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S2 E3 with Micah & Adam

Updated: Jan 20, 2023



Micah: All right. So, uh, yeah, we'll kick off the conversation. Um, welcome to another episode of Any Other Anythings.


Oh my goodness. I, I lost my, I lost my thing already. All right. Here we go. We'll start again in 2, 2, 1. . Uh, Cool. Welcome to another episode of Any Other Anythings. Um, I am here with Adam. Uh, we go way back. We've worked together on a couple, uh, Grey Box Collective, uh, projects.


It's honestly, So great to be reconnecting, even though we're literally on opposite sides of the country. Well, true. Technically in two different countries, but we don't have to go there. Um, , uh, yeah, I know. Yeah. Uh, Cause right, you're out in LA is that right, Adam? That's correct.


Adam: I'm out in, uh, Los Angeles working as a actor, artist. And then for you, again, remind me, where are you at?


Micah: We're, So, I'm in Ottawa. Um, my partner's up here. I moved up here during the pandemic. Uh, it's been, it's been an experience. The last few digital projects I've done with, uh, Grey Box Collective have been during my time up here. And, uh, it's been really cool, honestly, staying connected, uh, with the whole team creatively, um, as well as just honestly getting more involved somehow, which I, I love.


Micah: Um, so it's been, it's been really, it's been, uh, really invigorating to say the least. Love it. But yeah. Yeah, I'm, I'm excited to, Dive into a, a fun little evening conversation with you bud. Um, I wanted to kinda kick off by just, uh, I, um, I guess just by kind of checking in, seeing how we're feeling, seeing how we're doing.


Um, one of the questions that we like to kind of, uh, toss around the folks is like, if you had like a Grey Box collective or just a life, um, sort of check-in or grounding activity, Warm up or whatever, whether you're just entering or exiting a like creative space, Like what's one of your go-to's?


Adam: Yeah, so I always love a good, um, for me, I like to start off with any like, rehearsal process, just speaking.


I mean, when it comes to movement, that's not the best way to start. But at the same time, mentally preparing is such a huge thing for me. And so my body's then aware, uh, rosebud and thorns are more of like an end of practice kind of, uh, checkouts. But I do love starting off. The day or the rehearsal. So we see where everyone's temperature is, where everyone's coming from, the air, uh, their, their tone, you could say.


But if not that, then I do enjoy, um, you know, good old viewpoints. Just a classical view, game of viewpoints, of walking around, being aware of each other and just, uh, authentically reacting to the different dynamics around ourselves. It's, it's nice to see what each room full of different artists brings in and then what you create together.


Micah: Yeah, I love that. Okay, so for the listeners at home, or Honestly for me, cuz it's new to me, Viewpoints, run that down. I, I don't think I've heard of that one or maybe I haven't done that one.


Adam: Yeah, , um, uh, see this is where my college professor, Bonnie Erd would uh, be like, You don't remember this. So basically it's just you're being very spatially aware with each other.


You're moving in the space. And what we started with is, um, you start with walking first and then you can add different level, like height levels of being tall, medium, short. Um, then you affects your tempo and speed, and then everything is in coalition or working. As a mechanism with everyone else around you as well.


It's not meant to be giving a traditional, um, results or traditional, like in the sense of like theater making that the mainstream knows, but more of a being honest to what you're feeling and to the energies that are being shared in the space. It's the best way I could probably describe it. So, Intriguing could be three people doing the same thing in the row and matching each other until they break apart.


And then somewhere in their exploration they come back together. That's like an example of what viewpoints can do. Or they never reconnect again. They, they just go off on their own journeys. Yeah. Um, yeah. Yeah. For viewpoints. So, I'm gonna look real quick. who, who created, cuz it's really important.


Adam: I love that. The, the six view points? Yeah. Yeah. Mm-hmm. , Mary over Lee. Yeah, over Lee, Mary Over and Wendell and Wendell Beaver. Okay. There you go. All right. Little homework, uh, for me as well. I love that.


Micah: Uh, that's awesome. Thanks for introducing that. Two things you said standing out on like how you like to kind of like really check in and, and kind of hone in, I think is, uh, you said, uh, something along the lines of like, you know, talking is one way to kind of really kind of acclimate yourself into the, uh, the rehearsal space.


And, um, I, I think you brought up a really cool point about. How it may not be what you would traditional think of doing, uh, you know, especially when it's something that's movement bound, like a lot of what you know, Grey Box Collective does. But, um, I really do love, uh, just the idea of like, it really is a full body experience and part of the body experience is what you say is what you see.


It's what you're giving and receiving. Not just how you're moving through the space. So, uh, I really appreciate like, um, that, that sort of approach to, um, even in movement, it's okay to speak, to warm yourself up to mentally prepare to. Uh, you know, kind of propel yourself into the capacity to move. That's, that's, yeah.


Adam: It, it's all part of the canvas. You know, As soon as you walk in, you meet these people, you're, we're already on a canvas. We're not, And then you're putting on the, the whatever it is you're gonna make, you know, you're just showing everyone's colors, paints, tools. Whatever that could be of used to, to create in that day, you know, and usually going into spaces.


I always try to remember good intentions. Everyone's here with good intentions and they speak from good, good, uh, origins. Never malicious, never trying to go after, because I. In my experience, I don't really work well with that. But then again, art could be created any kind of those energies too. Yeah, I mean, art isn't just limited to the good.


It's also the bad and the ugly and everything else. So yeah, that's, yeah, that's how I approach.


Micah: That's awesome. That's awesome. Um, yeah, there's a lot of truth to what you're saying there as far as like, you know, it's not always the most healthy spaces that art is created. Like sometimes it is done in.


Chaotic spaces in pretty, you know, atypical, like I know the artistic community for the most part, like looking at a grander scale. We are. I would say generally a pretty kind collective of people. We try to be really empathetic. I feel like that just naturally comes with being an artist. Um, but there are some spaces, whether it's, uh, your own space when you're creating for yourself or in your own space or, you know, maybe just some environments that, uh, maybe accompany or a group has created that they feel like they get more authentic reactions or, uh, authentic.


Pieces of art. Mm-hmm. from a more disruptive experience. And there is some truth to it. It's, it's the circle of life, right? Like, not everything that we experience in life is gonna be kind and accepting and inviting. But I think that's the interesting thing about Molly's, like trauma informed work, is that it recognizes, Hey, these messy bits of your life, we can still, uh, tap into that in a safe environment.


Which is a really cool, really cool kind of, um, shift. I agree. Yeah. For our check in. Oh, no, please, please.


Adam: I was just saying like with Molly's trauma formed approaches, I mean, I remember when, back from finger pain with grownups, which was 2013, 14, it was back in the day. Something that showed me like the merit to this is when I had a love relationship with the lamp during our show.


And you know, Molly said, Yes, And. And I think that really, uh, what's the word? It really hooked, hooked, it hooked me out to just want to be more part of this work because there's no wrong choice. There's no, no false choices. There's choices and the impacts are play out later on depending on how, how you want to incorporate it into the whole overall arc.


And you know, I just, it was such a great. Also a way to go into the heavier concept, like it's not that simple. Uh, where it was more conversational with the artists, conversational with the creators, and everyone was in each other's awareness of how we're processing this tough. Intimate topic, these things and how we are going to proceed forward and create while keeping ourselves healthy and, and, um, sane, you could say as well.


Uh, I never understood really the power of it until I did a show a few years ago, uh, outside of GBC. I was Saint Karina. I was playing one of my Chicano icons. Huge thing for me. And then afterwards I was. Distraught. My, my whole body, my mental was just in a whole rhythm and process for doing everything for, for like a few months nonstop.


And, and I was thinking about GBC and how did they process these big, uh, feelings and so, I had to go back to a lot where I learned from them to find my center again and to detach from that character development. So GBC knows they're doing when it comes to these tough issues and putting stuff in that mental, that's, that's a, that's a battle every time.


Every time. Yeah. Yeah.


Micah: Without a doubt. Without doubt. Yeah. Thank you for sharing. That's awesome. That's, uh, such a great kind of like realization and perspective to kinda have on. Sort of experience as an artist in these spaces. And obviously each environment yields its own practices and has its own, you know, unique pros and cons.


Um, but it's, it's really cool to be able to take some of the, you know, learned, uh, um, artistic practices from our experience with GBC into these other environments to sort of recenter refine and, and kind of step beyond, uh, the. The trauma from time to time. Uh, so yeah. That's awesome. That's awesome. Uh, so yeah, I wanted to, for our first little check in, just kind of, uh, I loved you mentioned the temperature gains.


I like that idea of just like kind of feeling like where, where we are temperature wise. Uh, I'll kind of. Let's you take the, take the lead. Uh, if you wanna like, check in, let us know where your temperature's at and how you're feeling.


Adam: Definitely. So for this one, we can get a little more detail. I'd say we can do a temperature check in of, uh, you know, which climate temperature, humidity, winds, um, any, any sort of weather factors that are included into this.


Uh, check in right now. You're more than welcome to do, um, right now. I am feeling about a good 76, you know, not too windy, not too humid either. Just a nice California beach, city coast Temperature, uh, from zero to 10, it's about a seven. However, I want to be in the snow, so I'm ready for winter to be here so that, that's how my temperature is projecting towards. So, yeah, .


Micah: I love that. The little, little internal forecast. Yeah, I'm, I'm here for that. That's great. Um, man. Yeah, I would say, uh, that I'm pretty, I'm pretty mild as well today. Mild mannered, like, I'd say it's a pretty, um, Like a light, lightly overcast, you know, where it's not like heavy like gray clouds, but just a nice light cloud, but it's still covering the whole sky.


I'd say probably around 71 myself. Like there we go. Really, really, really modest. Um, I think the clouds are there, just cuz you know, there's obviously the, the memory and the weight of the, the sadness that's passing, but it's also looking good ahead. Uh, honestly. Really, I feel like the skies are kind of clearing for me, just because it's been great just chatting with other artists and, um, kind of, uh, um, being able to enjoy what I'm doing.


Uh, even though it's a lot that I'm doing right now, I still enjoy it. And I think that that really, um, puts a, uh, uh, A positive silver lining just through it all. Um, so yeah, my whole sky is silver right now, which feels good. I like that. Yeah, I like that. Yeah. There you go. Yeah, we love it. Um, so cool. Yeah. I, uh, I, I kind of want to back, back step a little bit.


I know you mentioned about an earlier project that you worked on, and, uh, can you, uh, I guess just recap, like I know you've worked with Grey Box Collective and a number of project. Do you have one that like really stands out to you or that you would bring back if you wanted to or if you could rather, or like yeah, just an experience that you'd like to either revisit for the first time or like reimagine, um, in, in present time.


Adam: That's tough. That, that is tough. It's, I probably finger painting for grownups, honestly. Uh, there was so much exploration, so much. Uh, paint so much childlike wonder, really innocent, really, uh, honest to like ourselves at the time period being who we are. We were maturing to young adults and to like adults and just to be a kid on stage and have the kid energy, childlike energy to lead us to the space was quite refreshing.


And you know, they say kids are the best, best artists out there cuz they. Honestly authentic and that's how they engage throughout the whole world. And us as actors, we, we find that way to detach from that, but to like logically analyze and also, uh, re reanalyze. But to be in the moment, just to be honestly authentic.


It takes some practice once you get older it does. So definitely that one. And I would incorporate my violin or guitar again. Mm-hmm. and find interesting sounds. Not really pretty sounds, but more interesting sounds. Yeah. If not that, then, it's not that simple, but maybe a bigger bar venue. Cause yeah, that was, That was interesting.


Micah: Yeah. Yeah. It's not that simple. End of our, was really, really cool like concept as a whole, uh, to kind of disrupt what you would normally do in that sort of space, um, and kind of experience a live art. Yeah, that's really cool. Um, I also love, uh, uh, the, uh, the finger painting for grownups. I, I love that concept, that idea, because you have this, this ideology of like, You're doing something that's really childlike, really freeing.


Um, and I think there's, there's this really not strange but, uh, intriguing, um, draw as we get older to rediscover and re like immerse ourselves in things that we would do. As a child, um, I know for me, like I'm the oldest of seven, I grew up basically as a third parent and my partner literally calls me a baby all the time cause I do such childish things all the time.


And I think that's just an attempt sometimes for us to like, just kind of get back to that, whether we feel like we've lost some years of childhood cuz we felt like we had to mature quickly or if we just miss it because of. Things that we've had to endure as we've grown older and as we've grown more mature.


Um, like there's definitely, uh, a time to like have to face the music and, you know, deal with whatever it is that is pressing in our lives. But there's also space for us to kind of revisit what it meant to just kind of be free, uh, and just explore and, and view, uh, the world, uh, in a way that's, Limited by our judgments or by our perceptions of the world.


I think that's other interesting thing about children as, as a whole, especially artistically, is like, um, whether it's them talking to adults and we are just so blown away, like, why would you say that? Mm-hmm. , because we've been like conditioned in a sense to say this or not say that and, uh, to censor.


Yeah. Yeah, yeah. Yeah. And it's, it's so interesting when those barriers aren't innately, A part of humanity. Um, it's just interesting that we've kind of developed them over the years, but to see through generation after generation that continue to be challenged, uh, there's just something to be said about that. So I love that. That's one that you'd like to revisit. That's cool.


Adam: Yeah. I think also to play along with that line is I, I currently work with a, uh, Educational theater company, Kaiser Permanente and I work with a lot of kids. And our show is actually based on social and emotional skills. Building on those like awareness, empathy, asking questions of like, how are you being, uh, you know, vulnerable emotionally with each other and around us.


And a lot of these responses we get are, are pretty. Pretty great. And you get a lot of kids too in chats who are typing up, you know, spamming, absurdism, this and that. But at the same time, that's how they express themselves, like the tools they have today. Kids today versus our us when we were kids. Our tools are vastly different, so we're still expressing each other in our own way.


You might see it as, uh, annoyances or as. I'd be bothersome, but it's just them getting the voice out and it honestly, that was something I had to learn for through, through a bit. But once I did, I was like, Oh, this is just them expressing this is expressions. I can't, I can't choke out expressions. Just let 'em do their thing as I didn't want anyone to choke me out when I was a kid, so, That's what I learned too.


Micah: I love that. I love that. And, uh, there, yeah, there is something to be said, like Yeah, exactly what you're saying. Like, sure, we have this idea of what a kid or what an individual really, no matter how old or young they are, um, there are so many ideas as far as like what they should or should not wear, what they should or should not say.


Yeah. What they should or should not look like. Um, and it is so interesting to, especially in an artistic, uh, um, Platform, uh, to be able to say, You know what, no, let's see what happens when we don't tell them what to say or what not to say. What happens when we don't tell them what to wear and not to wear what, you know, almost these different things.


There's, there's such a, there's such an interesting process that lies within art and I think we can look back in history and look at all these great artists that ended up being timeless. Honestly, it's because they went against the grain, right? Yeah. They said, they said, Hey, you know, I'm not going to, uh, do what is expected of me.


I'm going to do what I am inspired to do. Um, and, and, and regardless of, I think that's the fact that really draws us in is that even in the face of adversity, of trauma, of nos, uh, we say yes and do it anyway. There's, I, I remember talking with, uh, Uh, I can't remember who, but someone, uh, just in my life casually about, um, how there's so much resistance, uh, to.


I guess change. Um, but we also seek it out, which is such an irony. Like, it's like, Oh, I want something different. Or things never change and nothing's the same. But then when someone wants to push that change forward or put that change in front of your face, it's like, Oh no, that's different. That's uncomfortable.


Like, you know. Mm-hmm. , like I've been trying to convince myself to work out. Forever. And I , I, I'm like, that's a change in my life that I want. Yeah. But I'm so resistant towards at the same time, and I'm just like, What is going on, man? Yeah, that's true man. What were you saying? Right.


Adam:All that's true. All of that is true factual, and it's to be human.


It's just, it's, it's. Contradictive existence, I must say. It's in every little step we do . Yeah. Yeah.


Micah: That's wild. I, um, yeah. So kind of, I guess, steering back to your experiences with Grey Box Collective, I, I am curious is like, so you've worked on a number of projects. Um, you've got, you know, your, your, uh, affinities towards, uh, And I, I do wonder, just as a whole, have you found any similarities throughout, whether it's how you approach the creative process, um, with GBC projects or, um, if you just find that, Cause I'm sure you've worked with, I mean, I'm gonna, Well I guess, do you have like a sense of like, for each project that you've done, cause what have you worked on?


Adam: I think five, two digitals, three, um, of live performances.


Micah: Yeah. Okay. So, so with those in mind, like have you found a through line that's still consistent even though you've worked with different ensembles each time? Or is there a a through line that you've kind of developed for yourself as you enter each of these, uh, devised words with the,


Adam: So for most of them, I will say, um, For myself, I try to have a beginning, middle end of my character alone because I feel each artist is also a character in this presentation, in this performance we're creating and we all pay, pay it towards the higher overall, meaning, Excuse me.


Uh, but there have been some times where I'm not sure. And that's when Molly's leadership really comes in. Cuz I, I have, I have faith that no matter what we create, as long as we keep saturating the space with all of our creations and artistic, uh, flows, she will carve, reshape, do all she has to do to make it coherent and make it present, presentable, and be proud of.


So that's something I've always, I've relied on Molly for and always been a through line As for movements. I always try to find a challenge and a movement for myself in each performance, meaning it's tough for me to do this honestly, if I do it for too long, I get winded within like parameters of being noting myself, but then also as a conditioning tool.


And so whenever I'm rehearsing or going through that stuff, I'm conditioning myself with that movement. So I always try to use this as a workout too, not really coming with a through line or what I do for each one, but. Yeah. You know, that's, that's definitely some of the things I go through my head when I go through.


It's, it's, if I can cut back a bit. Um, I started these movement, modern, um, experimental back in actually in Idaho. Uh, I went to Idaho State and I had a lot of really good, uh, artists out there. Pauls, Malik, Josephine Garba, Aldi, Bridget Close. It's a lot of movement was happening, A lot of, uh, exploring sounds with like.


Different temple and quality stuff. Like their, their stuff was really intense. Uh, they had, they used to have a theater company, actually they still do, called Barefoot Studios, where they're doing all like these physical presentational performances and like you were trained with capoeira at one point, and then you go in and do the movements based off of that.


I remember one show I lost about. 20 pounds I did because for five minutes each performance, I had to push my legs down and run in place like that, and start from a very, very slow point to then a very, very fast point throughout every rehearsal, every show. It was just so physically demanding, but then to get to Molly's work, GBC.


It was less physical and demanding, but having like the tools and things I learned from that, I was able to apply to what she was going for. And there was some meshing and there's other parts I was like, eh, that doesn't know if it's working, but other times be meshing. And I would understand like some of the talking where she came from, from that previous work.


So I came into Molly's work knowing some stuff, but not free, not really greenhorn. So, yeah.


Micah: Yeah, that's so, that's so interesting. And I, I do love that. Uh, I love that. No, I think you answered the question perfectly. That's, that's honestly great. Just having that through line of you sort of taking your time in each process to create a character and idea or version of, uh, Your experience that serves the greater story or theme of whatever, uh, the, the collective work ends up being.


Um, which is, which is such a, a great sentiment as as a whole. So, yeah. I love that. I love that. Um, So the last little bit that I wanted to kind of touch on, uh, question wise is, uh, specifically for you, cuz I know you're out in LA and LA is tough man, especially for an actor. So I'm curious like, uh, it'll be a two prong question.


Cool. I'm curious as to like, When it comes to, uh, cuz I have a best friend, uh, that lives out in LA as well. He's doing the actor thing and it's, it's a drain. Sometimes you've got bursts of really, like, you got, you know, gig after gig and like you're feeling good and then there's lulls and then maybe there's some things that are sprinkled in between.


Um, I'm curious as to like, what's sustaining yourself as an artist in LA specifically, like in a metro city looks like, um, or feels like for. Um, and then if you had like advice for someone who was maybe like looking to make a transition to a city like. Like, what would be a word of wisdom, uh, that you would impart?


Adam: Yeah, so, uh, save up, just save up. Get months of, at least, at least, because, um, US is gonna be for food mainly, or even like for the deposits, which, you know, some spots are two, three times. Even LA did that weird thing after co when. Started, they did this thing where if you wanna move to a spot, you have to make three times as much rent, which is like, that's, that's new.


Yeah. So a lot of different housing things have been introduced, but as an artist, You need your bread and butter job. That's simple too. I mean, you could be a background actor every day. You could try that, which some people do. But to get within that circuit and that crew, it's really difficult. Um, especially consistently.


You have to be, always be on time and always proving yourself worthwhile. And that's through central casting, Let me just say central casting. Um, But you also gotta have, uh, you know, your time away from traffic. Cuz when you commute to these locations, you're gonna be in traffic. In traffic. At first it's fine.


It's good being here for over five years. Wow. Five, six years actually coming up. Six years. Yeah, a few months. Uh, The traffic gets to you. It got to me a few times, and that's a, was a time where I had to breathe, get my music, and just disconnect. I work from home right now, so I'm able to just stay outta that traffic and just my sanity.


Um, we get bread and butter and make sure that bread and butter is in the morning or something where it's, you have to work certain number of hours where you get your full money back. But also, I will say, if you have a. Don't be afraid to get to lose it if you have that big audition or big role coming in.


More, more role versus audition because there'll be more like servers, jobs, more like, uh, other temporary jobs that come into our lives. And that's something I had to tell myself instead of stick with one job forever. So just be ready to keep moving and don't be afraid to take those leaps I say as well.


Don't be afraid. Um, Journaling helps a lot. Journaling to journal a lot. Just just the process, like everything. That's what I do. And also have another medium that you play in, like either music, either art or DJing or anything where you're creatively doing something else on the side because you wanna keep the track of progression of that while also your progression as an actor in the city so that you're not solely relying.


Um, merit and your validation from one artistic bm. You got multiple, you're pulling from, Yeah. Grey Box. I got this to pull from my music. I got that to pull from. So, It comes and goes. I love that. I love that. Yeah. Yeah, yeah. So save big city. Gotta save. Makes sense. You know, be physically responsible. But no, I love what you said about not being afraid to take the leap for your art.


Like, I think a lot of times, like I even struggle with this, like I, I think I mentioned earlier that. I am at a point in my life where I'm just like, Man, I love what I'm doing, but I'm also doing too much and I need to let something go. One of those is my day job where I'm just like, Oh, well this is my consistent thing.


Mm-hmm. , I'm getting more and more contracts and I am starting to like be able to start working full time as an artist, but I still have that like, you know, That, that gut fear, that like, Oh, maybe it's not enough. Or, you know, what if, what if, what if? And it's like, yeah, it's okay to let something go. Um, if that's, if that's where what you need to do next, you know?


Um, and not being afraid to take that step, because sometimes we might end up being. You know, a hindrance to our own growth, um, our own development, um, as an, as an artist or as an individual. Um, I remember for the longest time I was trying to tell myself like, Oh, I wanna get back to working full-time as an artist.


Micah: I wanna get back to, I remember complaining in the midst of covid, like I missed doing, uh, art full-time, uh, to my partner. And now that I have the opportunity, I'm nervous. I'm like, Should I do it? Should I do it? Yeah. Hey, that's a big, like, dust off big, big flat. I mean, that's really awesome to hear for you.


Yeah. Like to hear that you could do it full time. I mean, we, I always remember many others don't have what we have or they're, they're working towards that. So to be grateful in our presence is, is such a, a cherish thing to hold and, but also, you know, tip my hat to you. Congratulations on putting yourself in this position with your hard work and your authentic.


Adam: Yeah. Appreciate that, that, that, that does mean a lot. Like, um, and, and it's again great to hear you say like, don't be afraid to take that leap. Cause apparently the advice you gave was for me. Exactly. So , I appreciate it. Um, no, yeah, that's, that's honestly, um, so, so great to hear. Yeah. Sweet. Well, cool. Um, I think we've come to the bit of the conversation now where I just ask are there any other, anything from.


Any other Anythings from me? Huh? My family owns a TA in Helen Montana. It's called Elva ta. This is a, a bit, I always chip in anything. I do. Check 'em out in Helena. They're the cornerstone of the community. They are the best Mexican food ever in the whole state. You can quote me on that and you know, I just give love when you can and every In Montana to visit.


Just to visit. Just going to have some food in Helena and. Yeah, my music still writing, so you know, I'm gonna have some sounds out soon. Always recording. Always rerecording. Yeah, it's hours. Hours of listening to like really understand what you're trying to say. So watch out for that. Awesome. Honestly, can I just applaud the absolute, like most baller, shameless plug I've ever heard, Like such confidence, such clear message.


Micah: I love it. I, I need that sort of confidence. Let's go. So I'm taking so many notes from you today, Adam. Yeah. Appreciate it. Last one, uh, to Molly's mom. Yeah. Uh, Molly's mom, Bev. Yeah. She's the best. She's the best. She's a sweetheart. Yeah, let's go. Hope she's doing good out there, right? Yeah, yeah. Up in Maine.


Micah: We love it. Let's go man. Main crew. Oh man, I love it. Well man, Adam, it is been beyond the pleasure to like reconnect, like vibe with you. Uh, this is great. Um, and. I guess we'll see our listeners on the, on the other side. Uh, this has been another episode of any other, any things. And Adam, I'll catch you on the flip side.



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