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[0:00] Speaker 1: Hi, I'm Ariana Grande, Hi, I'm Cynthia ARIBO, and you're listening to the Broadway Podcast Network, visit vpn.fm to discover more. There's a cat over here. There's a cat over there. I'm a wrong one died. I'm a wrong one died. Welcome to

[0:28] Mike Abrams: the Ron cat died the podcast, breakdown of catastrophe. I'm your host, Mike Abrams, and today we have another amazing guest. We have been working with the Pearlman Performing Arts Center reimagined production of Cats called Cats the gel capal to bring you a series of episodes during their run. I am honored to have David weska here with me today. Dave is performing as rumple teaser and is also the front dancer in the viral catwalk clip that I'm sure you've seen. So welcome David and thank you for joining me. Thank you happy to be here. I'm excited to have you on. It's been fun to talk to the more ballroom people than because it's like you, I'm always fascinated by like, your thoughts of cats, especially in this like production. So yes, let's start. You are, as you said, not the theater person. You didn't grow up as the musical theater person. So did you How much did you know about cats?

[1:13] Speaker 2: Zero. I knew nothing. Zero about cats. I never saw I never saw the movie. I just knew that they were people in cat costumes. But I did audition for the workshops and all of the other renditions of this version, and I just, I didn't get it. And so I had wanted to be in cat since I saw it. I wanted to be in cats angelical ball Since 2021 when they first like posted the the audition, but didn't get it until the time it counted. So yeah, that's great. But so what

[1:48] Mike Abrams: did you watch the 1998 movie? Did you do any cats research before? Or you just went in with this production?

[1:56] Speaker 2: I went in with this production, but I kind of do that, like period, like I don't when I'm going to see a new Broadway show. I don't research the Broadway show because I just want to see how it's going to impact me as soon as without any knowledge behind it. That's just the way I operate. And I just decided to do that for this too, because fresh eyes and it's and it's going to be a revival anyway. So though it's the same music, it's not the same storyline.

[2:23] Mike Abrams: Yeah, it's so I'm the same way. I don't like to listen to cast albums or know much. It's gotten me into trouble when I've seen some heavier themed content where I walked in and did not expect that, right? But it is like, it's probably as a performer, also pretty healthy to not go in with a preconceived notion, so you can kind of develop your character your own way. That's exactly what I was thinking. Yeah, that's why. So let's talk about your let's talk about your character. Yeah. And so, did you know anything about Rumpel teaser, besides, maybe even what was in the, you know, the the audition notes? Um,

[2:57] Speaker 2: so I did okay. I did look up my character because for the audition I was trying to see, like, what angle I was coming from, younger cat, twin sister or sister of muggle, Jerry, dancer, Acrobat. That's really all I knew. And I knew that, like some of my iconic dancer friends have played rumble teaser before, so I just knew that they were looking for a really good dancer. So that's all the research I had. Okay,

[3:28] Mike Abrams: so that's it. And you so you said, brother sister. So you all I asked Jonathan, this too, you're playing this as brother and sister. Yes, we are. That is not consistent everywhere, because it's one of the relationships that some think brothers and sisters, some think best friends, some think dating. And so there is a lot of different ways dating. I mean, this, yeah, it's been over 40 plus years with this show, so there's a lot of variations of of the the two of them, wow,

[3:54] Speaker 2: I didn't know that dating is a little strange. Okay, why? So I just feel like Jonathan and I are really in the I mean, I could see why, because it's a male cat and a female cat, and automatically, people want to make on a romantic relationship. But I just feel like the brother and sister getting into like a mischievous territory is way more fun than like a Bonnie and Clyde type. Yeah, so for sure. So for sure. Yeah, that's my opinion.

[4:22] Mike Abrams: Okay, I want to go back to the moment that you are in rehearsals and you get kind of told the outline of cats, or at least the story of cats. What was your first reaction?

[4:32] Speaker 2: Okay, they also didn't do that, not

[4:35] Mike Abrams: fully, yeah, not to go through at least some of it, right? I mean,

[4:38] Speaker 2: yes, but in the sense of what they're mostly like explaining, at least, what I remember is they're explaining, um, kind of like what a ball is. But again, I have no background on cat, like, I don't know what cats is about. I have no idea. So I feel like for most of the people in the room, either they are musical theater people or they're. Were ballroom people that were in the workshop, so they already know what cats is about. So I think I was the only one in the room that didn't know what cats is about, I'm not gonna lie. So they were mostly talking about ballroom, which is a storyline that I already know, because I come from ballroom. And they were breaking down the categories for us and like explaining the relationships and stuff. But it wasn't. I still didn't have a full idea of what anything was about until, honestly, we finished, like, setting everything, yes. And I was like, Oh, now I understand what's going on.

[5:31] Mike Abrams: Yeah. It's kind of be a little refreshing to, like, there's a lot of people that are seeing your production and are like, I've seen that on social media a million times saying, I finally get cats, or I understand the storyline because of how clear the storytelling is in your production. But it has got to be a little wild to know, I mean, again, it's been around for 40 plus years, and to come in and have zero knowledge of it, and then still being able to put on the revival,

[5:58] Speaker 2: yeah. I mean, so Okay, a little bit of more about my background. I come I'm a contemporary dancer, and then I went into ballroom. And for contemporary dance, a lot of the time, the choreographer or the director will give you very ambiguous motifs, and you start, you don't understand the storyline until everything is complete. So that's just how I how I learned in school and high school and the companies that I was in, so I think it didn't bother me. I was I'm really good at just adapting and feeling the energy of what like this song is bringing. And I also think that having Jonathan, because he already knew and already played the part. I was bouncing off of him a lot, and although I didn't understand the storyline until much later in the rehearsal process, I don't think it mattered, because Jonathan me and Jonathan automatically had great chemistry, so I was able to to feed off of him for majority of the rehearsal process.

[7:03] Mike Abrams: Yeah, cast is such a loose premise to begin with, that as long as you have kind of the essence of your character, and you can kind of live in that, like that moment, I think you obviously can do that. Let's, let's talk about the dance, though, because it is, to me, I think such an interesting piece of this is choreography that is well known from Jillian Lynn, or were, you know, revived from Andy buen, and then this is a different version of it. And you know, we've had on the show Arturo Alan Omari, which was really cool at Broadway con, and they talked a lot about this. But from your perspective, like, how fun was it to bring in some of the ballroom elements while still having some of this musical theater, cats kind of dancing elements as well,

[7:46] Speaker 2: well. First Arturo is the person that taught me how to Vogue. So, okay, I have been training. I started training with Arturo in 2021 after once, things started, like opening up after pandemic, and I was coming from a contemporary ballet background, and had no commercial dance or any type of street dance, so being able and then fell in love with it, so being able to bring this into a professional job was Everything I could ask for, because I honestly abandoned contemporary dancing, just stayed with voguing. I felt accepted in the community and within the dance form, and it it was a challenge, but it also felt like it was in my body. So being able to put that on this stage, it feels like it was kind of like meant to happen, but it just feels like synergy, like the stars aligned perfectly for this. I also feel like it's majority of this production is voguing. I don't feel like there's a lot of musical theater jazz in this. There's probably one eight count of musical theater jazz going on. It's heavy in the Vogue. It's heavy in other street styles, old way, new way. We have a ballet section that's two eights, which was really fun to put in there, because it's like, oh, you could show now. She could do ballet, which was cool. There's an African section. So I feel like it's extremely well rounded in dance genres. Yeah,

[9:19] Mike Abrams: I do think the thing I noticed is there's some elements that definitely pay homage to the, you know, the original choreography. The dance is separate. Like, I think in your song, there's, I think it's baby and Primo, do the cartwheel, which is, like, yes, a very big element from that song for, you know, from there. So I think it's really such a cool blend. As a dancer, you walk in a couple of the categories. Do you have a favorite that you get to do every night?

[9:46] Speaker 2: My favorite? I would say my number is my favorite? Yeah, Jellicle Ball is also really fun. It's so tiring. I'm in so many sections, but really fun to do. It's just like. A push. Stamina needs to be up. I remember the first time I did it, I was like, oh my god, so I'm gonna throw up. Like, it's just back to back to back to back to back, yeah. But I think my number is my favorite.

[10:12] Mike Abrams: Love the number, yeah, it's one of the best parts of the show everyone. It's such a fun number to begin with. And I love, I don't want to spoil anything, although at this point it's been, it's been on now for a while, I feel like we're past spoilers. But I loved seeing it the first time I was I love that you all go kind of like, mess with the people around and grab some stuff and seal some stuff, like it's so true to the

[10:32] Speaker 2: character. Yes, yes. There's also so much going on that shows have to close. If you haven't seen it, it's fine. But the quick change and, yeah, the stealing and the dancing and singing at the same time, I feel like it's the most that's happening. Most is going on within a number. So, yeah, it's difficult, but really fun. Yeah,

[10:54] Mike Abrams: you also are doing a lot of other stuff when you're not like on the the stage. Because I think where I sat the second time, did you, I think you poured some shots for some people around us and, like, during Mr. McDonald release. Yeah, you're, like, interacting a ton. So you're not really ever off stage. You don't really have a lot of breaks, but I'm never those moments super fun. Yeah, you're just always doing something.

[11:14] Speaker 2: Yes, every number, I'm doing something. Every number that's amazing. Um, sorry, what was your question? Well, as I say,

[11:20] Mike Abrams: what's like, what's your favorite little kind of side thing that you're doing that maybe, depending on where you are, you might not even notice it, because I didn't see the first time that you were giving shots to people, and then it was right in front of me

[11:30] Speaker 2: the second time. My favorite one is during my when Jerry comes out to walk runway, and I'm like, cheering him on in the side, and I'm telling people, I'm like, That's my sister. That's my sister, and then he's, like, taking this stuff off, and I'm reacting with him, but then also reacting with the audience. That's I like that part. I love it.

[11:48] Mike Abrams: I love it. I want to talk a little bit about the viral moment, because you're front and center of that. So when you filmed all and you did that and filmed all that, did you like was the expectation that this was going to take off? Or what's been the response

[12:00] Speaker 2: to that for you? Um, I mean, the first day it came out, I was like, Oh my gosh, not my face me and the viral clip, the face of the viral clip. But, I mean, I felt grateful. I feel like, as a dancer, that's like, what you want is to be the featured person in the video, or to be the featured person and a viral clip and something that's going like the main section of a show. It was cool. I mean, that's my it's my job to, yeah, to feed the camera and to have people feel something when they when they watch me, and then in the ensemble, not just me, but watch us in the ensemble. Yeah, I did get stopped a couple of times in the street being like, Are you the dancer and cats that happened to me, like, twice, and that was, that was kind of cool. But I'm also kind of shy, so I don't, I don't know how to, like, react,

[12:52] Mike Abrams: yeah, ready? No, you're not doing that. You're not doing the dance with them real quickly on the street.

[12:56] Speaker 2: Oh no. I like the I like, I get very awkward and shy. And I like, I'm like, oh, yeah, I'm seeing but, yeah, it was cool. I mean, got a lot of likes on Instagram. It

[13:05] Mike Abrams: was really cool to watch at the very beginning, because it's, I think, like, I have been very closely chatting with and talking about the show for probably two plus years, and like, knowing this was coming, and when it got announced, I was really excited to be able to, like, to do stuff with you all to, like, really have a different version of cats, and so to see, kind of, like, the rest of the world get to experience that was, was really cool. Because I think if you're not maybe in the New York bubble, or in the theater world, in New York or ballroom scene, there was less of hype, probably the knowledge and hype. Yeah. I mean, it's like, I think it's now, has it. But there was definitely a stretch where it was. Everyone was wondering. Everyone was Yeah, and that is really started it you're right,

[13:45] Speaker 2: because it is the first video, and it is, people were like, are they wearing cat costumes? Like, what is this? I'm so confused. Are they like, how much of it is changing? And I feel like that brought the clarity as we're not cats. We are voguing, we are singing live. We did keep all the music the same, so come and check it out. Like, I feel like it gave all of that, and it also gave the authenticity of ballroom, because the cat walks didn't look black. So yeah, it I think that was refreshing for people in ballroom to see it being done correctly, because the the front three people are all in ballroom. So

[14:19] Mike Abrams: what has that been like as someone coming from ballroom and doing one of the most famous Broadway shows, you know, like, revived, a very different version, but, but like, how has that reaction been? And what was that experience like coming from that community and bringing this, you know, honestly, teaching a lot of people about the community that probably otherwise wouldn't have been exposed to it.

[14:40] Speaker 2: Yeah, the bottom community is always going to be split. Going to be split. People are always going to hate and people are always going to have their opinions, and people are going to be excited about things. I think that some people didn't feel that it was representing ballroom enough because there weren't enough femme queens in the viral clip and in the project period, which I completely. Agree. And I feel like some people were excited, but they're like, Oh, here they go again, biting off of us. But I also think that since Arturo and armari are the choreographers, and they have been in the scene for so long, like people are able to hop onto it because they know that they're that those two people are not going to let ballroom be appropriated, yeah? So, I mean, some people in the scene like it, some people don't. A lot of people do, yeah, and I also think that's all art, right? Exactly, exactly, um, I do think we need more fun queen, okay, I think it's really important. And ballroom was created by femme queens. It's the it's the space for black and Hispanic femme Queens first, and everybody else is a guest, in my opinion, and not in my opinion, honestly, that's fact, and even Grizabella being, oh, wait, I don't want to get to that question. I know you ask you that later, so I'll hold off.

[16:01] Mike Abrams: Okay, I think that's not good for my voting here, but I think I know where we're going there. We're gonna take a quick break, and then we back for more of the wrong cat died. It's such an interesting point, though, because it is such a fine line between appropriation and then also, like education, for some people that otherwise would do it, like I watched Paris is burning before or seeing the show, and like, I learned a ton that I would have otherwise probably not known, or at least at that level. And so I think there has been bringing the musical theater group to this as well, and then also because of how well and how successful the show's been when I was there, the last time, there were a lot of people where I kind of, I always ask people around me, like, how did you hear about this? What did you say, come? I just talked to people, and a couple people were just like, everyone said to come. And I was like, Do you know what this is? I'm like cats, and they didn't know anything about cats to know anything so, and they loved it. And so I do think that, like, there's this also this moment of being able to expand, kind of, at least the knowledge, or a little bit of of what the culture and the experience is like to other people that probably would otherwise never know anything.

[17:06] Speaker 2: Agreed I was sharing the program that they had more of a breakdown of what ballroom was was about, especially for the people that don't understand it, because I had some family members, English isn't their first language, and they're not from the United States, and they'll be like, I didn't understand the storyline, but it was amazing, yeah? And I mean, yes, English, they speak English very well. It's just not they're not familiar with the culture of ballroom at all. And I think it's helpful, because it's an underground culture, yeah? So, yeah, yeah.

[17:45] Mike Abrams: Again, it's a fine line, because how much do you give in too much? And then same with cats, like, there's a lot of cats that's left ambiguous, man. So there's intentionally not telling you relationships between these stories and all the other stuff going on. And so there's a little bit of it kind of fits. And that's, that's that's honestly, why these two, these two stories, I think mesh so well, because there's a lot of overlap. Yeah, I want to talk a little bit about something that I saw on social media with you recently, which is that you do a different makeup pot every single show. Yes, I do. How did you decide to do that? And, like, what's that been like? So

[18:19] Speaker 2: in ballroom like I only walk to performance things. So I walk tag team performance, and I walk in sorry in the show, I walk into tag team performance, and I walk old way versus new way. And a lot of the time, you'll change your outfit, you'll change your makeup in the real ballroom scene, you'll change your outfit, you'll change your makeup, depending on your mood. And I feel like rumble teaser is I created the character highly based off of my ballroom character, my ballroom character. I guess I feel like when I'm in ballroom, I act a little different. I just became friends with the with the makeup girls, and just ask them to, like, add some little things here and there. And then they were just like, David sit. And they would just do my whole base, and then it kind of just unofficially became my chair. I love it.

[19:15] Mike Abrams: Yeah. So is there like, is there a different theme? Is there like, are you trying to convey something different every night, or is it just to always have something different? It's

[19:23] Speaker 2: really just my mood. Like I'm feeling like today I was feeling a little I was feeling a little like Xenon Z, 3s and like I feel like with the green wig that I have, I like to embellish or really bring out, like the black alternative girl. So I feel like that's what we're going for most of the time. I don't want any type of glam makeup, like I'm about to walk through my carpet. I don't want that. I want, like editorial or I. Alternative, Rico, nasty type makeup. That's fun and different. Yeah, I love it.

[20:09] Mike Abrams: Okay? I want to go back to characters now. So again, as someone who didn't go in knowing any of this stuff, what relationships with the other casts, like the characters in the show, does Rumpel teaser have that you have either built or kind of lean into throughout the show, besides, obviously, Mungo, Jerry, um,

[20:27] Speaker 2: I feel like rumble teaser and Victoria have, like, like, we battle, but we have, like, a little crush on each other, okay? And we kind of like flirt a little bit throughout the like, we blow each other kisses, or we'll like, wink at each other and, like, touch each other throughout the show. Really, it's really small little things, though, so if people would notice, but like, during my number, she'll like, slap my butt, and I'll be like, Don't touch me. She'll be like, love you. Like things like that. And I also think rumble teaser and jelly Lorem have a cute like, oh, go get your friend, like, that type of relationship. Like, yeah, we like, we could talk shit, but we like talk shit about each other to each other's faces. So I think, yeah, we like sit next to each other for a lot of the show, or for the first half of the show. So that happens and rumble. Caesar hates Macavity. She hates the cavity, but I love McAfee in real life. I love Antoine. Yeah,

[21:32] Mike Abrams: it was great. But so that was gonna be my question, though, because I do think there's a in the cats that I like the the theater version, that I knew there's always this kind of belief that maybe Michael J Rumpel teaser could be being recruited by Macavity, or, like, trying to be part of the crime. And, like, I know you have your created house of larceny, but are not part of the house of Macavity. So it seems like in this production, it's kind of very different. Like the two of you are disinterested in the Macavity. We do not want

[22:01] Speaker 2: to be in that house. We do not want to be associated with them. We find them annoying every time they talk. We, uh, get away from us. But I feel like that's how, but that's not what it is in real life. It's really just on the stage. But, um, yeah, of course, I feel like we're super haters to house in the cavity. Okay, you're

[22:21] Mike Abrams: so it's interesting because I sat on your side on the second time I saw the show, yeah, and you just named the group of people that are all over there with you. So some of that staging where the relationships are built because, like, you're on that side with Joey Lorem is over there. Was right in front of us. A lot. You and Jonathan were in front of us a lot. I think baby was there too, like Victoria, and I think the other two were Jenny, a dots and Cassandra, especially in Act One. So is there any relationship there?

[22:49] Speaker 2: I don't really talk to Cassandra that much, except for and Rum Tum Tugger, but I do know she's talking about me while I'm on stage, but she's kind of just like the little girl who I just ignore, okay, and Jenny is just, she's a moody girl, and I ignore her too. Okay, so, yeah, I think that jelly and I created a relationship as the shows started as once we got into the space, because of all the amount of downtime we had, we were like we're always sitting next to each other, so we just started this, like fake bickering, bickering, and it's always a fake bickering when Macavity comes on, because I think we both equally don't like Macavity. Yeah, yeah.

[23:38] Mike Abrams: Okay. I want to talk quickly about you have two legends in your show and many more, but two, one from ballroom, with junior Lowes, and then also Andre De shields. So what was that experience like in the rehearsal process, of having somebody with such incredible depth of the musical theater, The Wiz and so many more, and then also having Junior, which is an icon legend, and ballroom there together. What was that like, having the two of them?

[24:07] Speaker 2: So Junior actually came to our rehearsals, even when he wasn't called. So he was there all the time, and he would just sit in the back and watch us, and was just really a part of everything, even though he didn't have to be there. And I'm, I just, I really appreciated that, um, because he's just like a little fly on the wall, and He only speaks when spoken to. But Junior's insight into ballroom was really helpful for the girls that didn't come from ballroom, yeah. And I also knew Junior prior to this, I used to be in House of Liberia. I don't know if he remembered me, but it was nice to like, be around him in a different setting that wasn't ballroom, without, without the cattiness. Um, yeah. So that was really beautiful. And Andre i. I feel like he started to come in during week two, like middle of week two, and I remember the first time he, like, gave his opinion on you were, like, devising a song or, like a scene. I don't remember what scene it was, but he was breaking down, like, who Old Deuteronomy was. And he always brings things back to the Bible. And he was saying that Deuteronomy is Deuteronomy means second chances in the Bible, yeah, and I'm gonna say it incorrectly. I have it written down in my journal, because I was so impacted by it. But, um, when he speaks one he is so grounding like everyone in the room starts speaking. He doesn't ever speak with speed. Everything is clear and concise and flows like water. And I feel like he grounds the whole room. And he is legitimately older to rock me like in real life, let's say, Yeah, he is just such a force, without being forceful, if that makes sense, he's just a really grounding man. I feel so lucky to be in the room with him, and I knew who he was because of Hadestown and my grandparents. When I told him that I was in this, they were like, I'd drink these shields. I said this. I was like, Yes, I know, but I didn't have again coming from contemporary dance. I didn't have like the star struck feeling when I first saw him, but I could feel his energy, and I just feel like he's what we needed. And I'm I'm happy that it's not that the person playing Old Deuteronomy isn't like a diva. Yeah,

[26:44] Mike Abrams: you just described Gus and Old Deuteronomy as characters by explaining Junior and Andrew, kind of like they are perfectly cast. They are they are just, it's who they are. And you can see that, and it's, it's why I think it's, it's so authentic, because it doesn't feel like it's such a far stretch from their personas, personalities in real life, which is great. I actually think that this show, your production, has that more than I've seen I've talked to, I think 30 plus productions, different productions, at this point of cats and you, as I've talked to people, it's like, very clear I'll meet a very shy and timid off camera or off stage. Tucker, you know, like just and they are an actor and a performer, but I feel like your cast is very much a most of you kind of are your personality. It's why I think it's great. It's super fun.

[27:36] Mike Abrams: let's rapid let's rapid fire. So if you could go on for any other character. Doesn't matter which cat, whether you could do it, sing it, dance it, just who would you want to go on for one night as skimble shanks. Skimble shanks. I love it. Um, favorite and least favorite cat personality. So like, which one would you want to hang out with? And which one would bug you a little bit? I think syllabub

[27:58] Speaker 2: would annoy me. Okay? And I think who would I hang out with? I would hang out with Mongo. Yeah, we have great chemistry, so on and off the stage. So it'd be

[28:14] Speaker 2: mccavity. Macavity. Love it. If

[28:17] Mike Abrams: you are, you're in the house of larceny, right? You've named your house, yes. Who's the first person if, assuming nobody else is in a house from the which cat are you recruiting? Victoria? Victoria. Right away, yes, to get your question. Yes, and that's my girl. Yeah. I love it. Okay, the question we were getting to so you teed it up here, but I've argued at length. I don't think Grizzle is the right Jellicle choice. I think your production makes this a lot harder to argue, because think it's a different interpretation of the heavy side layer. But what is who would be your Jellicle choice, and why

[28:53] Speaker 2: it would be Grizabella or bomb ballerina, because, but in my opinion, it's still Grizabella because it's like it's the femme queen that had their glory and fell off, and everyone forgot and tried to push her to the side. And I just feel like that happens in real life, and they don't get their second chances. And I think within ballroom, this is her space first. The femme Queens created this space. First, she is the Jellicle choice. There's no other reason why the femme Queen wouldn't why FEM Queens want to be the Jellicle choice.

[29:28] Mike Abrams: Yeah. So what is your interpretation of in your production the heavy side layer? Like, where is she going upstairs? Oh,

[29:36] Speaker 2: yeah, a lot. Because I'm like, does she win $100,000 like, I feel like she won some money. Because when she comes out to bow, she is like a whole new person, and she looks like she got some coin. So I feel like it's some money on the other side. Um, it's giving like she just won legendary and got the the million dollar prize. Yeah. But because we're like people, we're not cats, we're people, so no one died, and have their night, their template. This is a game show, and she wants some coin. Okay,

[30:10] Mike Abrams: see, that's, that's why I think your production changes the argument so much more, because I joked like the shows the wrong cat died, like it's that, having said lair was death, yeah? And it was like, it bothered me to have this, like, family, re accepting you, and then all of a sudden, be like, All right, let's kill you, yeah? Like, so that has always been my, my thought, but when I saw the, you know, your production, I'm like, Oh, it doesn't feel like this is death. It feels like there's still more there then. And so that's where I'm like, that kind of changes the question a time. So I think it's much harder to argue for, you know, against Grizabella, yeah, but it's a it's been fun to watch. I do think that the story that Grizabella is able to tell in your production is so clear and clean. Agreed, that it's it does give that redemption arc, which has always been part of it, but without the the death at the end, which is, which is great, it kind of does give, I, like the idea of winning some money and coming back with, like, little extra cash

[31:10] Speaker 2: and a gold, a gold, beautiful dress with a new bust down. Like, no, she just spent her queen, yeah,

[31:18] Mike Abrams: she it's, it is, it's competition. She won't trophy, and she spent it right

[31:23] Speaker 2: away. And in ballroom, you win money. Yeah. So, yes, she got grand prize. Grand Prize. 100k

[31:33] Mike Abrams: I love it. This has been so much fun. How can people stay in touch with you on social media and see everything else they're doing? Oh,

[31:39] Speaker 2: it's just my name at Dave alanka, or on Instagram, I don't have anything else amazing.

[31:45] Mike Abrams: We'll tag. We'll tag into there. This has been so fun. Thank you so much for coming on. Thank you. Have a good one, and thanks everyone for listening to this episode of the rocket died the podcast. Break down the castafi to follow along. You can subscribe on Apple podcast, Spotify, or anyone else listen to the podcast. Follow us on Twitter, Instagram, Tiktok and threads, the wrong cat died. Or check our website, the rocket died. Website, theronkad.gov,