Soundweavers

This week Rosy chats with members of the Juliani Ensemble - Anita Graef, Julian Graef and Emily Seaberry. They speak about maintaining ensemble longevity, the role of family within the ensemble, and Julian's experience of transforming a barn into a concert hall. Juliani Ensemble is currently preparing the launch of its new chamber music festival, the Tallgrass Chamber Music Festival, for summer 2023. To learn more about the Juliani Ensemble and/or the Tallgrass Chamber Music Festival, please visit https://www.julianiensemble.org/ and https://tallgrassfestival.org/.

In this episode, Rosy chats with Nicholas Finch, Artistic Director of Derby City Chamber Music Festival and Principal Cellist of the Louisville Orchestra. Derby City Music Festival 2023 will take place on May 23rd, 25th and 30th at Second Presbyterian Church in Louisville, KY. To reserve tickets or find out more about the festival, visit https://derbycitychamberfest.org/ To learn more about Nicholas Finch, visit http://nicholasfinch.com/

In this episode, Rosy delves into deep conversation with British composer Arthur Keegan. They speak about his new song cycle based on the works of author Thomas Hardy, grad school funding, and the virtues of patience when examining one's own career trajectory. If you would like to support the Hardy project or preorder the album, please visit Arthur’s Kickstarter at https://www.kickstarter.com/projects/wessexlovesongs/help-us-record-an-album-celebrating-hardys-poetry-and-music

In this episode, Rosanna chats with the Icarus Quartet - Larry Weng, Christopher Goodpasture, Matt Keown, and Jeff Stern - about building repertoire, working with composers, maintaining a work-life balance, and the practical realities of recording. To find out more about Icarus Quartet, visit https://icarusquartet.org/ Icarus Quartet’s debut album Big Things can be heard at https://icarusquartet.bandcamp.com/album/big-things

Welcome to Season 3 of the Soundweavers Podcast! In this short introductory episode, host Rosanna Moore, editor Evan Henry and producer Nikolas Jeleniauskas chat about the direction they are hoping to take the show this season. They also discuss the upcoming guests for the next four episodes: Icarus Quartet, Arthur Keegan, Derby City Music Festival and the Juliani Ensemble.

Soundweavers Podcast will be on hiatus until next year.

In the final Cast Chat and episode of season 2, we are joined by the hosts of UpBeat Podcast (a part of Everything Conducting), John Devlin and Enrico Lopez-Yañez, to discuss the similarities between large and small ensemble musicianship, and our respective approaches when developing podcasts. The transcript for this episode can be found here. For more information about Everything Conducting, John and Enrico, please visit their websites.

Guitarist and composer DJ Sparr joins us to chat about the central role that the relationships built in school play in securing future work. He shares about his experience performing Kenneth Fuch’s Electric Guitar Concerto with JoAnn Falletta and the London Symphony Orchestra and the difference between performing his vs. others’ works. We also talk about the typical day-to-day schedule of a performer-composer, and working this into family life. Electric guitarist and composer D. J. Sparr, who Gramophone recently hailed as “exemplary,” is one of America’s preeminent composer-performers. He has caught the attention of critics with his eclectic style, described as “pop-Romantic…iridescent and wondrous” (The Mercury News) and “suits the boundary erasing spirit of today’s new-music world” (The New York Times). The Los Angeles Times praises him as “an excellent soloist,” and the Santa Cruz Sentinel says that he “wowed an enthusiastic audience…Sparr’s guitar sang in a near-human voice.” He was the electric guitar concerto soloist on the 2018 GRAMMY-Award winning, all-Kenneth Fuchs recording with JoAnn Falletta and the London Symphony Orchestra. In 2011, Sparr was named one of NPR listener’s favorite 100 composers under the age 40. He has composed for and performed with renowned ensembles such as the Houston Grand Opera, Cabrillo Festival, New World Symphony, Washington National Opera, and Eighth Blackbird. His music has received awards from BMI, New Music USA, and the League of Composers/ISCM. Sparr is a faculty member at the famed Walden School’s Creative Musicians Retreat in Dublin, New Hampshire. His works and guitar performances appear on Naxos, Innova Recordings, & Centaur Records. D. J. lives in Baton Rouge, Louisiana with his wife Kimberly, son Harris, Nannette the hound dog, and Bundini the boxer. D. J. Sparr’s music is published by Bill Holab Music. The transcript for this episode can be found here. For more information about DJ Sparr, please visit his website.

Jacquelyn Lankford and Stephanie Ycaza of Calypsus Brass join us to chat about the significance of being an all-female-identifying group in the world of brass ensembles. They speak with us about the workshops, which range from discussions on military and orchestral work to musician wellness. We talk about their involvement with Rising Tide Music Press and how they tackle the challenges associated with funding the commissioning and recording of new works. Founded in 2021, Calypsus Brass is a professional chamber ensemble performing new works recitals, creating high-level professional recordings for composers, and working with chamber musicians at all levels. The five founding members are avid performers and educators touring around the world, giving masterclasses and recitals. Calypsus Brass is a groundbreaking musical group founded by five women who earned a doctoral degree in music, the first of its kind. Between them, members hold 5 doctorates, a total of 14 degrees, 3 minors, and 4 advanced certificates in cognates such as pedagogy and jazz improvisation. Calypsus Brass serves as a recording ensemble for composers whose works have never been recorded. Founded in 2021, Calypsus members perform at the highest level of excellence in musical performance and education. Calypsus Brass is committed to prioritizing recording and performing works of historically marginalized composers to uplift the highest quality of music. To further this mission, Calypsus Brass is proud to be the Ensemble in Residence for Rising Tide Music Press, an organization that publishes and promotes BBIA (Black, Brown, Indigenous, and Asian) musicians in their 10 years of professional-level work as composers and arrangers. Because professional recordings can be cost-prohibitive for composers and many composition competitions and calls for scores require recording with real instruments for consideration, Calypsus Brass is committed to recording works by emerging artists. We encourage all musicians to program music by a diverse array of composers so that the music we perform is inclusive of the community we serve as artists. Calypsus is proud to lead by example in this mission with recording and commissioning projects. When premiering and recording works, Calypsus Brass creates a relationship with composers, helping to build their portfolios with recordings that the composers are proud to showcase while providing expert advice and coaching regarding idiomatic writing for brass instruments. As devoted educators, Calypsus members bring a robust pedagogical background to each masterclass and outreach event. Combining 80 years of educational experience, Calypsus Brass presents specialized masterclasses and clinics on topics including: chamber music, classical, orchestra, and jazz performance, wellness, audition preparation, military and orchestral careers, performance anxiety and psychology, music career development, marketing and branding, arts administration and nonprofit management, commissioning, audio engineering, and intersectionality in the music community. The transcript for this episode can be found here. For more information about Calypsus Brass, please visit their website.

Violist Annalisa Boerner of Music Haven and the Haven String Quartet joins us to discuss the organization's mission to enhance access to chamber music education for the students of New Haven, Connecticut. We chat about how the organization works to connect the work their students are doing in the studio with the world beyond their practice, and how they work to counter the violence and hostility of society through community-building. We speak about the ways in which the organization is currently striving to improve inclusivity in employment and programming, and how they manage to provide learning opportunities 100% tuition-free to students in need. Featured in the New York Times and on NPR, and sought after for both their command on the concert stage and their mastery as teachers, Haven String Quartet has been described as “exquisite” by the NH Register. Its four members represent the world’s top conservatories and bring outstanding chamber music performances to New Haven neighborhoods and throughout the region with a full season of concerts, recitals, educational workshops, and performances for diverse audiences in public spaces. The Quartet serves as the permanent quartet-in-residence and teaching faculty for Music Haven, and  spearheads the organization’s tuition-free strings program for youth, which has been recognized as a top 50 after-school arts program in the country by the President’s Committee on the Arts and Humanities for six years. Each member of HSQ teaches a full studio of 15-20 Music Haven students in private lessons, group classes, studio classes, chamber groups, and an advanced chamber orchestra. The transcript for this episode can be found here. For more information about Music Haven, please visit their website, Facebook, Twitter, Instagram, and YouTube.

Our new producer, Evan Henry, joins us to discuss his life as a student and composer and how he found his way into audio engineering as a segment of his professional career. Evan Henry is a composer and music copyist (and now, podcast producer, it seems!) currently living in Eugene, Oregon. His formal musical study began at the Eastman School of Music in 2008 as a jazz trumpet major. After switching focus to composition and piano, he graduated with a BM in composition in 2013, and briefly continued his studies at the University of Pennsylvania in 2016. In 2017, he began exploring Balinese gamelan music extensively, performing, teaching, and composing for Eastman's two ensembles, Gamelan Sanjiwani and Gamelan Lila Muni. In 2021, he won the Random Opera New Works Competition, and his opera The Heavenly Ledger will be premiered online in September 2022. His musical influences draw from his eclectic background and include everything from Stravinsky to Eric Dolphy to David Wise to Ricardo Zohn-Muldoon.

Irine Røsnes, Trevor Bartlett, and Jonny Best of FRAME Ensemble joins us to discuss their work improvising for silent films, from how they got started working within this genre to their process preparing for each film. They share about their approach to the traditions for performance with silent films and how they approach the various challenges associated with a genre so uniquely situated in a specific moment in time. The transcript for this episode can be found here. For more information about Nina Shekhar, please visit her website and Facebook.

Composer Nina Shekhar joins us to chat about her work exploring identity, vulnerability, love, and laughter in her work and her process for exploring such complex aspects of humanity in seemingly mundane experiences, such as the car horns on the streets of India. We talk about how she approaches the business side of a professional career in composition, and how her work as a flutist, saxophonist, and pianist has informed her comfort with a wide array of compositional styles. And we speak about how we can all be more mindful to empower and promote the agency of composers and performers from marginalized communities and avoid the risks of exploiting any individual's otherness. Nina Shekhar is a composer who explores the intersection of identity, vulnerability, love, and laughter to create bold and intensely personal works. Described as “tart and compelling” (New York Times), “vivid” (Washington Post), and “surprises and delights aplenty” (LA Times), her music has been commissioned and performed by leading artists including LA Philharmonic, Albany Symphony, Los Angeles Chamber Orchestra, New World Symphony, Civic Orchestra of Chicago, Eighth Blackbird, International Contemporary Ensemble, JACK Quartet, New York Youth Symphony, Alarm Will Sound, The Crossing, Chamber Music Society of Lincoln Center, ETHEL, violinist Jennifer Koh, saxophonist Timothy McAllister, Ensemble Échappé, Music from Copland House, soprano Tony Arnold, Third Angle New Music, The New York Virtuoso Singers, Left Coast Chamber Ensemble, Lyris Quartet, Ray-Kallay Duo, New Music Detroit, and Kaleidoscope Chamber Orchestra. Her work has been featured by Carnegie Hall, Metropolitan Museum of Art, Walt Disney Concert Hall (LA Phil’s Noon to Midnight), Library of Congress, National Gallery of Art, National Sawdust, National Flute Association, North American Saxophone Alliance, I Care If You Listen, WNYC/New Sounds (New York), WFMT (Chicago), and KUSC and KPFK (Los Angeles) radio, ScoreFollower, and New Music Detroit’s Strange Beautiful Music. Upcoming events include performances by the New York Philharmonic, LA Philharmonic (joined by soloists Nathalie Joachim and Pamela Z), Minnesota Orchestra, Seattle Symphony, and her Hollywood Bowl debut with the LA Philharmonic. Current projects include commissions for the Grand Rapids Symphony, 45th Parallel Universe Chamber Orchestra (sponsored by GLFCAM), and Youth Orchestra Los Angeles (YOLA) (sponsored by LA Phil and New Music USA). Nina is the recipient of the 2021 Rudolf Nissim Prize, two ASCAP Morton Gould Young Composer Awards (2015 and 2019), and the 2018 ASCAP Foundation Leonard Bernstein Award, funded by the Bernstein family. The transcript for this episode can be found here. For more information about Nina Shekhar, please visit her website, Facebook, and Instagram.

Owain Park of Gesualdo Six joins us to discuss the origins of the ensemble. We chat about the many traditions for a vocal consort, from the sacred elements associated with a cappella music to the members' conventional training as pianists and organists and backgrounds working at cathedrals. We talk about their recent pandemic-inspired projects recording Héloïse Werner's Coronasolfège and their new(ish) podcast, G6. We speak a bit about their composition competition, and the typical challenges associated with composing for an a cappella ensemble. The Gesualdo Six is an award-winning British vocal ensemble comprising some of the UK’s finest consort singers, directed by Owain Park. Praised for their imaginative programming and impeccable blend, the ensemble formed in 2014 for a performance of Gesualdo’s Tenebrae Responsories in Cambridge and has gone on to perform at numerous major festivals across the UK, Europe, North America and Australia. Notable highlights include a concert as part of the distinguished Deutschlandradio Debut Series, debut at Wigmore Hall in 2021, and collaborations with the Brodsky Quartet, London Mozart Players, Luxmuralis, William Barton and Matilda Lloyd. The ensemble integrates educational work into its activities, regularly holding workshops for young musicians and composers. The Gesualdo Six has curated two Composition Competitions, with the 2019 edition attracting entries from over three hundred composers around the world. The group have recently commissioned new works from Joanna Ward, Kerensa Briggs, Deborah Pritchard, Joanna Marsh, and Richard Barnard alongside coronasolfège for 6 by Héloïse Werner. Videos of the ensemble performing a diverse selection of works filmed in Ely Cathedral have been watched by millions online. The group released their debut recording English Motets on Hyperion Records in early 2018 to critical acclaim, followed by a festive album of seasonal favourites in late 2019, Christmas, and an album of compline-themed music titled Fading which was awarded Vocal & Choral Recording of the Year 2020 by Limelight. A programme celebrating the 500th anniversary of Josquin des Prez titled Josquin’s Legacy followed in late 2021, and Tenebrae Responsories for Maundy Thursday was released in Lent 2022. The transcript for this episode can be found here. For more information about Gesualdo Six, please visit their website, Facebook, Twitter, Instagram, YouTube, and SoundCloud.

Domenic Salerni of the Attacca Quartet joins us to chat about what it means to "live in the present…without rejecting the virtues of the past" and how the ensemble approaches breathes new life into traditional projects. We discuss the ins and outs of artist management, and how the ensemble approaches commissions. And, Domenic shares how the quartet searches for a recording label and how up-and-coming artists can develop the skills needed for the recording process. Grammy award-winning Attacca Quartet, as described by The Nation, “lives in the present aesthetically, without rejecting the virtues of the musical past”, and it is this dexterity to glide between the music of the 18th through to 21st century living composer’s repertoire that has placed them as one of the most versatile and outstanding ensembles of the moment – a quartet for modern times. Touring extensively in the United States, recent and upcoming highlights include Carnegie Hall Neighborhood Concerts, New York Philharmonic’s Nightcap series, Lincoln Center White Lights Festival and Miller Theatre, both with Caroline Shaw, Phillips Collection, Wolf Trap, Carolina Performing Arts, Chamber Music Detroit, Red Bank Chamber Music Society, Chamber Music Austin and a residency at the National Sawdust, Brooklyn. They recently performed at the Isabella Stewart Gardner Museum, Boston, where they will return in 2020 and have performed a series of Beethoven String Quartet cycles both at the historic University at Buffalo’s Slee Beethoven Quartet Cycle series and at the New York and Trinity Lutheran Church, Manhattan, where they have a longstanding partnership. The upcoming season will see them debuting at the Trinity Church at Wall Street as part as their 12 Night Festival where they will perform the complete cycle of the Beethoven String Quartets. Attacca Quartet has also served as Juilliard’s Graduate Resident String Quartet, the Quartet in Residence at the Metropolitan Museum of Art, and the Ensemble-in-Residence at the School of Music at Texas State University. The transcript for this episode can be found here. For more information about eighth blackbird, please visit their website, Facebook, Twitter, and YouTube.

Lydia Becker, former intern with Pegasus Early Music, joins us to discuss the experience of interning for a major arts organization, from the ins-and-outs of everyday business to the more memorable moments that led her toward the work she is doing today. Lydia shares some advice for students looking to intern with major ensembles, and talks about her experience moving from intern to employee for the same institution. Lydia Becker is an innovative violinist who is passionate about building a vibrant audience relationship through historical performance practices, artistic diversity, and effective arts administration. Her quest for authenticity in all areas of life has forged her eclectic career path. Lydia always loved Baroque music, but got swept into the exciting world of historical performance when she first met Christel Thielmann and Paul O’Dette at the Eastman School of Music as an undergraduate violinist. The freedom and creativity allowed in these older performance practices immediately sparked Lydia’s passion for exploring new music from the past. Having earned three degrees in Violin Performance and Early Music with high distinction from the Eastman School of Music, Lydia is continuing her graduate studies in Historical Performance at the Juilliard School. Curiosity fuels Lydia’s music-making; consequently, she strives for musical excellence in all musical styles and genres. Lydia has performed internationally in numerous festivals and concerts, sharing the stage with renowned artists, including Paul O’Dette, Monica Huggett, and Maxim Vengerov. She is a founding member of the Berwick Fiddle Consort, a historically-informed folk band; Luminaria, a multi-sensory watercolor-harp-violin duet; and the Kenaniah Project, an eclectic jazz-classical-folk chamber ensemble that presents sacred Christian music from a fresh perspective. Lydia is equally skilled as an arts administrator, and recently was the administrative manager for Pegasus Early Music and NYS Baroque for three years. Since 2017, Lydia has served as assistant to the orchestra director at the Boston Early Music Festival summer season, helping to coordinate the orchestra’s logistics at one of the largest early music festivals in the world. Lydia is a Catherine Filene Shouse Arts Leadership Program fellow and earned a Certificate in Arts Leadership at the Eastman School of Music. The transcript for this episode can be found here. For more information about Lydia, please visit her website.

Pianist Lisa Kaplan of eighth blackbird joins us to chat about the many evolutions of their organization, from the original ensemble to their many teaching endeavors. We chat about the Chicago Artists Workshop and Blackbird Creative Lab, two of the ways in which they continue to “move music forward” beyond their primarily performance-based projects. Kaplan shares about how the ensemble conceptualizes and puts projects—such as This is my Home—into action. We speak about how the organization integrates interns into their administrative process. And, we ask, "why 'eighth blackbird'?" Born in Motown, Lisa Kaplan is a pianist specializing in the performance of new work by living composers. Kaplan is the founding pianist and Executive Director of the four-time Grammy Award-winning sextet Eighth Blackbird. Kaplan has won numerous awards, performed all over the country and has premiered new pieces by hundreds of composers, including Andy Akiho, Jennifer Higdon, Amy Beth Kirsten, David Lang, Missy Mazzoli, Nico Muhly, George Perle, and Pamela Z. She has had the great pleasure to collaborate and make music with an eclectic array of incredibly talented people - Laurie Anderson, Jeremy Denk, Bryce Dessner, Philip Glass, Bon Iver, J. Ivy, Glenn Kotche, Shara Nova, Will Oldham, Natalie Portman, Gustavo Santaolalla, Robert Spano, Tarrey Torae, Dawn Upshaw and Michael Ward-Bergeman to name a few. As a proud, single-mama-by-choice, Kaplan has been having an incredible time raising and learning from her happy-go-lucky 4 year old, Frida. Musically as of late, she has also greatly enjoyed and appreciated the opportunity to do both composing and arranging for Eighth Blackbird as well as some producing. In 2019, Kaplan co-produced her first record, When We Are Inhuman with Bryce Dessner.  Kaplan is a true foodie, gourmet cook, avid reader, crossword and Scrabble addict, enjoys baking ridiculously complicated pastry and loves outdoor adventures. She has summited Mt. Kilimanjaro, braved the Australian outback, stared an enormous elephant in the face in Tanzania’s Ngorongoro Crater and survived close encounters with grizzly bears in the Brooks Range of Alaska. The transcript for this episode can be found here. For more information about eighth blackbird, please visit their website, Facebook, Twitter, Instagram, YouTube, and Spotify.

Composer Kincaid Rabb joins us to discuss the consortium model for commissioning new works, how their composition approach does and doesn’t change when composing for a consortium, and the basics on how to put consortia together. They chat with us about their research into the music of theme parks, and how they’ve integrated this research into their composition. We talk about how one approaches the challenges of balancing one’s privileges with one’s identity, and how this manifests in the small ensemble industry. We speak about their new ensemble, Basket of Owls, and finish the conversation by exploring what magic actually is. Kincaid Rabb (b. 1993, they/them pronouns) is an award-winning composer, working at the intersection of storytelling and new music. Kincaid is an artist-scholar whose research includes musical narratology, emotional catharsis, and the phenomenon of the theme park as inspiration.  Using narration, worldbuilding, and a strong sense of fun and play, Kincaid creates musical experiences that immerse audiences into intimate spaces and that reward waders, swimmers, and divers alike. Kincaid produces works that trapeze artistic disciplines, curating performances that seamlessly integrate different sensory experiences and create lasting memories through music. Kincaid’s collaborations have included Paradise Winds, The _____ Experiment, the Driftwood Quintet, Kontra Duo, Keyed Kontraptions, Duo R2, the Brelby Theatre Company, and the faculty and students at the University of Arizona and the University of Nevada, Las Vegas. Kincaid is a founding member of Basket of Owls, an ensemble of musician-narrators dedicated to curating spaces for unheard stories. Their principal teachers have included Douglas Harbin, Daniel Asia, Pamela Decker, Diego Vega, and Jennifer Bellor. Currently residing in San Diego, California, Kincaid graduated with a Master of Music in Composition in 2021 from the University of Nevada, Las Vegas, where they held a graduate assistantships in theory, composition, and musicology. They graduated from the University of Arizona with a Bachelor of Music in Composition in 2017. Kincaid is affiliated with ASCAP and is a NextGen Member of the Themed Entertainment Association. When not working on making more music about dinosaurs, superheroes, or wizards, Kincaid can be found riding roller coasters at local Southern California theme parks. Resources Pine & Gilmore, Welcome to the Experience Economy The transcript for this episode can be found here. For more information about Kincaid Rabb, please visit their website, Twitter, Instagram, TikTok, SoundCloud, and Spotify.

Steve Pycroft of Riot Jazz joins us to discuss how their ensemble approaches collaborations, from expanding their core ensemble to working with MC Chunky. He chats about how Riot Jazz navigates the process of procuring the rights to perform, record, and arrange pop tunes. He also shares their approach to making music videos to promote their work, and speaks more broadly about the skills most important for success in a career like his. The 9-strong genre-defining band that hails from the grimy protoplasm of Manchester's creative scene, spreading unconditional love and irresistible energy. The transcript for this episode can be found here. For more information about Riot Jazz, please visit their Facebook, Twitter, Instagram, SoundCloud, and BandCamp.

Laura Lentz, Marc Webster, and Eric Polenik of fivebyfive join us to chat about how they tailor their work to screen-centric audiences, and how their video projects have led to particularly interesting collaborations throughout their existence. They share about their approaches to successful grant writing, and how they've found themselves working not just as grant recipients, but also as grant-writing mentors. We also speak about the role that community plays in their work, and how they continue to search for new ways to deepen their ties to their community at every level. fivebyfive (flute, clarinet, electric guitar, bass and piano) performs music of today’s leading and emerging composers from around the world, advocates for creators who are underrepresented in the field, and collaborates with artists across the disciplines. Through its workshops and educational concerts, fivebyfive aims to spark young people’s unlimited creative potential and inspire a deeper understanding of today’s chamber music. With a commitment to accessibility, fivebyfive performs in a variety of settings, offering affordable or free programming and sensory-friendly events. fivebyfive’s events often involve community-building experiences in real-time during performances. Examples of these programs include: “Music/Glass” at the 2019 Rochester Fringe Festival, where audiences were free to move throughout the space during the performance and participate in creating a fused glass art work while hearing the music performed live, Meet the Composer events where audiences were a part of the conversations bringing new works to life and its educational programs in the schools working with young people to spark their unlimited creative potential and inspire a deeper understanding of today’s chamber music. These have included collaborations with students of the RocMusic Collaborative, Strings for Success, 12 Corners Middle School, among others. The winner of the 2018 Eastman/ArtistShare New Artist Program and a New Music USA grant recipient for its commissioning project for new works inspired by the stained-glass artist Judith Schaechter, fivebyfive was awarded a second New Music USA project grant for a collaboration with the George Eastman Museum, commissioning new works inspired by photographer James Welling’s collection “Choreograph.” In 2020 fivebyfive was selected as one of 16 recipients for a Chamber Music America Commissioning Grant with composer/harpist Amy Nam, and in 2021 the group was chosen as a New Music USA Organizational Development Fund Recipient which recognizes outstanding organizations that work regularly with, & support the development of, music creators & artists, offering a crucial resource in their community. fivebyfive has appeared on WXXI Classical 91.5’s programs Backstage Pass and Live from Hochstein, featured on Performance Rochester and Performance Upstate, and has also appeared nationally on American Public Media’s Performance Today program with host Fred Child. The transcript for this episode can be found here. For more information about fivebyfive, please visit their website, Facebook, Twitter, and Instagram.