This transcript was automatically generated and might contain errors.

[0:30] Brendon Stimson: Oh, this is a good one. He's here. This is... He's arrived. This is special. He's arrived. I am... so excited about this, because honestly, I'm just so proud of the both of you for doing this, because I think so many artists say they want to do something, but you actually did it. You have your own podcast. It's incredible. I'm just so proud and so honored to be here, seriously.

[1:00] Jack Sippel: We are so honored to have you, Robert Hartwell. We're just... We're glad to be in the presence, in awe, truly. In awe. In awe. It's too much. We're too much.

[1:30] Brendon Stimson: Robert, we're going to dive right in.

[1:32] Jack Sippel: Yeah, let's not waste any time here. So can you take us to your first 5, 6, 7, 8? What got Robert Hartwell into dance? What got him started on this crazy journey, career that you have embarked on?

[1:45] Robert Hartwell: Oh my gosh. First off, obsessed. His first 5, 6, 7, 8 was at the Community Theater, seven years old, Raleigh Little Theater in Raleigh, North Carolina. And it was a production of Ice Wolf. And my mom took our little tiger cub, Den, to go see this production. It changed literally my entire life. But you know what, though? I will definitely say, and you both will understand this as dancers, what really was the 5, 6, 7, 8 of my life, though, was seeing the national tour of Cats come through my theater, North Carolina, coming through North Carolina Theater. And oh my god, you give me humans in unitards and high kicks and double pirouettes into bat masks, and I am here for it. I was like, I literally want to be a cat. I want to be a kitty. So that, I would say the 5, 6, 7, 8 was coupled between seven years old, Raleigh Little Theater, and then seeing Cats. I was like, I want to be a cat. I want to be a cat. Just everybody wants to be a cat.

[3:00] Jack Sippel: I can picture little Robert Hartwell just seeing it, and immediately, I have this vivid picture of you just like sitting in your seat, but all of a sudden, just like seeing their movements and like rolling your shoulders and getting into like cat positions. I'm like, okay, okay, the audition is next week. The audition is next week, Robert, so like, slow down little Sheba, but like, I'll definitely say though, what's funny is my brother Isaiah, when I came back from seeing Cats, and it was a big, it was a birthday present from my mom, it was a whole surprise, it was a whole shebang. Back at a time where you got dressed to go to the theater, I remember the navy suit that I wore with the white shirt and this blue and green tie.

I remember the whole thing, but when I got back home and I told my brother I wanted to be a cat, he's like, well, you're going to have to stretch. So my brother, just being the athlete that he was, would literally, I think it was his form of little brother torturing me, but I was like, it's for Broadway, yes, yes, rip my hip. Yes, I need to be able to do the splits. So I've actually never told that story before, but legit, he'd be like, well, you want to be a cat? Stretch.

[5:00] Robert Hartwell: Yeah. And if anyone knows Robert Hartwell, he's stretched. He's stretched. He's always got the leg up. He is always committed. It's always stretched. And I have proof. That extension is pure feline, I will say. That is full out feline. Y'all are a hoot.com. It takes new bounds and new reaches of that inspirational kitty poster of the one where he's hanging on the pull-up bar, just keep going. I feel like it's the new one for just like Robert Hartwell, just be like, I want to be a cat, but it's like stretching at the bar. That's going to be our new Broadway collective ad. It's going to be that.

[6:30] Brendon Stimson: So thank you so much, Brendan. If it's you and a unitard, I think it sells instantly.

[6:35] Jack Sippel: Instantly. The internet trolls will be coming for that ad so hard, like harder than they already come. So I think, yeah, a pause, a pause on that one. Oh, that's so brilliant. So we have the inspiration. We see cats. We see this whole thing. What is the first kind of style you get into? What is the kind of passion that drives you? Like what's the discipline that's like, you know what, this, this is it. This is what I get. And then what's the fire inside you in that first class? Take us through that.

[7:00] Robert Hartwell: The passion was one, I was always obsessed with ballet, just obsessed with the regal nature of it. And I think just being a kid growing up in the South and knowing that I was a little gay kid and wanted to be in another place where I felt understood, but then also felt like I could truly be like the full expression of myself, ballet definitely gave me that escape because you're just playing princes and kings and, you know, fairies and all sorts of things. But although that was like where I wanted to be, my actual like first taste of it, of like formal dance training was with my first dance teacher, Kirstie Tice Spady, who actually was in the first, in the National Tour of Cats. And so I was flipping through the newspaper as one does at 10 years old on a Sunday.

And I was like, OMG, I was like, Mom, look at this article. And it was a press clipping of this woman who was the white cat, Victoria. She was coming to Raleigh, North Carolina, straight from New York City to open up her own dance studio. And it was going to be called the Broadway Dance Project and I was like, I have to train with her. I have to train like this is like the person. And so my mom called, that was a Sunday, my mom called the studio on a Monday and she told my mom, my mom told Kirstie, my son wants to be on Broadway by 28. Can you help us? And she said, we'll get him on Broadway by 23. And my mom was like, well, amazing. And like literally to the T, I was 23 when I made my debut. So the first like taste of like training, formal dance training was with Kirstie and she's still a huge mentor and guiding force in my life.

[9:30] Robert Hartwell: But, you know, I remember our first class learning what a kickball change was. And that was very difficult for me. And my mom was an aerobic instructor. So I would go home and I'd say, OK, we have got to work on the kickball change or we have to work on the jazz square. And I mean, baby, the way that I would, you know, have to be like peanut butter, jelly, peanut butter, jelly, kickball change, right ball. Like I mean, and my mom would go through all these things with me. And I was I would definitely say I did not show much promise in those early days. I showed great heart and great joy and hope. But Kirstie was so patient because I was really I was just happy. Let's just say I was just really happy to be there.

[11:00] Jack Sippel: Yeah. I was really happy to be there. But he needed work. He needed work. So you did all the work in Raleigh, North Carolina. You end up going to the University of Michigan, as you always say, go blue, go blue, go blue. And then while you're so while you're at Michigan and you're in that mind space of, OK, this is the kick like it's I have to make this my passion. I'm choosing to make this my passion and my drive. It's time to really execute all of this. What was something that you told yourself that you had to kind of give yourself a kick in the butt to keep going?

[12:00] Robert Hartwell: A kickball change in the butt. A kickball change in the butt, the peanut butter, jelly, jazz square to the butt motivation. What was kind of going through your head while at school like that? And you're like, it's go time. Truly what was go time was my senior year, actually, of high school, because I ended up going to.

[12:16] Robert Hartwell: North Carolina School of the Arts, and I was a ballet major. And there I met a guy named Benton Whitley, who we all know is a casting director here in the city. And he got into the University of Michigan. And I was like, Well, whatever Benton got into, I want to get into, I have to get into, you know? And I really did want, I knew at that point in my life, I really wanted to, you know, get a BFA in musical theater. But the reality is, my high school career, I focused so heavily on my dance training, that I really let my grades suffer. And I'm a very smart person when I apply myself, and I truly applied myself greatly to my art, but not my academics. So my senior year of auditioning for Michigan, I didn't even get past the academic review.

And I was like, This is my dream school, like, this is where I want to go. So the kick in the butt for me really was like senior year of high school, knowing that I was going to go to another college for my freshman year, and, you know, put all of my strength, my energy, and my intention into being a transfer student to Michigan. And I remember my senior year, I called the admissions board at Michigan, and I just cried and said, Please, like, just let me audition. If you audition me, I know that you'll be able to know you want to work with me. And they're like, Thank you so much. But what we're going to recommend you to do is go to another college and then, you know, come back to us and audition.

So my entire freshman year of college, I was actually at Otterbein, which was the best year that I could have ever had as a freshman in college, because it was a very small class, there were eight of us. And all of those people just rallied behind me and like, let me I literally lived in the library my freshman year of college, because I was like, I have to get straight A's. And I have to get into Michigan. And so I got a 4.2 GPA freshman year. I know, send her cookies. I know. And then I auditioned for Michigan. And when I was in that room, it was like, that was the go time for me, you know, because I was going to get three years of this education where a lot where the rest of my classmates had four.

So go time was like, truly senior year of like, hey, don't ever let your priorities slip so that you miss what life like truly has for you. And so I'm just grateful that that door was slammed in my face at 18. Or I would have not fought as hard as I did when I got to Michigan. And a lot of my teachers were like, you're always knocking on our door asking for help. And I'm like, yes, I am. Because I know how hard I had to work to get here. I know how expensive this investment is. And this moment, these three years mean something so deeply to me. And I know I wouldn't be here as an educator now or even like my Broadway career had it not been for those three years and those mentors and teachers and truly my classmates as well that shaped me.

I don't know where I know the quote from, Robert, it might be you. But I heard that success is when preparation and opportunity meet. And I think it's, I didn't know we were kind of like transfer twins, because I think we had a similar journey of kind of like auditioning or applying to schools and not getting into our dream school the first time. And that door slams and you're like, oh, so the choice then becomes, okay, well, do I give up? Or is this, as you say, go time? And so I think it's just this beautiful thing. I'm just like, no, you guys are wrong. I'm gonna prove it to you. Watch me hit the books, watch me do it. So I think it's just very important to hear.

[16:08] Robert Hartwell: But I mean, Brendon and Jack, I think we would all three be able to say as well, like, probably some of the most pivotal jobs that each of us have had in our Broadway lives have probably started. They were birthed out of rejection. Oh, yeah. Like somebody at the audition right before said no, you know, or the number of us, I'm sure that also, like, there are creatives that are on teams that you have worked for that, like said no to you on other projects. So it's just like, you know, I hope to always believe and live by the idea that delay is not denial. You know, and that it's going to happen in the moment that it's supposed to happen, you know? So after your time at Michigan, let's talk about this transfer to Broadway and this extended brilliant career you have going on. So you come to New York City and you do five Broadway shows, five Broadway musicals. You're on the road. Just five. Just five. And they're very small. Tiny shows. Very small. Tiny.

[17:25] Robert Hartwell: So you come to New York City, you do five Broadway musicals, you're on tour. And I just, when we think of Robert Hartwell, we always think about exuding joy, exuding that emotion of this feels good. Like you make every dance step and every performance and every moment whenever you're on stage looks like it feels so good. And I think that is something that is not done by 99% of us. I mean, let's be real, like to bring that performance quality and truly make something feel good and perform, like you just don't see it all the time. And I think you are a class example of that. And I know we'll be posting about some examples like that. I think of you in Nice Work If You Can Get It and that famous jump split in the air.

And I think of you, I mean, people can do that and then it changes their face, right? They're like, oh God, and they're in the air. But it feels like you want to do that every second of your life. First of all, it's annoying that you can do that. Number two is, I mean, it really is. And so number two is, where do you place your mindset when you're dancing? You get this incredible choreography, whether it's Motown, which is very stylistic in that period, or Hello Dolly, which is also stylistic in its own way, but such diverse techniques used. So where do you kind of place your mind when you are in a performance mode? And maybe it comes from when you initially learn choreography and you're putting it into your body then. But what do you tell yourself? What kind of channels through your brain through those moments?

[19:08] Robert Hartwell: First, that is so incredibly kind and overwhelming to hear. So thank you for that kindness. You know, there was a moment in my Broadway debut in Memphis, and it was our first, sorry, it was my second week in the show. And I remember it was a Wednesday matinee. And I remember it was the first time that I ever had to sing a solo every night, right? And I remember my voice the week before being really tired because it was just like, I had a sinus infection. It was the debut, it was just a lot of stress. And so I remember coming back to the theater that next week and having that first double show day. And I said to myself, I really need to pace myself through this today, because I can't tank out like I did the week before.

And before the evening show, our dance captain, Jermaine, pulled me aside and he said, Hey, I have some notes for you. And I said, Oh, okay, great. And actually, I probably didn't say okay, great, because you know, like, as a dancer, like you, someone tells you have a note, and you're like, I suck. I'm terrible. And you're gonna fire me. I'm literally getting fired from Broadway. Like I've been on Broadway for a week and a half. And they're gonna fire me. It's over. Great. Okay, cool, cool, cool. So and he was he had a list of notes. And then he said, Before I begin, where was your head this morning in the first show? And I said, Honestly, Jermaine, I said, I have never done this before. I said, But I actively told myself, I needed to monitor my output, because I didn't want to tank out.

And he said to me, Don't ever do that again. Because this is a gift. So I'm not going to give you any of these notes. Because what I noted this morning is not who you are. And it's not why you are here. And I can honestly say, and I literally can honestly say with all of my heart, I marked one show in my career on Broadway, and it was that matinee. Every other show, I truly believe that it's a gift. Now do not get me wrong. Like there are days when you are on the struggle bus of life. But the idea of tapping into the joy and tapping into the people that are around you, that so many people I think, you know, are called to this, but so few people are chosen for this, that how dare you then sit in a blessing and not move through it as though it is truly a divine gift.

And so I can't say enough, I just try and look at the people around me, and think of their stories and think of like, wow, we got chosen to do this thing. Like the universe saw fit that like we could get together and tell this story. And don't get me wrong, I think the audience is an incredible part of it as well. But truly, just to think about like, whoa, little seven year old you, little you who was being stretched by your brother because you wanted to be a cat, like, you're now here, you're doing it, you know, and like, Jermaine got my edges together so quick that day. And I was like, okay, you know, again, speaking of, you know, these moments of like, what was that turning point? That was a turning point for me. And I'm so grateful for that lesson of like, never again. Never again.

[23:26] Brendon Stimson: Totally. And shout out to Jermaine, because he also worked on our tour. And he's brilliant. So Jermaine, if you're listening, love you, biscuit. So listen, he's my biscuit. Love you, Jermaine! We love you!

[23:40] Robert Hartwell: So, and I love that now switching kind of in gears to the Broadway Collective, which you are founder, CEO, President Hartwell of Broadway Collective, okay? So, and I have had the privilege of being in the same room with you as you teach students, whether it's on the national tour that we used to do and will do in the future, and gathered, which we do our summer events. Being in the room specifically kind of in our mock audition setting is so incredible because you exude that same energy and same teaching quality of like, when the students get to watch you do the combination, you're like, it could be this, or it could be this. And that's your famous uns that you always do for every step.

[25:02] Brendon Stimson: So, we're going to be here for the long run, and we're going to build up your confidence and build up those skills, so it's not just a kind of like, yeah, you're great, let's learn some dances and then move on. It's absolutely not that. So I think that's incredible. I love that. And here's the thing, y'all, it allows them then an opportunity to have an out. And I know that you're looking at me like, wait, what? Here's the thing, we all went to school with people, and when I say school, we all went to college with people that never got pushed or never felt rejection until they got to New York City. And you're 22, and you're 23, and you're reckoning with the idea of somebody telling you no for the first time, and I would much rather be 16 years old and feel if my person was okay with that.

And I know, so it's why we do the mock audition, not to tear kids down, that is never what we're doing, but to say, hey, do you like this? Does this excite you? Like, does this make you feel like I want to get back in the studio tomorrow and fight for a yes? And every summer, we have students that say, this was the most life-changing summer ever. I do not want to do this as a career. And you're like, that is amazing. I think that's the biggest gift. You just saved your parents $200,000 and a slew of therapy bills when you moved to New York. Truly, you know? But I know I'm being funny, but it frees them to then expand into who it is that they are supposed to be on this earth, you know?

[30:54] Robert Hartwell: 100%. And the end of Gathered normally ends with the share case of the students, and when it's in person, you know, all the parents and families are there. And then after each student seeing, I go up to the student, they have a little one-on-one heartfelt moment, and it's so wonderful. And usually, they cry at the drop of a hat, and it's just beautiful. But I ask, you know, the next-level question about, like, what are you taking away from this week, or what are you moving forward with? And I remember, to your point, a student said, I realized that I need to be a director and not a performer, or something along those lines. And the whole room just, like, stood up and applauded. It was the craziest thing, because to exactly my point of, like, you're realizing it now. That's amazing. So that's one of my favorite moments of all time, is that final day of Gathered. So it's very special.

[31:50] Brendon Stimson: Robert, just, we have some folks who have written in to our social media for you today. Follow us at, again, underscore podcast. And so we just have two questions for you. The first one is from Lucy, and Lucy says, I'm 17 and trip over my feet, but I discovered dance this year, and I love it. Is it too late?

[32:16] Robert Hartwell: Lucy, it is never too late. I do not believe that it is ever too late, but I do not think that you now get the opportunity to do something different, Lucy. And if this is something that deeply matters to you, I want to encourage you to start with a ballet class, learn the positions first, second, fourth, and fifth. Know what a tendu is, know what a passé is. And now that you know that, hey, this is something that I want to do, and now that you have heard it's never too late, it's go time. Like this is now your personal go time, you know? And so what will you do with the time that you've been given? And I just encourage you to use it for action and no longer an old narrative that truly does not serve you.

[33:14] Brendon Stimson: On point. It's not too late. It's not too late. What I talk about every day is it's exactly that time to put in the work and you can make it happen for sure. I think I myself, I discovered dance at I think 17 as well. I mean, there was that thing of like, this looks fun. I'm going to dive into this. And then the more you dive, the more you see that there's definitely work to be done. I mean, Robert, even you said it's like I had joy, but I was a project.

[33:40] Robert Hartwell: Oh, yes. Oh, yes. Kickball change, Lucy. Kickball change and just keep working.

[33:47] Brendon Stimson: Peanut butter jelly.

[33:48] Robert Hartwell: Peanut butter jelly. That's brilliant. And our last question here from our social media is from Joseph. And this is a little two parter. Joseph says, what is something from a previous job or experience that you will always take with you moving forward? That's part one. And the little addition to that is, is there a specific dance sequence you'll always remember from any show or experience? They don't have to be from the same one, doesn't sound like.

[34:16] Robert Hartwell: Oh, Joseph. Oh, Joseph. I would say first, something that I will always remember from a show would be watching David Hyde Pierce interact with every single person in the building of Hello, Dolly! Whether you were an usher, whether you were a stage manager, whether you were a brand new cast member, he has such a curiosity for humans and for kindness. And he just cares. And I will never forget watching him backstage, watch other actors work and just being so generous. And I'm thinking, you are David Hyde Pierce, like you are David Hyde Pierce, like literally we should be like carrying you around, like there should be like a chariot that we escort you around this theater in because you are David Hyde Pierce.

But he is just the most generous human and to see him care is something that I'm like, it does not matter what is happening in your day. If David Hyde Pierce is checking in on the PA, you too can be checking in on the PA, you know, just like that is definitely a, that is something I'll never forget.

[35:53] Robert Hartwell: And to bring it back to, oh gosh, Joseph, I think kind of just talking about Hello, that brings me back to rehearsals with Warren Carlyle. And he has this way of every dance step has a sound. And so there were barrel turns that we would do in The Waiter's Gallop. And instead of saying, and barrel, and barrel, and barrel, and barrel, I don't know where incredible human man got this, but it was Guga, Guga, Guga, Guga. And so it's like, it became a catchphrase. It's like, how are you? Guga, you know, so I will just never, I will never look at a white cloth napkin the same ever again, because it has the power of Guga in it. I will never look at a barrel turn.

[41:45] Jack Sippel: What we want to know from you is, whether it's been in rehearsal, life, yourself, anybody else, what is a moment that you wish was just captured on film, or that maybe was, and you just like, I will never forget this specific moment.

[42:02] Robert Hartwell: Oh wow. I could cry right now because, one, the story I was thinking of, it just changed in my head and so I'm gonna go with like, what the spirit is saying. When I was 16 years old, I went to Stage Door Manor, and there was, and it was a long story of, I mean like, begging Peter to pay Paul to get the money. I had never been to something that expensive before, and you know, my mom couldn't afford things like that, you know, growing up, so it was a lot of fundraising. But the point is, I got there. And the first day of the summer program, I met a young guy with a really, really funny accent. He's from Australia, and his name was Michael John Slinger. And we were the two dancer boys at Stage Door.

And I had never met like, another like, flexible dancer guy like me, you know? And there was a moment in a, we did the Our Time Cabaret together, and there was this moment where, at the beginning of that cabaret, he and I would cross stage, and we would do a fan kick, and then we would get on our knee, and then we would look at each other. And I remember that so vividly, because it was just this moment of like, I love him, I love dancing with him, like, I love what we get to do. Fast forward to Hello, Dolly! It was our first Broadway show that we got the opportunity to do together. And there was a cross that I would do with Nathan Madden every night, where we would essentially do that same move, end on our knee, and look at each other.

Well, MJ, I believe that was MJ's like, second cover. And one night, just ironically, you know, MJ was on for Nathan. And so I didn't think anything of it. We're dancing, da-da-da-da, we go to do this moment, and I go to my knee, and I look at MJ, and I just saw a flash of 16 years before, of being 16 years old, and now both of us being in like, the thick of our Broadway careers, and I just burst into tears on stage. And I was looking at him, and he was looking at me, and he knew that my life was transitioning into something else at that moment. And it was one of the most special moments of my life to be able to see the power of friendship, and the power of love, and the power of what theater and what theater families can do.

And I just remember sitting at the end of that moment, and just like, I couldn't stop gazing in his eyes. And so if I could have, I would have screamed out to the high heavens, shoulda shot it. Shoulda shot it. Shoulda shot it.

[45:14] Jack Sippel: I can picture this like, glorious scene of you guys fan-kicking to the knee, and then like a slow motion, bring, as you look at each other, and then just, I've had the time of my life. You can see that.

[45:34] Robert Hartwell: That's what I pictured in the shot.

[45:37] Jack Sippel: Yes.

[45:39] Robert Hartwell: I had a different background track, but we can fix it in post.

[45:45] Jack Sippel: We can fix it in post.

[45:46] Robert Hartwell: Yeah, absolutely. We have options.

[45:48] Jack Sippel: It was hallelujah, baby. We know it.

[45:50] Robert Hartwell: Oh, it was totally hallelujah.

[45:51] Jack Sippel: Lots of tambourines.

[45:53] Robert Hartwell: Lots of tambourines. But I will say, I say this after a couple of ours, shoulda shot it.

[45:57] Brendon Stimson: These are emotional, Brendan.

[46:00] Jack Sippel: I know.

[46:00] Brendon Stimson: I literally, I was getting choked. I can see how the entire-

[46:03] Jack Sippel: Proud of us for this segment, you know?

[46:06] Brendon Stimson: We love it.

[46:07] Jack Sippel: We love it.

[46:07] Brendon Stimson: We're like, would this be fun? Would this be a good segment? And every time, I'm just like, oh, heartstrings.

[46:13] Robert Hartwell: Shoulda shot it. Shoulda shot it.

[46:17] Jack Sippel: It's so brilliant.

[46:18] Brendon Stimson: It's so brilliant.

[46:20] Robert Hartwell: Thank you so much for joining us for this podcast. You are amazing.

[46:24] Brendon Stimson: You are amazing.

[46:26] Jack Sippel: I know you are very, very, very busy, but thank you so much for doing this. I know that there are many people out there who have journeys like you and are excited to hear this, and this has probably changed their outlook on what they do next and how they approach life in general. So thank you for sharing with us and just being present here and letting go and being open. We appreciate you. And Robert, if there's any, if there's any other people wanna find out more about you or Broadway Collective, where can they find that?

[47:01] Robert Hartwell: They can find that at Bway Collective on Instagram or at SirRobertTakesPics, but I will truly say, I'm just so proud of the both of you and I'm so excited to see the huge life that this podcast is going to have and to just think that if we would have had something like this when we were growing up, to be able to hear stories and to be able to see beyond an Instagram post and to be able to see beyond a Playbill 30-word bio, I just am so proud of you both and I'm so excited and expectant to see all that's gonna come for you all. And I know that there's gonna be a kid one day that comes up to you and they're like, oh no, I kept going because of X episode. So huge love to you both, truly, so much love. Thank you, thank you, thank you.

[47:57] Brendon Stimson: Make me cry in the outro. I think to take us out, can you give us another peanut butter jelly?

[48:00] Robert Hartwell: Peanut butter jelly.

[48:04] Brendon Stimson: Good. Peanut butter jelly equals kickball change, kickball change, a peanut butter jelly, a peanut butter jelly.

[48:11] Jack Sippel: No?

[48:11] Robert Hartwell: What?

[48:12] Jack Sippel: No, no. You should have shot it.

[48:23] Brendon Stimson: Hey, it's Brendan.

[48:24] Jack Sippel: Hey, it's Jack. Thanks so much for tuning into our podcast. Be sure to hop on over to our Instagram at again underscore podcast and give us a follow.

[48:32] Brendon Stimson: A like.

[48:32] Jack Sippel: A comment.

[48:33] Brendon Stimson: A DM.

[48:34] Jack Sippel: Because we want to hear from you. Let us know how we're doing.

[48:36] Brendon Stimson: Sure.

[48:38] Jack Sippel: Sure.

[48:39] Brendon Stimson: Sure.

[48:41] Jack Sippel: And before you press next to play your next podcast.

[48:44] Brendon Stimson: Hopefully it's us again.

[48:45] Jack Sippel: Go ahead and hit that subscribe button.

[48:47] Brendon Stimson: And give us a rating if you love what you're hearing.

[48:49] Jack Sippel: Again, from the top is produced by Dory Berenstein.

[48:51] Brendon Stimson: And Alan Seals.

[48:53] Jack Sippel: Stay tuned for our next 5678.