it in.
Speaker 10 (40:01):
That well, I'd like to say that, but we were
actually in Nashville in the month of May when we
recorded the album, so we had to kind of mentally
transport ourselves to Christmas, you know, and try to pretend
that there were snowfalling outside.
Speaker 1 (40:19):
Now, you do know the rules of Christmas albums. That
means you have to have a Christmas tour every November
and December, I.
Speaker 10 (40:26):
Hope, so you know, we'll see how it does. Hopefully
it'll do well and then next year might put together
a few days for a Christmas tour.
Speaker 1 (40:35):
Oh, because I mean it's become such a family tradition that,
you know, going out to hear our favorite musicians, you know,
sing those those traditional songs.
Speaker 8 (40:43):
Yeah, I'd love to do that.
Speaker 10 (40:45):
You know, I probably do like a forty five minute
Christmas song set and then you know, follow it up
with thirty or forty five minutes of starship stuff.
Speaker 2 (40:53):
Nice night.
Speaker 1 (40:54):
Now, that's a gift for your fans. What was like
to sit down and create with Dan, because I mean
we never get to hear that side of the of
the process of music. I mean we all envision what
it must be like to be inside the studio, but
when you sit down with someone like Dan, it's like
that right there.
Speaker 2 (41:11):
Did it steal your breath?
Speaker 10 (41:13):
Well yeah it did because it was so you know,
when I was just so it just felt so natural
and so right in the moment that I met Dan
and we started talking about you know what, you know,
how the shape we wanted the album to take and
the vibe we were going for. And then he, as
I mentioned, put together this fantastic group of musicians that
(41:34):
just completely blew me away like the cream of the
crop as far as Nashville assession guys go.
Speaker 8 (41:39):
And it was just unlike any experience I'd ever had
in the studio.
Speaker 1 (41:46):
I'm a mobile DJ, and your song have Yourself a
Merry Christmas is the best slow dance for every age
this season.
Speaker 8 (41:55):
I hope.
Speaker 10 (41:55):
So that was the first song that I cut for
the album out and you know, hopefully because that kind
of set the tone for the whole record. And you know,
I was inspired by the obviously the Judy Garland version
of the movie Meet Me in Saint Louis, when Judy's
sitting in the window, still steaming to her little sister,
(42:17):
trying to comfort her about the family is going to
be a part, you know, for Christmas, but don't worry
because next year we'll come back together again and it'll
be all right. And I tried to, I tried to
just really capture that feeling, and I was recording that one.
Speaker 1 (42:33):
When you record an album such as this and one
that everybody's going to keep coming back to, do you
get to have memories as well, just like the rest
of it?
Speaker 2 (42:40):
Or are you too close to it?
Speaker 5 (42:42):
Oh?
Speaker 8 (42:43):
No, no, I have memories absolutely. Yeah.
Speaker 10 (42:45):
Christmas is always, you know, for me from my childhood,
a very happy time, you know, a warm time, and
don't like just like most people, I hope you know
you have fond memories at Christmas.
Speaker 2 (42:57):
The song I'll be Home for Christmas. Wow, Mickey, Oh.
Speaker 1 (43:01):
This this one here is one that you listen to
it and that's the strangest thing about it is an
hour or so later, I'm still singing it with you.
Speaker 7 (43:08):
Yeah.
Speaker 10 (43:09):
That's another one of that very kind of whimsical you know,
and the fact that what I like about that one
is a saying I'll be home for Christmas, but you
might not actually be there physically, might not be there
in body, but he'll be there in spirit. And so
you know, I'll be home for Christmas if only in
my dreams, you know. So I kind of envisioned, like
(43:30):
when I was singing that one, like like lonely GI's
back in World War two.
Speaker 8 (43:34):
Yes, you know, wish you maybe be home for Christmas.
Speaker 1 (43:36):
Yeah, Okay, you're taking me back to the coroner again.
So their crooner, I'm sorry, the and what and so
you've got to be able to do an album like that?
Are you going to do something with with those classic tunes.
Speaker 10 (43:49):
Yeah, I would love to do an album like that,
you know, those kind of songs that they're not not
just Christmas songs, but the standards, the classics. Yeah, something
along the lines of what Rod Stewart did you know
with would really be fun. I've always wanted to do
that too.
Speaker 2 (44:02):
What is your favorite one from that? Eraro? I mean
I could totally hear you singing chatnooga can choot you.
Speaker 8 (44:10):
Gosh? I see?
Speaker 10 (44:11):
I like, hey there you with the stars in your eyes.
Speaker 3 (44:16):
Love never made a full of you.
Speaker 8 (44:18):
You know that's a good word. Yeah, I loved you
for settlemental reasons. Yes, that kind of stuff.
Speaker 1 (44:27):
So the challenge is on You've got to be able
to do that for us because if your fans are
gonna love something like that, Okay.
Speaker 8 (44:34):
I'd love to do it. I'm gonna come together. I'll
get back down to Nashville with Danny people get it done.
Speaker 1 (44:40):
So now with this album, I mean, it's one of
the things that they needed, listeners need to do. They
need to get it on all streaming formats, but by
the album itself, because I love putting the needle on
it and listening to it because there's something about vinyl
that even today, there's there's a there's a connection.
Speaker 8 (44:54):
There definitely, you know.
Speaker 10 (44:57):
That's why obviously a lot of young people, younger generation
have rediscovered vinyl and it's a very popular format. And
and with this record, with the vinyl, uh, not only
the process of putting it on and putting the needle
on the record and watching it spin around, but the
vinyl is red and green traditional Christmas colors, so it's
(45:18):
kind of fun to watch it spin around.
Speaker 1 (45:20):
The build up of the piano on an old fashioned
Christmas did the did the piano come first and then
your vocals? Or how did this all come together? Because
this is this is a piece that people are going
to hold on to.
Speaker 10 (45:31):
Yeah, well, you know, we ran it in the studio
a few times with the with the piano and the
vocal and so, and then added the strings you know afterwards,
and the strings. The combination of the way the piano
works with the strings is very very very emotional in
that and uh, very magical. That's my favorite one, my
(45:55):
favorite track on the album.
Speaker 2 (45:56):
Yeah, you can feel it, you can feel it.
Speaker 1 (45:58):
Where can we go to find out more information about
what you're doing musically? As well as this this new.
Speaker 10 (46:03):
Album starshipcontrol dot com. You can find out all things
Starship and all things Mickey, and of course the album
is on you know. You can go to Spotify, Amazon
dot com, all the usual places.
Speaker 2 (46:18):
I love it.
Speaker 1 (46:18):
Please come back to the show anytime in the future.
And when you come to Charlotte, we got to get
together for a face to face.
Speaker 8 (46:24):
I'd love to man, that sounds good and I.
Speaker 2 (46:25):
Love Charlotte excellent. Will you be brilliant today? Okay, Mickey,
thank you man.
Speaker 8 (46:30):
I appreciate it.
I've been blessed with the opportunity to share conversations with
each and every person who has appeared on NBC's The
Voice from twenty sixteen to this present day. We now
have it all on one podcast, That Voice. It's on
ARO dot net, A R R E dot net. He
I'd like to welcome you back to the studio. This
(00:20):
is my day of play, where you're taking into the real,
evincing actions of how it goes down before the process
of editing or cleaning.
Speaker 2 (00:26):
Up takes place.
Speaker 1 (00:27):
The original purpose of these episodes was to give my
broadcasting students something to edit, to practice with, and to
call their own. And then I realized, wait a second,
you're just as important as they are share the real
story of how things really take place inside this studio.
We begin things with Teresa Rawson, the daughter of the
legendary French pianist Gabby Casadaeis. Then we're going to take
(00:52):
a trip back to the United States to share a
conversation with Morgan Cohen from the CW's Sullivan's Crossing, and
we'll wrap things up with singer songwriter Mickey Thomas. You
know that name. He's from the legendary rock band Jefferson Starship.
This is my day of play, completely unedited in the
way of meeting the wizard behind the curtain.
Speaker 2 (01:12):
Hello on good morning, everybody?
Speaker 3 (01:15):
Good morning? Is this hour o'collen?
Speaker 2 (01:17):
It would be me. Is this Gabby?
Speaker 3 (01:19):
No, it's truett.
Speaker 2 (01:21):
How are you doing?
Speaker 4 (01:22):
I'm fine. I'm Gabby's daughter. And so that's what we're
going to talk about.
Speaker 5 (01:26):
Is the book.
Speaker 1 (01:27):
Well I'm feeling Gabby. Move right through your system of
everything you're doing, because I mean, the energy is very vibrant.
You can tell it inside that book.
Speaker 3 (01:36):
We're good. So before we go online, I'm online. I
don't know whatever on name I should say.
Speaker 4 (01:44):
I always tell every host I have the pronunciation of
the name. Oh good, it's a little tricky. It's Gabby's easy.
Speaker 2 (01:54):
I can I take a guess at it? Can I
take a guess at it?
Speaker 5 (01:56):
Sure?
Speaker 3 (01:57):
Go ahead?
Speaker 2 (01:57):
Casads nou. Now that's musical. That's musical.
Speaker 4 (02:07):
And I always say it kind of rhymes with kalamba
zoo in terms of the access on the syllables.
Speaker 1 (02:14):
Let me put kalamazoo in my notes here. For you
to bring this book to this this generation, I mean,
it had to be very special because you know, we're
starting to see a lot of people turn toward music
and we need to know the roots of what was
really going on around the world.
Speaker 4 (02:31):
Well, that's true, absolutely, Now we are you let me
know when we are actually on air.
Speaker 1 (02:38):
Well, we're actually we're pretaping, is what we're doing. Okay, fine,
so this this, this way, I'm gonna make you sound
so good.
Speaker 3 (02:45):
All right, Well, what is it?
Speaker 4 (02:50):
What is interesting is, and this is what pushed me
and my sons to publish, to try to get the
book published, is that there.
Speaker 3 (02:58):
Is a renewed in yes, in two things.
Speaker 4 (03:02):
Number One, women who have been somewhat neglected as artists
because they were overshadowed by a father or a brother
or a husband, and they are now rediscovering these women
artists that were someone in the in the shadow rather
than being in the limelight.
Speaker 3 (03:21):
And then the second thing is.
Speaker 4 (03:23):
A renewed interest I find from you know, this generation
of young you know musicologists or even young fans of music.
Classical music of course, is that period between the two wars, uh,
you know, the twenties and the thirties.
Speaker 1 (03:42):
See, that's that's what got my attention right off the bat,
because that's that's a lost time period that a lot
of people they'll they'll always say, you know, the Golden generation,
you know, the hardest working people, but they don't go
into what helped that happen, because you know, I mean,
you know, what was it. The Roaring twenties had to
have somebody, and those musicians were there to provide that
music and that entertainment.
Speaker 4 (04:02):
Oh absolutely, And you know, it was a very sort
of heady period because obviously World War One had been
such a devastation, and so there was a you know,
an urge to do as much and you know, cultural
things to prove that you know, Western culture, especially European
(04:24):
was still very much alive and discovering new things and
so forth and so on, and so there's a lot
in the book, of course, which is called My Musical
Notes by Gabi Kasatsu, there's a great deal about the
cultural life going on, you know, the concerts, especially the
(04:45):
concerts of course, since both my parents were you know,
professional pianists, so yes, there's a.
Speaker 3 (04:51):
Great deal about that.
Speaker 4 (04:53):
And then towards the end of the thirties period is
you begin to see the shadow of World War Two,
and it's mentioned in the book. It's very interesting in
the late thirties. How you know, people were beginning to
see that something was going on.
Speaker 1 (05:12):
Was there a shift in music between that period, because
I mean, I mean you're going from dark a little
bit of light back to darkness. I mean, as musicians,
they pick up the energy of the universe.
Speaker 4 (05:22):
Well, I would say first of all, that a lot
of the composers.
Speaker 3 (05:27):
That they felt they spent really their whole.
Speaker 4 (05:30):
Career bringing forth were musicians who had already started.
Speaker 3 (05:36):
Prior to World War One.
Speaker 4 (05:38):
You know, those three great musicians of the early twentieth
century were Claude Debs, Gabrielle Fat and of course Maurice
Ravel and Revel is probably the most well known in
the United States, and they spent a great deal of
time not only performing their works, but you know, teaching
(06:00):
the interpretation of their works to all the American students
who came to study in France during the twenties and
the thirties, and at the American Conservatory in Fault and Blow,
which is also very well known because of the presence
of the great composer and particularly teacher Nadia Boulonchet.
Speaker 3 (06:25):
So that was my parents taught there. She taught there, and.
Speaker 4 (06:29):
It was kind of a car ron for young Americans
to come and study all this culture in the twenties
and thirties, and they came both in music and also
in the fine arts.
Speaker 1 (06:42):
I find that to be very interesting because I'm sitting
here trying to figure out I don't remember reading or
speaking with another musician from today sharing their skills with
tomorrow's musicians. I mean, this is a lost time in music.
Speaker 4 (06:55):
And my parents spent a great deal of time teaching,
especially my mother, and after my father passed away in
nineteen seventy two, he was the one who was really
internationally renowned with all the great conductors of his time.
But they also performed as a duo pianist, and they
(07:16):
were very, very popular, especially during the Second World War
in the United States, because they had come to the
United States right in nineteen forty when my father was
supposed to have his regular tour. He had started coming
here in nineteen thirty five, and they came with my
two brothers I was born yet, and settled in Princeton,
(07:37):
and then they ran the summer program at Fulton of
Faulton Blau in the United States for several summers, and
so they have a whole host of students who studied
with them and so forth during those years, and then
continuing that the school still exists today and it's called
(07:57):
Faultin Blue Schools or gee you can, you know.
Speaker 3 (08:02):
Google it up and it'll tell you a lot.
Speaker 4 (08:04):
About this history, which is absolutely fascinating because the school
itself was founded at the initiative of General Pershing and
he wanted American soldiers to be able to come to
France or stay in France to study music.
Speaker 3 (08:20):
Fine arts and so forth. So that was very interesting.
Speaker 1 (08:23):
Coming from the first family of the piano being up
on that stage is one thing. I know what that
that energy is like. But when you're at home as
the family, what was that like? I mean, was everybody
just into their own little thing or was it still
just as close?
Speaker 4 (08:37):
Oh, it was very close. I mean my parents played
a lot of foehand repertoire just for their own pleasure.
I remember a little child, you know, going to sleep
and hearing them at the piano. I mean, that's what
they love to do for entertainment.
Speaker 3 (08:54):
And then my.
Speaker 4 (08:55):
Brother Jean was also they you know, taught him of course,
and then he actually wasn't living at home. March after,
you know, he was about twenty or twenty one. But
they got together because of the three piano repertoire that
they performed. Now, there isn't a great deal of three
(09:15):
piano repertoire. There's a Bach Concerto for three pianos, Mozart
Concerto for three pianos, and then a concerto that my
father wrote in the mid sixties for their group, for
the three of them, And that's about that time that
the video was they made that movie called The First
Family of the Piano because that was such an unusual
(09:40):
thing basically to have these three pianos on stage at
the same time, and it was very popular at the
time for sure.
Speaker 1 (09:48):
How difficult was it to evolve this book from you know,
into English form, because I mean, you know, we over
here with English, you know, we we have too many words,
too many words.
Speaker 2 (09:58):
So were you able to utilize that?
Speaker 3 (10:01):
Well, first of all, I am not.
Speaker 4 (10:03):
Actually I decided to have the book translated.
Speaker 3 (10:06):
It was originally written by my mother.
Speaker 4 (10:08):
Yeah, as a base on basically conversation she had with
a radio broadcaster with a big radio station in Paris
who said to her, Gabi, have you ever thought of
writing your memoirs.
Speaker 3 (10:24):
And my mother said, oh, you know, I like to
teach and all that. I don't have a whole lot
of time for that. And so this lady then she
pulled out her tape recorder.
Speaker 4 (10:33):
And said, you know, let's sit down and talk about
your life. And then my mother got kind of engaged
by it, by this whole thing, and she said, well,
you know, it does so happened that I have.
Speaker 3 (10:43):
These little date books, you know, I wrote what we.
Speaker 4 (10:45):
Did, and my husband kept all these little date books,
and I'll be able to come back to you, you know,
with some little more precision to tell you, you know, like
in the early thirties when you had this tour of
Egypt and then we had tours in Russia and all that.
So she was able to really pull out a great
(11:05):
deal of what's in the book.
Speaker 3 (11:07):
Now.
Speaker 4 (11:08):
Of course, because it's a translation of the book, I
could have done it, but I felt it should be
done by a professional translation. And frankly, I think it
was a good idea, because it's good to have somebody
who has.
Speaker 3 (11:21):
A little distance, you know what I mean.
Speaker 4 (11:24):
And so I was very I mean I worked with
him very closely, of course, but I found that I
was very pleased with the work he did with this translation.
And one of my motivations was, frankly number one also
because of my granddaughters. And I said, you know, I
have one who's actually now living in France, so she's bilingual.
Speaker 3 (11:45):
But the other one, you know, lives here.
Speaker 4 (11:47):
And I thought, well, you know, she she'll get to
hear read about her grandmother if we get it translated.
Speaker 3 (11:53):
And also I thought of all.
Speaker 4 (11:54):
The students that my parents had, and we still keep
in touch with many of these through this fonte Bleau
Schools program, and so I thought, well, you know, it's really.
Speaker 3 (12:05):
Worth it to try to get it published. And as
I told you.
Speaker 4 (12:08):
Earlier, on the reason I think it was attractive to
publishers is this renewed interest and you know sort of
neglected women artists. And also that period of the twenties
and the thirties.
Speaker 2 (12:22):
Did your mother play for Albert Einstein?
Speaker 4 (12:25):
Well, it actually didn't quite happen that way. Albert Einstein
was our neighbor in Princeton, and as soon as he
as soon as he heard that my parents had moved
and so to speak, and he had a practice of
you know, inviting people to a little tea he was
living with. I believe it was his stepdaughter and maybe
(12:47):
a stepsister something like that. There were two women in
the house and they would invite the new people would
come to Princeton for tea.
Speaker 3 (12:57):
Then he found out, of course that my parents the piano,
and especially my mother.
Speaker 4 (13:02):
He basically maybe she went to the t and my
father did it, but I don't remember, but I.
Speaker 3 (13:07):
Wasn't there really, I was there later.
Speaker 4 (13:10):
But anyway, my mother He said to my mother, oh,
you know, I played the violin, and wouldn't it be
nice if we could get together a little bit and
you know, play a little music together. And so they did,
you know, they had some afternoons doing some mozarty and
then of course somebody had a famous club in Princeton
(13:30):
heard of that and said, oh, wouldn't it be wonderful
if we could present you both in a concert to
benefit a French relief.
Speaker 3 (13:41):
And that was in nineteen forty two.
Speaker 4 (13:43):
I believe that they did this concert at the present
day club it was called in Princeton, and they raised,
of course a lot of money for the you know,
the French relief, which was an effort of course to
send packages to France during the occupation, which was of
course a period of great hardship in France.
Speaker 3 (14:05):
So anyway, that's how they got to play together.
Speaker 4 (14:08):
And then later on I got to meet again in
one of those little tea's when I was maybe I know,
four years old or five years old, and my mother
told me that I used to sit on the floor
and play with his fur lined moccasins, and she.
Speaker 3 (14:26):
Would look at me and say, don't do that. And
he said, oh, don't let her. Let her do that.
Speaker 5 (14:31):
Shit.
Speaker 3 (14:32):
I love children. So that's an interesting kind of early memoy.
Speaker 1 (14:38):
Wow, where can people go to find out more about
you and this book? Because this book plays out like
a novel, but it's an autobiography.
Speaker 2 (14:44):
That's what I love about it.
Speaker 4 (14:46):
Yes, exactly, it does kind of play out like a
novel because there's so much going on. Well, the book
is available on Amazon, and all you need to do
is to type it in the search my musical Notes
by Gabby Cassida Sioux and it comes right up with
a little synopsis you know, of what the book's about.
Speaker 3 (15:09):
And I think that's the easiest way to get the book. Wow.
Speaker 1 (15:13):
Well, you've got to come back to this show anytime
in the future. I love where your heart is. You're
a storyteller.
Speaker 3 (15:19):
Now where are You're in Virginia right now?
Speaker 2 (15:21):
I'm in Charlotte, North Carolina.
Speaker 3 (15:23):
Oh, in North Carolina, Okay.
Speaker 1 (15:24):
Where it's it's a beautiful winter day out here. We
don't have snow, but it's cold, it's rainy, but but
it's just a beautiful, beautiful day.
Speaker 6 (15:30):
Oh.
Speaker 3 (15:31):
I know Charlotte.
Speaker 4 (15:31):
Well, I had a very good friend who lived there,
and fortunately she passed away a couple of years ago,
so I would go down and visit.
Speaker 3 (15:38):
Yeah, so there's a lot going on in Charlotte.
Speaker 2 (15:40):
Absolutely.
Speaker 3 (15:41):
Oh, yes, it's great.
Speaker 2 (15:42):
Well, it's great.
Speaker 4 (15:43):
Well, good, so we will have another maybe little chat
at some point.
Speaker 2 (15:47):
Absolutely, will you be brilliant today? Okay, all right, thank you,
great day, right.
Speaker 1 (15:53):
Please do not move. Morgan Cohen from Sullivan's Crossing is
up next. Hey, thanks for coming to my day a play.
Now let's get into that conversation with Morgan Cohen from
Sullivan's Crossing.
Speaker 7 (16:05):
Recording in progress.
Speaker 2 (16:07):
What's going on, mister Michael?
Speaker 6 (16:09):
Hello, O A long time, no speak since yesterday? Yeah, right,
I have morgankah Hand from Sullivan's Crossing. You'll have twenty minutes,
my friend, go ahead.
Speaker 2 (16:19):
Good morning, Morgan. How are you doing, h how are
you doing it?
Speaker 8 (16:22):
Thanks?
Speaker 7 (16:22):
How you doing?
Speaker 2 (16:23):
Absolutely fantastic. I gotta tell you.
Speaker 1 (16:25):
One of the things that I've always loved about Sullivan's
Crossing is the fact that I think that you guys
have redefined what acting is in this modern age, because
I feel so much emotion and connection that it's like whoa, whoa, whoa, whoa.
I have to remind myself that this is a TV show.
Speaker 7 (16:40):
Oh wow, that's such a compliment. Thank you so much.
Speaker 2 (16:43):
Is it the set? Is it? The writing? Is it
the director of the actors?
Speaker 1 (16:45):
I mean, how is it that you're creating this, this
this modern day magic on that screen.
Speaker 9 (16:51):
I do think that we have to give a lot
of praise to our showrunner and writer Roma Roth. She
does a brilliant job of that, I think, bringing bringing
in these like beautiful, relatable and emotional moments that are happening.
But the sets, I mean, I feel like, you know,
Halifax is a part of the show, and with that
it brings like a coziness of comfort, and that gives
(17:13):
you the like openness and vulnerability to have these things
like really land I think so.
Speaker 7 (17:18):
And I'd like to.
Speaker 9 (17:18):
Think our actors too, you know, we all we all
bring a little stuck to it.
Speaker 1 (17:23):
I mean, yeah, so much of what Maggie does people
can relate with. I mean, it's like living in the
presence of now while still you know, kind of touching
on everything in the past, and it's just people, can
you know, are drawn to that kind of a storyline.
Speaker 7 (17:35):
Yeah, I think definitely.
Speaker 9 (17:37):
I mean I think we're probably all struggling with that
at some point. You know, how to let whether you
want to let go of a past or you know,
be able to bring that into the future with you,
because a past will always you know, inform your current
circumstances your future going forward. So I think it's you know,
fair to to keep that in view, but without letting.
Speaker 7 (18:00):
It take over, which I think is what happens with
her a little bit.
Speaker 2 (18:03):
Playing that role. Have you learned anything about real life?
Speaker 7 (18:07):
Absolutely?
Speaker 9 (18:08):
I think every role you do, I think, you know,
any role, whatever the character is going through, for me anyways,
it forces me to like really think about these different
things that they're going through.
Speaker 7 (18:19):
What would I do in those circumstances? How I feel
about it? Are there things that have happened to me
that I can bring into this.
Speaker 9 (18:26):
So absolutely, Yeah, I've learned so much about myself while
learning about Maggie.
Speaker 1 (18:31):
I love the way that you break it down, because
I mean that's one of the things that I try
to do as well when I do voiceover working things,
is that who am I talking to?
Speaker 2 (18:37):
What's your name? How many kids does she have? What
car does she? This way?
Speaker 1 (18:40):
Then I get into that mindset of who it is
that I'm trying to reach.
Speaker 9 (18:45):
Yeah, absolutely, I mean a context is king for all
of it too, right, like so what, yeah, your whole
your whole perspective around whatever the scene is or whatever
this character is, every part of its shape you yep.
Speaker 1 (19:02):
Growing up in British Columbia. I mean, come on, Vancouver, Victoria,
those are two of my favorite places on this planet.
Speaker 3 (19:10):
Is that right?
Speaker 9 (19:10):
Yeah?
Speaker 3 (19:11):
Sunny A, Oh really, I mean.
Speaker 1 (19:12):
It's just you know, especially Victoria. You take that ferry
over there to Victoria and you just you just get
lost in a whole, completely different part of the world.
Speaker 8 (19:21):
You know.
Speaker 7 (19:21):
It's funny.
Speaker 3 (19:21):
I haven't been to this.
Speaker 7 (19:24):
I went to Victoria in the high school, I remember, but.
Speaker 9 (19:27):
I grew up in the Okanagan Valley mostly.
Speaker 7 (19:31):
So that's that's another part of BC. You've got to
go check out. It's beautiful. It's wine country. There's lots
of ski hills around there.
Speaker 9 (19:39):
There's a desert close by, kind of got everything.
Speaker 5 (19:42):
See.
Speaker 2 (19:43):
I love it.
Speaker 1 (19:43):
I love it when when there are deserts connected to
mountains like that, because it opens up the imagination. And
I've always wondered if actors and musicians, even like Gordon Lightfoot,
see something like that and you go, WHOA, I have
been touched by the universe.
Speaker 7 (19:56):
M yeah, something magical about it, you know. I while
I I was living there, I was.
Speaker 9 (20:01):
Like, acting wasn't even on my radar at all. So
I don't think that I necessarily took it in that regard,
But going back and visiting it, it feels like walking
into like a magical place.
Speaker 1 (20:12):
And it's got to be magical for you to be
a filming in Nova Scotia. I mean, we're talking about
another beautiful place on the planet.
Speaker 9 (20:21):
My goodness, we're so lucky. It's so beautiful. I can't
imagine doing the show anywhere else. But I really do
think it brings like it is a character in the show,
and it brings something really special to it also because
of like I mean, all of most of our crew
is from out here too, and and the people in
the East Coast they're just so sweet and down to
(20:41):
earth and kind and just want to have a good time.
So it brings that kind of energy to the work
as well. And I think, you know, it's it's the best.
Speaker 1 (20:52):
We live in a binge watching age where people are
just discovering season number one, and that's where they need
to begin with this, because I mean, it's a total
setup as to what go on with season number two.
But but I just love the fact that that the
CW has made this available on their on their their
appter where we can go back and watch any episode
anytime and and just experience it.
Speaker 9 (21:11):
Yeah.
Speaker 7 (21:12):
Absolutely, I mean it's so nice when it's first coming out.
I think I think.
Speaker 9 (21:15):
Because we've gone down such a binge culture and we're
used to that that when the show started, I think
I feel like there was like succession that was the
one that started hitting it off for me of the
like one episode a week of then realizing how kind
of nice that is too, though, you know, like because
then you get to really.
Speaker 7 (21:33):
Sit with the episode, You get to marinate and like
think about it and be like, hell, I didn't really
think about this.
Speaker 9 (21:38):
You can like talk with your friends it's over like
more specific stuff, and then you're excited about that next episode.
Speaker 7 (21:44):
So it's kind of nice that we've got both on
the CW.
Speaker 9 (21:46):
You know, you can you can either like do it
weekly or wait for the whole thing to be out
and just crush.
Speaker 2 (21:53):
That's it.
Speaker 1 (21:53):
I'll usually go about three four episodes in a row
and say, man, we gotta stop, we gotta go do something.
This isn't what we're supposed to do with But for
an act being an actress and living in this age,
I mean, it's got to be something absolutely spectacular for
your creativity because I mean, look at that stage that's
available to you nowadays.
Speaker 3 (22:10):
The world.
Speaker 7 (22:12):
Yeah, I mean there's there's so much content out there.
Speaker 9 (22:15):
There's so like anything you want to see you can
find out there, which you know is pretty incredible.
Speaker 1 (22:23):
H Now, one of the things that opens up in
season number two is that you build that relationship up
with your father once again. This is another one of
those subjects that draws people in water cooler conversation begins
and all of a sudden, we have a conversation because
of Sullivan's crossing.
Speaker 9 (22:38):
Yeah, I mean, family dynamics are we've all got them.
Speaker 7 (22:43):
You know, no family is perfect, so I.
Speaker 9 (22:45):
Think, you know, yeah, it's something everyone can relate to,
whether it's exactly the relationship of Maggie and Fully or not.
But like, and because you know, they're both good people,
we want we're like, you know, we're we're cheering for
both of them.
Speaker 7 (23:03):
We're cheering for them to figure it out and really
come together. So and it's nice to see that.
Speaker 9 (23:08):
Like, I think we all want that in our own
life too, Like these dynamics that maybe have gotten a
little messy or not quite worked out the way we want.
Like there's always that part of you that just kind
of wants that second chance or or could imagine that,
whether or not it's the reality or not.
Speaker 7 (23:23):
So it's nice to see.
Speaker 1 (23:25):
So when the scripts arrived, are you learning as it's
happening or do you get to know what's going to
be happening for the entire season and then we'll dive
into the deeper stuff.
Speaker 7 (23:34):
We kind of get.
Speaker 6 (23:38):
Too.
Speaker 9 (23:38):
I think it was kind of like a bit of
an overview, like I knew knew some big thought points,
but didn't know like all the little stuff in between
or how we'd get there.
Speaker 7 (23:47):
So it is always very exciting when the scripts do land.
Speaker 9 (23:52):
Yeah, just to know how it all worked out and
what extra doozies we find.
Speaker 2 (23:57):
So do you get to play around with it?
Speaker 1 (23:59):
Because once again, there's something about your emotion on the
show that comes across so real and I sit there
and go, man, she really that came from her heart.
That had to have been a improv type moment.
Speaker 7 (24:12):
Thank you sweet.
Speaker 9 (24:14):
We don't really do any improv, but we do our
show learn a Roma is very generous and like, if
there's a scene I feel really strongly about, or like
some wording or the way something said, I can go
to her. We can all go to her and be like, hey,
I kind of feel like if we go in instruction,
this feels a little more you know, truthful or whatever.
(24:36):
So she's been very open to that, which I so
appreciate and I think that that helps a lot. Yeah,
But other than that, it's just kind of, you know,
sitting with the character and kind of like what we're
talking about before, like really really thinking through all of
it and putting your own heart into it, my own
art into it and.
Speaker 7 (24:58):
You know, opening up that imagination and trying to let
it all land.
Speaker 1 (25:02):
Each episode feels like a major motion picture in the
way that the quality is there, the texture is there. Now,
is is it something that you film like an independent
film or is it one of those where it's like, Okay,
we're going to do three or four different cuts on
this and then we'll decide how we're going to piece.
Speaker 2 (25:15):
It all together.
Speaker 7 (25:18):
No, it's pretty well decided.
Speaker 9 (25:20):
I think, like seeing from the script to then to
like how it's all put together is pretty spot on.
Speaker 7 (25:26):
I mean some of the.
Speaker 9 (25:27):
Editing, like you know, Aroma again is all over the
edit as well, which is incredible and she does you know,
they do a beautiful job of it. So yeah, but
also it's nice to see like we were all kind
of saying season one, we're kind of you know, figuring
out what the show was and what it looked like,
(25:47):
and then season two feels like.
Speaker 7 (25:49):
It looks like a different Like everything feels like a
bit of a step up. I think, so we love
how it looks.
Speaker 9 (25:56):
The feeling, the pacing fe feels like spot on this season,
and you know, you're still there's a lot going on,
but it doesn't feel too rushed, and I think we're
all very proud of how it's turned out.
Speaker 2 (26:10):
Well.
Speaker 1 (26:10):
In season two, you get to fall in love. So
one of the things that I've always loved about shows
like this is the fact that it's almost like the
magazines at a grocery store. We sit there and compare
our lives to what's going on on that cover, and
then this way we'll feel better about ourselves because as
you grow in love, as Maggie is like, oh, oh,
I know what's going on here because this is what
happened in my life.
Speaker 7 (26:30):
Yeah, yeah, no, absolutely, absolutely. It's funny.
Speaker 9 (26:34):
I sometimes watch you know, terribly wonderful wonderfully terrible, like
reality and love shows or whatever to make you feel
better about.
Speaker 7 (26:45):
Your own life, and you're like.
Speaker 9 (26:46):
Oh God, if someone's going this far off the handle,
then like I'm doing a great job.
Speaker 7 (26:51):
You know, he kind of got full aside of it.
Speaker 1 (26:54):
Where can people go to find out more about you?
I want them to understand who you are as an
actress and how you're growing inside this world.
Speaker 7 (27:02):
Oh that's so sweet. I mean I'm just on Instagram.
That's kind of the way to go. Yeah, I love it.
Speaker 1 (27:11):
Please come back to the show anytime in the future.
The door is always going to be open for you.
Speaker 2 (27:15):
Morgan.
Speaker 7 (27:17):
Thank you so much. It's been lovely chatting with you.
Speaker 2 (27:19):
Will you'd be brilliant today.
Speaker 7 (27:20):
Okay, thank you as well too.
Speaker 6 (27:25):
By uh Arrow?
Speaker 7 (27:28):
What were you trying to say?
Speaker 3 (27:29):
Arrow?
Speaker 2 (27:30):
Yes, you still have ten minutes.
Speaker 1 (27:32):
Well, how are you doing, Morgan, It's been a while
since I've talked with you. Let's let's talk about that
acting career. Let's talk about how you've gotten to word
is because I mean, you're in a position on Sullivan's
crossing that that really so many people dream of one
day attaining and look you're there.
Speaker 3 (27:53):
Thank you.
Speaker 9 (27:54):
Yeah, No, it's been like a really wonderful journey. I yeah,
I don't know, I've I've been very lucky. It's but
I didn't start in acting. I was a dancer first,
and I kind of felt I ended up in a well,
ended up in a like a musical theater college, which
was kind of where I first opened my eyes to
(28:16):
the world of acting.
Speaker 7 (28:17):
And what that could be like.
Speaker 9 (28:19):
So that was yeah, college, college years, and you know,
it took a took a bit of time with that,
and then I felt like love love the theater musical
and musical theater is such a special place in my heart,
but it didn't quite feel like the.
Speaker 7 (28:35):
Right fit for me, so I always kind of had
a feeling that maybe film and TV would be more it.
Speaker 9 (28:41):
So, you know, went on and did the wonderfully terrible
student films for a while there.
Speaker 5 (28:49):
So I've got some good, like you know, laughable stuff
to go back and look at when I'm eighty and
laugh at myself, and then just kind of slowly work
from there, you know, just auditioning and hoping someone would
say yes to me, and doing classes constantly, and you know,
(29:11):
just just trying to learn and just.
Speaker 7 (29:13):
Enjoy every part of it.
Speaker 9 (29:14):
And I've been really lucky to meet some really wonderful
people along.
Speaker 1 (29:17):
The way, well coming from that musical part of your life.
I mean, one of the things I've always loved about
musical theater is the fact that that's where storytelling begins,
because you've got to be able to do it through
the music, and those lyrics aren't just a bunch of words.
What it is is telling the story.
Speaker 7 (29:33):
Absolutely, and someone that's told me or I read it
somewhere that in these musicals, like.
Speaker 9 (29:41):
A song should begin or the reason a character has
to sing is because the words aren't enough, or like
it's the only way to get out truly how they're feeling,
like like just speaking it and just living in a
space isn't enough for for you know, whatever the circumstances.
So I find it's so beautiful in musicals that these stories,
(30:03):
these songs are coming from a needs and like an
expression that's beyond just talking.
Speaker 1 (30:11):
See, I'm glad you explained that. And the reason why
is because I am a fan of Joker too. Whe
Joaquin Phoenix is singing with Lady Gaga. So many people
didn't like that, and yet to this day, I still
love that story because it needed it. He was dancing
around in the first movie. This one, it needed the music.
And seeing you understand that.
Speaker 7 (30:29):
I haven't seen that movie yet, I am so excited. Yeah.
Oh so that's great because I feel like there have
been some very mixed reviews about it. So it's nice
to hear your side of it.
Speaker 1 (30:38):
Well, maybe it's my addiction to music and storytelling in it.
You know, you grew up and listening to you know,
the nineteen seventies and stuff like that, where and even
today with Taylor swift. I mean it's all about storytelling.
Speaker 7 (30:51):
Yeah, yeah, absolutely.
Speaker 1 (30:54):
You know, when you're filming in Nova Scotia, one of
the things that you have to deal with as an
actress the weather.
Speaker 2 (31:00):
How do you do the weather? And does it ever
get in the way.
Speaker 9 (31:05):
Yes, Oh, I'm going to do the first seasons out here,
And one of the things I went quick fast, very quickly, was.
Speaker 7 (31:14):
If you don't like the weather, wait ten minutes.
Speaker 9 (31:16):
That's it, because it's constantly changing. We get four seasons
in a day. So yeah, that's definitely a part of it.
And as like season two, we were filming into December,
so yeah, it got cold and snowy and windy, so
(31:38):
you know, we have to be on your toes and
we had a great crew that was ready to like, you.
Speaker 7 (31:43):
Know, okay, it looks like we've got a snowstorm coming in.
We're not going to be able to.
Speaker 9 (31:46):
Be outside these days. We're going to pull up all
these scenes instead. So you kind of got to be
on your toes a little bit and get used.
Speaker 7 (31:53):
To wearing a lot of layers, and.
Speaker 9 (31:54):
There are now it seems like every item of clothes, clothing.
Speaker 7 (31:59):
You could want, there is a heated version of it.
Speaker 9 (32:02):
There's like heated socks that you can wash, there's heated vests,
there's heated skirts, there's just everything.
Speaker 7 (32:09):
So that was news to me too.
Speaker 1 (32:11):
See, and a lot of viewers won't understand this, but
when you're that high on the map or on the globe,
what happens is is that it starts getting cold way
earlier than the rest of the country.
Speaker 7 (32:22):
Yeah. Yeah, yeah.
Speaker 9 (32:23):
And well and because you know, we're on the water,
we're on the ocean, so that brings in a lot
of change too. Yeah.
Speaker 7 (32:31):
Yeah, so it keeps it interesting, that's for sure. There
was I think a scene or two.
Speaker 9 (32:36):
Where we were having to try and like dry out
the snow or melt the snow in the background.
Speaker 3 (32:43):
So it would still looks like summer.
Speaker 9 (32:46):
Chad and I got as a rap gift for everyone
at the end because because that the season takes place
over I think it's like forty five days, forty eight
days or something like that. But we got everybody tukes
it said, is it's still all gets on it.
Speaker 7 (33:02):
It's by the end.
Speaker 1 (33:04):
It's like filming a Christmas movie or doing Christmas music.
I mean, everybody does it in the summer months, but
yet it's going to affect when it's cold and it's
near Christmas and everything.
Speaker 7 (33:12):
I know, it's so funny. Yeah, well, I don't know,
it's what's worse.
Speaker 9 (33:17):
What's better of doing summer in the winter or winter
in the summer.
Speaker 1 (33:23):
Now I realized that Sullivan's Crossing is only two seasons old.
But there's got to be a picture book coming soon
because because of everything that's going on behind the scenes,
we like the full picture of what's happening. And it's like,
so I like paging through these gigantic books that have
the you know, the set and different scenes and everything.
Speaker 7 (33:41):
That would be great. I'd love that too. I don't
think there is onecoming, but I love that.
Speaker 1 (33:47):
Yeah, because I mean it's part of the relationship with
with the viewers and things, just to have that book.
I then, like I mentioned before, I just love paging
through those books and reading the storylines of what it
was really like to be on that set.
Speaker 7 (33:58):
Oh cool, yeah, uh.
Speaker 8 (34:01):
Well, all, let's.
Speaker 7 (34:03):
Let everybody know.
Speaker 1 (34:06):
One of the things that we never get to hear
about are the people that are behind the scenes. I mean,
I understand that we woul name drop with the different
directors and the writers and things but man, there are grips,
there are people, There are people on the lighting. We
never hear their story. Is it because they want to
stay the big mystery or is it that they feel like, eah,
I don't need the fame.
Speaker 9 (34:25):
I don't know, you have to talk with them, but yeah,
it's funny. Anytime I brought family to set, they're always
like shocked by the amount of people that it takes
to do this, like to make a show, to make
an episode. There's like over one hundred people on our
on our cruise sheet, on our like our call sheet
every day.
Speaker 7 (34:43):
So yeah, it takes everybody to make it happen, you know.
Speaker 9 (34:47):
And the amount of funny little jobs that you wouldn't
even think about of, you know that that people don't
necessarily know that go into it, like people who are
on clearances to make sure that you know, oh, we
can show this book in the scene in the arc
of you get sued, or like you know, set dressing,
who's gone and chosen the.
Speaker 7 (35:05):
Right lamp for this bed like this bedroom or whatever.
You know, there's there takes so many people.
Speaker 1 (35:13):
I can't imagine the continuity on the set of Sullivan's Crossing.
I really can't because there is so much that's going
on in the background.
Speaker 9 (35:21):
Yeah, no, continuity, it's as a special that's the special job.
Speaker 7 (35:27):
Yeah, it's incredible.
Speaker 9 (35:28):
I mean I can't imagine people on like really intense
medical dramas doing continuity on that and like any blood
or anything like that, like all.
Speaker 7 (35:38):
The stuff that goes on. Oh, that'd be crazy.
Speaker 1 (35:43):
You got to come back to this show anytime in
the future. The door is always going to be open
for you. I know I already said that to you,
but man, I really do mean it.
Speaker 7 (35:50):
No, thank you so much. Erro, that's so sweet. Hope
you have a great day.
Speaker 1 (35:54):
You bet same to you. Be brilliant, Please do not move.
Mickey Thomas, a rock and roll legend from Jefferson's Ship,
is up next. Hey, thanks for coming back to my
day of play. Let's get into that conversation with Mickey
Thomas from Jefferson's Starship.
Speaker 2 (36:09):
Good morning Arrow.
Speaker 9 (36:10):
Hey.
Speaker 1 (36:11):
I'm sure glad that it's you, dude, because I'm I
You've got to get this album on your Christmas station.
Speaker 2 (36:18):
You know what's funny. I was just telling Micky about
that earlier. I'm gonna I'm gonna add a couple of
songs on it.
Speaker 1 (36:23):
When I get home, you have to Oh my god,
I mean, Mickey, I'm telling you, there's something about this album.
I keep listening to it over and over again. There's emotion,
there's you give me the chance to have childhood memories
and then and then you give me a new touch.
Speaker 2 (36:36):
Of a song.
Speaker 10 (36:39):
You know, I'm so glad to hear you say that,
because that's what I wanted to create.
Speaker 8 (36:43):
You know exactly what you just said.
Speaker 1 (36:45):
And it starts with that album cover, Classic Coming. It
really is one of those album covers where when when
you have it in the collection, you know exactly what
it looks like on the side.
Speaker 8 (36:55):
Yeah, it does.
Speaker 10 (36:56):
It does look very nostalgic, doesn't it yearn everything.
Speaker 3 (37:00):
You know.
Speaker 8 (37:00):
I'm not really a hat person.
Speaker 10 (37:03):
I hardly ever wear hats, so it was kind of
unusual for me to don a hat for the photo.
But it's actually the hat belongs to my wife, really,
so I borrowed her half of the photo.
Speaker 1 (37:15):
But see that that's part of the magic of music
and the you know, the theater of the mind that
you guys, as singer songwriter performers give to us.
Speaker 8 (37:23):
Yeah, you know, stepping outside of the box.
Speaker 10 (37:26):
You know. I mean that's what we that's what we
have to do sometimes. And I you know, I really
I did that with this record. It, but I stepped
outside of the box. But it also felt very felt
very comfortable and natural for me singing this way. I
think I've been told that I was maybe born about
twenty or thirty years too late, that I should have
(37:46):
been a crooner in the forties and things.
Speaker 2 (37:48):
Yeah, so I can hear you do that. You know,
you set me up like that.
Speaker 1 (37:52):
You're absolutely right, because that your emotion has always been
a part of every single song that you bring to life.
Speaker 2 (37:58):
I mean, it's there.
Speaker 8 (38:01):
Yeah. And that was a challenge, you know, with the
Christmas album because you know.
Speaker 10 (38:04):
As you mentioned it, it's down, you know, lower register
than I normally sing, you know, in my rot voice,
you know where I'm.
Speaker 8 (38:10):
Up there screaming in the strategy.
Speaker 10 (38:12):
So so I brought it down with much breathier, warmer vibe,
and you know, I had to in a way, I
had to concentrate a lot more to create that the
atmosphere that I wanted to create with it, and like
you said, you know, the spirit and the soul. And
it was a challenge, but it was really fun and
(38:34):
this style of singing came very natural to me.
Speaker 1 (38:37):
Well, you can definitely feel that when with the song
White Christmas, because I mean it's like you're it's like
you're saying, please come over here and sit down. I
want to share a story with you. I mean, you
really do bring us into it with the emotion that
you have, and it's and it's almost like you studied
the song, you really learned what the song was about
these and then all of a sudden, it just comes
flowing through you.
Speaker 8 (38:56):
Man, you got it. That's exactly it.
Speaker 10 (38:58):
You know. I could most of the vocals are all
done live when we were cutting the tracks with the musicians.
You know, I was I was in my little iso booth,
but I'm in the studio with the guys as we're
recording the track, and.
Speaker 8 (39:11):
That really helped me to create the vibe.
Speaker 10 (39:13):
You know, it was just kind of sort of lost
in the you know, in the take and the music
as we're doing it. I tried to I tried to
recreate a couple of the vocals later without without doing
it live with the band. It just did not have
the same feel, the same atmosphere at all.
Speaker 1 (39:30):
Yeah, because I mean being in there with the band.
I mean, come on, I thought that's the way it
was supposed to be with Nowadays people just send tracks
through the mail, but it's say come on, feel it.
Speaker 10 (39:38):
Well, that's you know, and that's the way the guys
back in the day did it, you know, with you
know Frank and Andy Williams and Nat and those guys.
You know, you go out in the studio with the
orchestra and you sing the song live. And we tried
to we tried to stick to that, to that process
as much as possible.
Speaker 1 (39:54):
Please tell me that you were outside having a snowball
fight or ice skating when you did the song have
Yourself on Merry Christmas, because I mean you can feel
it in.
Speaker 10 (40:01):
That well, I'd like to say that, but we were
actually in Nashville in the month of May when we
recorded the album, so we had to kind of mentally
transport ourselves to Christmas, you know, and try to pretend
that there were snowfalling outside.
Speaker 1 (40:19):
Now, you do know the rules of Christmas albums. That
means you have to have a Christmas tour every November
and December, I.
Speaker 10 (40:26):
Hope, so you know, we'll see how it does. Hopefully
it'll do well and then next year might put together
a few days for a Christmas tour.
Speaker 1 (40:35):
Oh, because I mean it's become such a family tradition that,
you know, going out to hear our favorite musicians, you know,
sing those those traditional songs.
Speaker 8 (40:43):
Yeah, I'd love to do that.
Speaker 10 (40:45):
You know, I probably do like a forty five minute
Christmas song set and then you know, follow it up
with thirty or forty five minutes of starship stuff.
Speaker 2 (40:53):
Nice night.
Speaker 1 (40:54):
Now, that's a gift for your fans. What was like
to sit down and create with Dan, because I mean
we never get to hear that side of the of
the process of music. I mean we all envision what
it must be like to be inside the studio, but
when you sit down with someone like Dan, it's like
that right there.
Speaker 2 (41:11):
Did it steal your breath?
Speaker 10 (41:13):
Well yeah it did because it was so you know,
when I was just so it just felt so natural
and so right in the moment that I met Dan
and we started talking about you know what, you know,
how the shape we wanted the album to take and
the vibe we were going for. And then he, as
I mentioned, put together this fantastic group of musicians that
(41:34):
just completely blew me away like the cream of the
crop as far as Nashville assession guys go.
Speaker 8 (41:39):
And it was just unlike any experience I'd ever had
in the studio.
Speaker 1 (41:46):
I'm a mobile DJ, and your song have Yourself a
Merry Christmas is the best slow dance for every age
this season.
Speaker 8 (41:55):
I hope.
Speaker 10 (41:55):
So that was the first song that I cut for
the album out and you know, hopefully because that kind
of set the tone for the whole record. And you know,
I was inspired by the obviously the Judy Garland version
of the movie Meet Me in Saint Louis, when Judy's
sitting in the window, still steaming to her little sister,
(42:17):
trying to comfort her about the family is going to
be a part, you know, for Christmas, but don't worry
because next year we'll come back together again and it'll
be all right. And I tried to, I tried to
just really capture that feeling, and I was recording that one.
Speaker 1 (42:33):
When you record an album such as this and one
that everybody's going to keep coming back to, do you
get to have memories as well, just like the rest
of it?
Speaker 2 (42:40):
Or are you too close to it?
Speaker 5 (42:42):
Oh?
Speaker 8 (42:43):
No, no, I have memories absolutely. Yeah.
Speaker 10 (42:45):
Christmas is always, you know, for me from my childhood,
a very happy time, you know, a warm time, and
don't like just like most people, I hope you know
you have fond memories at Christmas.
Speaker 2 (42:57):
The song I'll be Home for Christmas. Wow, Mickey, Oh.
Speaker 1 (43:01):
This this one here is one that you listen to
it and that's the strangest thing about it is an
hour or so later, I'm still singing it with you.
Speaker 7 (43:08):
Yeah.
Speaker 10 (43:09):
That's another one of that very kind of whimsical you know,
and the fact that what I like about that one
is a saying I'll be home for Christmas, but you
might not actually be there physically, might not be there
in body, but he'll be there in spirit. And so
you know, I'll be home for Christmas if only in
my dreams, you know. So I kind of envisioned, like
(43:30):
when I was singing that one, like like lonely GI's
back in World War two.
Speaker 8 (43:34):
Yes, you know, wish you maybe be home for Christmas.
Speaker 1 (43:36):
Yeah, Okay, you're taking me back to the coroner again.
So their crooner, I'm sorry, the and what and so
you've got to be able to do an album like that?
Are you going to do something with with those classic tunes.
Speaker 10 (43:49):
Yeah, I would love to do an album like that,
you know, those kind of songs that they're not not
just Christmas songs, but the standards, the classics. Yeah, something
along the lines of what Rod Stewart did you know
with would really be fun. I've always wanted to do
that too.
Speaker 2 (44:02):
What is your favorite one from that? Eraro? I mean
I could totally hear you singing chatnooga can choot you.
Speaker 8 (44:10):
Gosh? I see?
Speaker 10 (44:11):
I like, hey there you with the stars in your eyes.
Speaker 3 (44:16):
Love never made a full of you.
Speaker 8 (44:18):
You know that's a good word. Yeah, I loved you
for settlemental reasons. Yes, that kind of stuff.
Speaker 1 (44:27):
So the challenge is on You've got to be able
to do that for us because if your fans are
gonna love something like that, Okay.
Speaker 8 (44:34):
I'd love to do it. I'm gonna come together. I'll
get back down to Nashville with Danny people get it done.
Speaker 1 (44:40):
So now with this album, I mean, it's one of
the things that they needed, listeners need to do. They
need to get it on all streaming formats, but by
the album itself, because I love putting the needle on
it and listening to it because there's something about vinyl
that even today, there's there's a there's a connection.
Speaker 8 (44:54):
There definitely, you know.
Speaker 10 (44:57):
That's why obviously a lot of young people, younger generation
have rediscovered vinyl and it's a very popular format. And
and with this record, with the vinyl, uh, not only
the process of putting it on and putting the needle
on the record and watching it spin around, but the
vinyl is red and green traditional Christmas colors, so it's
(45:18):
kind of fun to watch it spin around.
Speaker 1 (45:20):
The build up of the piano on an old fashioned
Christmas did the did the piano come first and then
your vocals? Or how did this all come together? Because
this is this is a piece that people are going
to hold on to.
Speaker 10 (45:31):
Yeah, well, you know, we ran it in the studio
a few times with the with the piano and the
vocal and so, and then added the strings you know afterwards,
and the strings. The combination of the way the piano
works with the strings is very very very emotional in
that and uh, very magical. That's my favorite one, my
(45:55):
favorite track on the album.
Speaker 2 (45:56):
Yeah, you can feel it, you can feel it.
Speaker 1 (45:58):
Where can we go to find out more information about
what you're doing musically? As well as this this new.
Speaker 10 (46:03):
Album starshipcontrol dot com. You can find out all things
Starship and all things Mickey, and of course the album
is on you know. You can go to Spotify, Amazon
dot com, all the usual places.
Speaker 2 (46:18):
I love it.
Speaker 1 (46:18):
Please come back to the show anytime in the future.
And when you come to Charlotte, we got to get
together for a face to face.
Speaker 8 (46:24):
I'd love to man, that sounds good and I.
Speaker 2 (46:25):
Love Charlotte excellent. Will you be brilliant today? Okay, Mickey,
thank you man.
Speaker 8 (46:30):
I appreciate it.
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