Little-Known Facts about the Widely-Known Songs in SHOUT! The Mod Musical

SHOUT! The Mod Musical opens tomorrow, so now is the perfect time to take a strut down memory lane with a few of the show’s mega-hits from the 1960s. We put together this fab list of choice info to give you the skinny on some of the most popular songs in the show. It’s a gas, baby.

Photo By Rob/Harris Productions, Inc.

  1. Wishin’ and Hopin’

The *other* 60s throwback, Austin Powers: International Man of Mystery¸ put Burt Bacharach back on the screen in one of the best scenes in the movie, a cameo featuring “What the World Needs Now.” Because, what’s a swingin’ Sixties story without Burt Bacharach? The smoother-than-a-lounge-sofa composer first wrote “Wishin’ and Hopin’” for Dionne Warwick (aunt of Whitney Houston). Dusty Springfield heard Dionne’s recording and loved the song so much she went out and recorded her own version two years later. Dusty Springfield, of course, is best known for another song revived by the movies …

  1. Son of a Preacher Man

Welp, we dare you to hear Dusty Springfield’s version of this song and not think about Pulp Fiction. We’re pretty sure the scene of Vincent (John Travolta) picking up Marsellus Wallace’s wife Mia (Uma Thurman) at their house would not have been as fraught with temptation had Tarantino picked any other song. In fact, Tarantino claimed later he wouldn’t have shot the scene had he not be able to set it to “Son of a Preacher Man.” The song sits at slot 43 of the greatest singles of all time according to the writers at New Musical Express. Dusty Springfield, of course, is a stage name. She was born in London as Mary Isobel Catherine Bernadette O’Brien. That’s a lot of names, kind of like the woman who sang …

  1. To Sir, With Love

… who was Lulu, born Marie McDonald McLauglin Lawrie. Lulu is certainly easier to remember. “To Sir, With Love” hit No. 1 in 1967, the theme song of the film To Sir, With Love starring Sidney Poitier as a teacher doomed or destined (depending on your perspective) to save a class of wayward youths at a school in dodgy east London. Lulu made her film debut in the movie, going on to win bit parts in other films including 2016’s Ab Fab: The Movie.  Don Black, the lyricist for “To Sir, With Love,” also wrote the lyrics to the 60s hit “Born Free” and the theme songs to the Bond films Diamonds are Forever, The Man with the Golden Gun, Tomorrow Never Dies and The World is Not Enough.  Which brings us to …

  1. James Bond Theme/Goldfinger

Probably one of the most recognizable movie theme songs next to Jaws, the James Bond Theme carries a bit of intrigue around its creation. Credited to Monty Norman, whose been earning royalties from the music since 1962 when he composed the piece for Dr. No, there’s been some pushback from John Barry, who wrote “007 Theme” for From Russia with Love. {Some will argue the circumstances for Sidney Poitier in To Sir, with Love were much more dangerous than for Sean Connery in same title except From Russia]. John Barry indisputably wrote “Goldfinger” for that Bond film with the unashamedly over-acting diva Shirley Bassey belting out the theme song with her unmistakable “GooooldFINGAAAAAAAAAAAAAAAAA” which has been a joy to replicate for everyone covering the song thereafter. As of this writing, the great diva Dame Shirley Bassey is still alive and performing this very song.

  1. Georgy Girl

As long as we’re talking divas, let’s start by mentioning Lynn Redgrave starred as Georgy Girl in the film, which was her breakout role about a young woman coming-of-age in Swingin’ London. It’s a perfect song for SHOUT!, which is all about women like Georgy. The theme song “Georgy Girl,” performed by The Seekers, made them the first Australian folk group to get major success in the US and UK. The song hit No. 1 in 1965, and, in 1967, The Seekers were named Australians of the Year. And, guess who wrote the music to “Georgy Girl”? Tom Springfield—Dusty’s brother. His birth name was Dionysius P.A. O’Brien. At this point, we’re beginning to suspect Dusty and Tom had very interesting parents. And you know who did have interesting parents …

  1. These Boots are Made for Walkin’

Nancy Sinatra. Eldest daughter of Old Blue Eyes Frank and mom Nancy, this woman was destined for the charts. Her No. 1 hit, “These Boots are Made for Walkin’,” has been covered by a surprisingly diverse crowd that includes Billy Ray Cyrus, Megadeath and Ella Fitzgerald. Lee Hazlewood wrote “These Boots are Made for Walkin’,” and he’d later write the theme song for Frank Sinatra’s detective movie, Tony Rome¸ which he got Nancy to perform. Lee and Nancy collaborated all the way up to 2004. Hazlewood confessed in an interview that the catch phrase of this song, “one of these days these boots are gonna walk all over you” came from a conversation he was eavesdropping on in a bar.  That proves 1) be careful what you say in a bar and 2) inspiration comes from all kinds of places like …

  1. Downtown

… the ginormous 1964 Petula Clark hit that came after songwriter Tony Hatch went to New York City to find new material for Clark. Before “Downtown,” Clark was unknown in the United States even though she was a huge British star. The single skyrocketed her to the top of the U.S. charts and “Downtown” was covered by Frank Sinatra, Patty Duke, and, most notably, by Dolly Parton on her The Great Pretender album. In a very 90s turn of events for the song, it featured prominently in “The Bottle Deposit” episode of Seinfeld, when George and Jerry decide to use the lyrics of the song to try to decipher a message from George’s boss because George, of course, is too anxious to ask his boss to clarify the message directly.  So, George and Jerry head, well, downtown—where all the lights are bright—and a bunch of hilarious nothingness follows.

  1. Shout!

Talk about your songs that have been covered and covered and covered. This Isley Brothers ditty barely had a chance to become one of their signature songs before everybody in the 60s … then 70s … then 80s … then 90s to now covered it for their own albums. Only one month after the Isley Brothers dropped the record, Johnny O’Keefe did the song in Australia and got it to #2 on the Aussie charts. After that, Chubby Checker recorded it, followed by Dion, Lulu, The Shangri-Las, The Beatles, The Kingsmen, The Shondells, Otis Day and The Knights, Joan Jett, Tom Petty & The Heartbreakers, Green Day, Panic! At the Disco, Garth Brooks, Bruce Springsteen, Alvin & the Chipmunks and the cast of Glee. And that’s not even a complete list. In an interesting side note, the Isley Brothers also wrote and recorded “Twist and Shout,” also recorded and made famous by The Beatles.

Why the Paul Taylor Dance Company is a Must See for Any Fan of Live Performances

We enlist the help of Paul Bilyeu, our senior director of communications and the former lead publicist for dance at The Kennedy Center, for a little dance appreciation 101 about this must-see modern dance company.

1970s Omaha, Nebraska. Not exactly a progressive hotbed of boy ballet students, but there our senior director of communications Paul Bilyeu stood, working his feet through fourth position, a junior high schooler well on his way to a career in the performing arts. He took the class at the insistence of a gal pal who needed a dance partner for the end-of-year recital and discovered he took to ballet like a duck to water.

Paul Bilyeu and ‘gal pal’ Kelly Nielson Ramm during a high school production of Oliver!

“I found that I had a natural movement ability and could pick up the steps and technique quickly,” Paul remembers of those early days as the lone male at the barre. “By the time I was in high school, we were three or four boys strong, so we were being asked to dance more and perform in the community. I was a kid, so of course I harbored dreams of being a professional dancer, but I always knew that I never would have done more than be in the back of a medium-sized company. I loved being in the studio, at the barre, but I didn’t love being onstage or performing in recitals … which is somewhat critical to a successful performance career,” he laughs.

The right opportunity met his right skills in Washington, D.C., where Paul landed an internship in public relations at the John F. Kennedy Center for the Performing Arts eventually becoming the fulltime publicist for all the theater and dance programming.

“That time of my life was a remarkable experience,” he says of his decade-long tenure at America’s national performing arts center. “I got to lead all the PR for Suzanne Farrell’s ballet company, and she was Balanchine’s muse. I was there for the Bolshoi Ballet’s huge U.S. tour in 2000. My time studying ballet came in very handy because I knew the vocabulary and dance history, so I could translate what was happening in the rehearsal studio for the photographers and reporters.” During that time, he also saw the best and most experimental modern dance companies in the world, often in the company of such geniuses as Merce Cunningham, Twyla Tharp, Mark Morris, Moses Pendleton, Katherine Dunham, Debbie Allen and Bill T. Jones.

“You’re trained in this profession to maintain a neutral mask no matter how famous or legendary the person standing next to you is,” Paul says. “But I’ll confess that outside of Suzanne Farrell, the one dancemaker who had me like oh my God was Paul Taylor.”

That’s because, as far as lineage goes, Paul Taylor had trained under the best of the best: he learned at the feet (and hands) of Martha Graham, the grand dame of American modern dance, and Jose Limon, the great master who would revolutionize dance by incorporating more everyday human movements into his works. Paul Taylor mixed Graham with Limon and a graceful, balletic style to create something unlike anything else anyone was doing. Taylor’s work was funny, breathtaking, contemporary and unabashedly American, even when he honored composers and themes from other nations. Taylor had something to say in a way that no one had seen before; his dances captured the same sensations of glimpsing the humbling expanse of the Grand Canyon, watching the winning run of the World Series and strolling through Times Square all at the same time.

“To see Taylor in person … he was just average,” says Paul. “Average height, average build, average looks. But because I knew who he was, and I had seen so many of his dances that were glorious, hilarious, ingenious works of art, I was in awe.” For the past 20 years, Paul’s had a photo of a Paul Taylor dancer as his screen saver, a photo that was taken during the Kennedy Center days and brought here, to The Straz, to symbolize the best of what the performing arts can be.

Paul Bilyeu’s desktop photo

“He was a genius for the people,” says Paul. “What I love about the Paul Taylor Dance Company is that once you see a few dances and understand what Paul Taylor was about, you can see his signature so deeply in every dance he made. He was so unique in that he had the ability to make high art that sits so easy on the audience. Everybody loves Paul Taylor dances, even if you don’t like dance.  I get it when people say they don’t like modern dance. All art is an acquired taste, and some modern dance is so experimental, so out-there, that it’s really hard to understand. Paul Taylor isn’t like that. His pieces are often beautiful to watch with laugh-out-loud moments of humor. His genius has a universal appeal because it feels familiar while managing to surprise us at the same time. If you’ve ever felt joy in watching kids run around a playground or birds in flight or maybe you’ve taken dance and have a technical understanding … whatever you’ve seen in the world that gives you an appreciation of the joy of motion—that’s what you’ll get in a Paul Taylor dance.”

Paul Taylor died in August 2018, just a year and a half before the premier engagement of his company at The Straz. “So, we’re not that far away from Paul Taylor’s direct lineage,” Paul says. “We’ll have dancers here who learned from the master. Those dancers will be teaching our Patel Conservatory students in a workshop here. We’re getting, most likely, the last class of his direct descendants in this performance at The Straz. So, this is a really important moment for us in performing arts history.”

Paul Taylor

“And what’s also cool about this engagement is that we’re getting a greatest hits program,” says Paul. “Company B is arguably his most popular work, which looks at the mixed messages of 1940s America set to all Andrews Sisters songs. Piazzolla Caldera is an unforgettable and magnificent tribute to the tango and Argentine composer Astor Piazzolla. Then there’s Esplanade¸ which is this colorful, joyous celebration that has been a huge crowd-pleaser for 40 years and counting. It’s a magnificent showcase of what Paul Taylor did best.”

The Paul Taylor Dance Company performs in Morsani Hall Wednesday, March 4. 

From Houseless to Household Name

Consummate storyteller John Tesh speaks in this exclusive interview with the Straz Center

A few months ago, our senior marketing manager Carol Cohen interviewed John Tesh over the phone for his current Q&A in the back of The Straz’s official publication, INSIDE magazine. The interview covered some interesting ground that we had to edit from the Q&A—including his time living in a tent at a state park in North Carolina among other fascinating tidbits. We wanted to publish a longer, edited version of that interview here so John Tesh fans could get a fuller version of the story.

Carol Cohen:  I read that your parents only let you watch Star Trek: The Original Series growing up. Is that true?

John Tesh:  It is true, but they didn’t say, “You can only watch Star Trek.” They said, “You can only watch a half hour of TV a day.”

CC:  So you could choose.

JT:  Yeah … My mom was like an age group tennis champion, and she was also a retired surgical nurse. I was born in ’52, and back in the day in the suburbs if you had kids, as a woman, you didn’t work anymore. It was natural to raise the kids, right? That was the social demand. She decided that I was going to be a musician. So, for two hours every day, even as a six-year-old, I was either playing piano or playing trumpet. There really wasn’t much television. My dad liked The Jack Paar Show. It was on too late for me, but we also watched Ed Sullivan as a family. So there wasn’t [much television watching] … unless I got sick, right? Then you watched I Dream of Jeannie.

CC:  Obviously you’re an extremely gifted piano player. Do you still play the trumpet?

JT:  Yes. I play piano for a living now, but I was probably a better trumpet and baritone horn player than I was a piano player, because I had some incredible training as a kid in elementary school on Long Island. Stewart Avenue School. In fact, the teacher, Dr. Tom Wagner, he ended up being New York State Teacher of the Year twice. This is before performing arts schools, and so the Garden City school system was really like that. There was a lot of theater, a lot of music, a lot of performance. And so, I played trumpet in the band, the marching band, the orchestra, the dance band and all that. I only played piano at home and during recitals. I had more training as a trumpet player.

CC:  Do you still play it now?

JT:  Only to wake up my grandkids. [laughs]

CC:  I guess the piano just doesn’t quite cut it for that.

JT:  Well, and the other thing is … I’ve interviewed many musicians, including Eric Clapton and Michael McDonald and Elton John, all those guys. You can ask any of them, and they’ll tell you that the reason they got into music wasn’t because they were interested in music. They were either interested (a) in being popular or (b) in meeting girls. Girls weren’t really interested in the kid holding the trumpet in the marching band, so I went to Western Auto and got myself a little chord organ and played in a garage band. We played for a lot of the school dances and the Catholic Youth Fellowship back in the 1960s. I still didn’t meet any girls, but at least I was in a band.

CC:  I saw on your website how you have the pet of the week. Are you an animal person?

JT:  I grew up with a cat person, for sure. We always had two cats in the house: Tippy One and Tippy Two because we couldn’t come up with another name. [laughs] In fact, Tippy One was the star of my first science fiction movie. But then we ended up getting a chihuahua, and there was a total mess in the house. When I got married to Connie 27 years ago, she’s allergic to cats and so is my stepson. We ended up with a dog that followed me home one day as a puppy. I was running out on Mulholland Drive, which is a very dangerous area, and she followed me home. We’ve had Lucy for 15 years. She’s got a heart problem, so the doctors gave her Lasix, and then they gave her this other pill. I said, “What is that?” It said ‘sildenafil.’ And they go, “Oh, that’s Viagra.” I said, “You’re giving my dog Viagra?” They said, “Yeah, it was originally prescribed as a heart medicine, and then it had other ancillary effects.”  So, my dog’s on Viagra and Lasix, and she couldn’t be any happier, you know?

CC:  Let’s talk about how you got started in show business.

JT:  Well, my dad was a vice president at Hanes underwear. When we were getting ready to tour schools [after high school], I wanted to go to a conservatory. He said, “Sorry, that’s not happening. You need a real job.” And so, he enrolled me in North Carolina State University, in textile chemistry. I lasted for about three years in that curriculum, and I just couldn’t take it anymore. A friend of mine said, “Hey, I have an easy A course you should take,” and it was radio and television. I walked into that course, and everything changed for me. It was just … a light bulb went off. As a little kid, I was always making movies and making shows. I tried to change my major without telling my parents, and one of the professors wouldn’t sign the drop/add card. He said, “No, you’re past the drop/add date. I can’t do that.” I pleaded with him, and he said, “No!” Under advice from one of my dorm mates, I signed the professor’s name to the drop/add card, which basically is forgery. I got caught. I got thrown out of school. I wasn’t expelled, I was suspended for breaking the honor code, and my parents threw me out of the house—my dad did.

JT:  I ended up living in a tent for like six months in North Carolina. And I begged my way onto a radio station and got a job playing the religious tapes on Sunday. Then you know what happened … Within about four months, I was doing the news on the weekends. Then, three years from the moment that I was homeless in a tent, I was anchoring the news in New York City as a 23-year-old.

CC:  Were you up in the Raleigh area living in a tent?

JT:  Yeah, I was in Umstead Park.

CC:  You’re kicked out of school; your dad kicks you out of the house. What’s going through your mind as you’re sitting in this tent in Umstead Park? Were you like, “My life is over”? Or, “Now I’ve got to figure it out”?

JT:  Mostly I was exhausted because I got a job working construction during the day, then at night, I was pumping gas at College Esso. I had to buy food, right? And mostly hotdogs. I thought I was done, you know? I didn’t even have enough money to get drunk. [laughs] My girlfriend broke up with me. All my friends were going to classes, and Raleigh was really the only area that I knew. I didn’t have enough money to drive my car back to Garden City [NY}, so I thought that was it for me, that I would be working construction. I didn’t have any skills that would get me a job. I didn’t have a college degree. Eventually, the feeling I had was that I could either stay in that tent and work construction and pump gas for the rest of my life and start chewing tobacco, or I had to get a job somehow. And so, I went into the college radio station. I had a friend who got me in there, and I did a fake demo tape. I took that tape to several stations. One guy felt sorry for me and gave me a job on Sundays. You know, strangely enough, in three weeks, I’m going to be in New York City. They’re inducting me into the Radio Hall of Fame, and the guy that gave me that first job back in 1973, Scott White, is going to be sitting there. I’m going to thank him publicly.

CC:  That’s amazing. Speaking about that, what would you consider your greatest successes?

JT:  Professionally, it would certainly be the Red Rocks show. I was married at the time and working for Entertainment Tonight, but I couldn’t get a record deal. I was recording all this music, and I was sending it to record companies. They were like, “No, this is not for us. No instrumental music, no thank you.” I saw a PBS special on TV that was the Moody Blues at Red Rocks. I saw another one with U2 called Under a Blood Red Sky, also at Red Rocks. I was like, “What is this Red Rocks place?” I thought, you know, “If I’m going to be taken seriously as a musician, I need to do something big like that.” And PBS would not fund it because I didn’t have a history as a musician. So Connie and I took our savings and took a second mortgage on the house, and we produced the show ourselves. And we almost lost everything because it started raining in the middle of the show. But God stopped that after about four songs, and the orchestra came back, and we finished the show. That show has raised about $20 million for Public Television over the years. And my music career, that’s certainly the biggest thing I’ve ever done.

CC:  What about personally? What do you consider your greatest successes?

JT:  Personally would be being educated and learning after 65 years about something called the mind/healing techniques. In May of 2015, I was diagnosed with a rare form of cancer, and doctors gave me anywhere between 10 and 18 months to live. Our family, Connie and I mostly, went through the normal channels of surgery. It was prostate cancer, but it was undetectable prostate cancer. It was the weirdest thing. We went through the usual channels of surgery and chemo and all kinds of really horrible treatments. It left me with barely a body, and it kept coming back. About a year ago, Connie and I had gone through this training of using visualization, manifestation, and certain scriptures in the Bible, and renewing our minds and getting together and using prayer to manifest my healing and the end of sickness in our family. It was a supernatural healing that can happen for anybody, but there’s a path that you have to follow for it.

CC:  Active healing on your part. You discuss that in your concerts. I was looking at a lot of the videos, testimonials of folks who had been at your concerts and so on. They were saying how inspirational it was that you had overcome such an illness.

JT:  You know, testimony is a powerful thing. I’ve written it all down. I finished a 90,000-word manuscript, took me two and half years, just last week and handed that in. And the cancer journey is throughout the book. The journey of my life, and a lot of the stuff that you and I are talking about right now, that’s the book, but also there are flashbacks to going through the surgeries and going through the divine healing.

CC:  Well, let me ask you: If you hadn’t become a musician, composer, radio host, all the things that you do, what career do you think you have wound up in?

JT:  There never was a chance that I was going to be anything but what I became. If you were to look at me as a kid, I was always putting on shows for the other kids. I was always recording stuff. I was always making music. As a kid in bed at night, I literally was visualizing me playing on stage with an orchestra. That visualization was so strong, it would have chased me down. Maybe I would have fought it until I was 70, 75 years old, but it would eventually have chased me down. I have to be a disciplined person. I’m in the gym at 5:00 a.m. every morning, standing outside waiting for it to open. And in my ear are readings about healing and manifestations, you know, out of Scriptures. And so, there’s so much more to do, but it was never a question that it was going to be anything but this.

JT:  There were some detours. I think that time in the tent, right, where all was lost, everything, done … I’m able to look back at that and connect the dots, right. [Especially when you write a book] you go through everything and you connect the dots. When I was in the tent and then I’m anchoring the news as a 23-year-old in New York City, that always seemed like a 10-year time period for me. But when I went back and started writing it, I’m like, “Wait a second. That was less than three years.” I just said yes to a lot of stuff, you know? And jumped out of the airplane without a parachute. And then you just outwork everybody. It’s the only way. I’m a very average person. You can look at my SAT scores. Very, very average. But I will outwork you. I just never stop.

CC:  So in terms of inspiration, it’s your family and God?

JT:  Well, yeah. If you’re able to renew your mind, and you get the message, the Word, the message in the Bible, right?, then everything just falls in place. And I’m not talking about religion. I have a serious problem with what some churches are doing, where they’re weaponizing Christianity. I don’t think Jesus would have done that. He never did. But pursuing the Word of God, that’s the best way to say it. And my wife’s always saying that. We continually pursue the work of God, and that always leads us into righteousness. I’m sorry. I’m probably hitting the Bible a little too hard for you. I apologize.

CC:  Not at all. But I’m wondering… do you read other books besides the Bible? Do you even have time to read books?

JT:  Yeah. I’m actually … I think my wife would tell you I am a voracious reader. I am always reading. I’m in the middle of Phil Knight’s book, it’s called Shoe Dog. It’s the story of him starting Nike. It’s a fascinating book. I just finished my second read of a book by Ryan Holiday, called The Obstacle is the Way, which is a tremendous book, especially for me because there have been obstacles I’ve faced throughout my life. And then one of my favorite books is [Stephen King’s] On Writing. I’ve read it three times now.

CC:  Well, I think I have all the answers to my questions. Gosh, I could probably go on for another half hour at least with you. But I know you’ve got a busy day ahead of you. I so appreciate this. We really look forward to seeing you here in February.

JT:  I really enjoyed it. Thanks again for your time. I appreciate it.

John Tesh performs Songs & Stories from the Grand Piano in Ferguson Hall on Friday, Feb. 28.

Wiggle Room

The Straz Center’s Wee Folk series is designed specifically for the toddler set. Welcome to the room where wiggling is allowed.

You may not know this, but on the ground floor behind Morsani Hall, we have a large, tall rehearsal room that regularly sees Opera Tampa rehearsals, ballet classes, chamber music practices and the occasional special event.

Children enjoying a show in our Wee Folk Series.

However, three times a year we roll out a cart filled with multi-colored foam squares and interlock those bad boys on the floor of the rehearsal hall for one of our favorite audiences: toddlers.

If you or anyone you know has ever tried to perform for kids—especially tiny tots designed to meltdown easily and go into wild mode with a little bit of sensory overload—then you know it’s a tough gig in show biz. Getting a fun, smart, successful act together for two-to-four-year-olds requires a special skill set, a special personality and a special sense of humor.

Fortunately, we have some great local performers who do an excellent job with this age group, so we book them for our youngest theater-goers. The Wee Folk series features clowning, storytelling and song in a way that little ones love. Plus, we set up the whole environment in the rehearsal hall specifically for performing arts patrons who love to get up and run around, make crazy noises and are relatively new to the whole life-on-earth business. Toddlers get to be toddlers, and parents get a super-affordable live performing arts experience for their kids without the weird social pressure for their kids to behave like adults in public. It’s a win-win.

Lippo The Clown

“The Wee Folk series is as much for the parents as it is for the kids,” says Joel Lisi, who programmed the Wee Folk series for several years, now serves as the Straz Center’s senior programming manager and is the proud parent of a seven-year-old. “We know parents want to bring their children to live theater, but this age isn’t meant to sit still in a dark theater and be quiet. So, we created this three-performance series and designed it with toddlers and parents-of-toddlers in mind. It’s a safe space, you don’t have to be embarrassed if your kid gets up and runs. Or shouts. Or screams. There are other toddlers there, so parents are free to not worry and let the kids be kids.”

This Saturday, we have the second Wee Folk show of the season, Lippo the Clown’s One-Man Family Circus.  “Lippo’s got a certain classic art,” Lisi says. “He’s not creepy, let’s put it that way. He comes from a classic vaudevillian sensibility that shows the beauty of clownship, as it were. He’s a real character that the kids just gravitate to, and he’s great. We’ve also had his other show, The Franzini Family Science Circus here, so we appreciate his philosophy of teaching children while entertaining them on their level. He’s just a class act.”

Katie Adams, Animal Safari Stories

Another Wee Folk hero, storyteller Katie Adams, wraps up the series in May with one of her best-loved programs, Animal Safari Stories.

“All these performers are specialized,” says Lisi. “They don’t get shook because the audience might get a little unruly. Their shows are interactive, short and they know the tricks of the trade for managing an audience of toddlers. It’s really a fun experience for everyone.”

Silly Sam The Music Man

To get your seat on the foam floor, visit strazcenter.org. Our other Family Fun series, Kid Time, is for ages five to eight and graduates kids to Ferguson Hall. If that’s of interest, check it out here.

Mean Girls 101

The essential guide to cult classic catch phrases

This week, Caught in the Act welcomes guest blogger Alex Stewart, media relations manager for The Straz and a big fan of the Mean Girls movie. Our resident subject matter expert on the most memorable lines from the film, Alex agreed to take us through this Mean Girls primer to get us ready for the upcoming musical adaptation.

By Alex Stewart

Get ready to leave the real world and enter Girl World when Mean Girls comes to the Morsani stage February 18-23. The Broadway musical is based on the 2004 film, both written by Tina Fey. The film, now almost 16 years old, has become a modern cult classic and one of the most quotable movies of our time. In honor of the upcoming burn fest, we wanted to share some of the most fetch phrases from the film – because when it comes to quoting Mean Girls, the limit does not exist.

 “On Wednesdays we wear pink.” – Karen Smith

Arguably one of the most recognized and quoted lines from the movie, Karen excitedly tells Cady Heron what to wear in order to sit with the Plastics (the most popular girls in school) the next day at lunch. This line has inspired an insane amount of merch, as well as countless women across the internet documenting a week they spent living by the Plastics’ rules, which are as follows:

  1. You can’t wear tank tops two days in a row.
  2. You can only wear your hair in a ponytail once a week.
  3. You can only wear jeans or track pants on Fridays.

Don’t forget that hoop earrings are Regina’s thing, and you wouldn’t buy a skirt without asking your friends first if it looks good on you, right? And in the Plastics’ world, if you don’t follow the rules …

“YOU CAN’T SIT WITH US!” – Gretchen Wieners 

The ultimate representation of girl-on-girl crime and bullying, Gretchen shouts this line at Regina when she walks up to the table wearing sweatpants on a Friday, which is against the rules of the Plastics. We’d bet that most people have jokingly shouted this line at someone, many without even knowing it’s from Mean Girls.

“On October 3rd, he asked me what day it was. It’s October 3rd.”

Thanks to this iconic line, October 3rd has unofficially become Mean Girls Day. Cady Heron is so into Aaron Samuels that she notes the exact day that he asked her what day it was, obviously making it one of the most important days of the year.

“She doesn’t even go here!” – Damian Leigh

One of the most well-known references in the film, Damian shouts this at an all-girls assembly wearing a hoodie and sunglasses in reference to a girl who doesn’t go to their school but won’t stop talking. The best part about this line? There are so many ways to integrate it into daily life:

Did someone give an opinion no one asked for? SHE DOESN’T EVEN GO HERE!

Is there a rando interrupting your conversation? SHE DOESN’T EVEN GO HERE!

Now, you try.

“That is so fetch!” – Gretchen Wieners

Even though Regina told Gretchen to “stop trying to make fetch happen. It’s not going to happen!”, fetch did happen, despite the odds. Now it’s part of our vernacular, thanks to the film.

“Four for you, Glen Coco. You go Glen Coco! …And none for Gretchen Wieners.” – Damian Leigh

In the film, Damian, dressed as Santa, is handing out candy cane grams to students in class. Glen Coco receives four candy cane grams from someone, while Cady receives one from Regina and Gretchen receives none. This is part of the plan to take down the Plastics – and while Glen Coco has absolutely nothing to do with the plot, the delivery of this line has made him live in infamy.

Fun fact: Glen Coco was played by David Reale, who was uncredited in the film. Reale was not cast; he walked onto to the set to watch the filming and get free lunch. You go, David Reale!

“Get in, loser. We’re going shopping.” – Regina George

This iconic phrase has inspired endless memes. From dogs and llamas in cars (our favorites) to Dr. Who and the TARDIS to so many more. The possibilities for using this phrase are endless.

“Whatever, I’m getting cheese fries.” – Regina George

One of the most relatable quotes from the film for pretty much anyone, Regina declares this after she says she’s only eating foods with less than 30% calories from fat. We’ll take cheese fries over math any day.   

“I’m not like a regular mom. I’m a cool mom.” – Mrs. George, Regina’s mom

Regina’s mom says this line to Cady after the Plastics are invited to Regina’s house. A suburban housewife, Mrs. George tries to maintain her youth by wearing hip clothes, partaking in plastic surgery and offering to allow the girls to drink alcohol—if they do so in the house.

One of the most quoted phrases by moms of humans and pets alike, this line has cemented itself in modern culture. There are currently over 20,000 Instagram posts with the hashtag #ImNotaRegularMomImaCoolMom.

“It’s like I have ESPN or something.” – Karen Smith

This phrase is solely responsible for making ESPN grool. Karen, described as “one of the dumbest girls you’ll ever meet,” explains to Cady that she has a fifth sense. Mixing up the psychic ability ESP with the sports channel ESPN, this is one of the most obvious and ridiculous jokes, making it one of the most quotable phrases in the film.

“That’s why her hair is so big, it’s full of secrets.” – Damian Leigh

Used today by beauty influencers everywhere, this phrase is another brilliant line delivered by Damian. He uses it to describe Gretchen, whose dad invented the Toaster Strudel.

There you have it. Now that you’ve brushed up on the most fetch Mean Girls quotes, don’t forget to grab tickets for the show.

Silver Linings

Opera Tampa, the resident opera company of the Straz Center for the Performing Arts, celebrates its 25th anniversary season with three electrifying main stage performances.

This article first appeared in the Jan/Feb 2020 issue of Tampa Bay Magazine. We are happy to have permission to reprint it for our blog, in honor of the upcoming performances of Opera Tampa’s  Carmen Feb. 7-9.

Carmen. Photo by Rob Harris Productions.

A 25th anniversary is symbolized by silver, a lustrous metal that carries the highest capacity to conduct heat and electricity. Such characteristic seem fitting for the current Opera Tampa season, the grand opera company’s 25th, which boasts productions of Carmen, The Pirates of Penzance and Aida for this hallmark occasion.

“We wanted this season to make a statement since we know how important opera is to this community,” says Straz Center President and Opera Tampa General Director Judy Lisi. “There are so many people who live here who grew up listening to great opera around a radio or record player with their parents and grandparents. We also have a new generation of young opera fans who know the music from movie scores, cartoons and popular remakes and are discovering the excitement of the original material. We are putting up an epic season to honor the best of what everyone loves about great opera.”

Lisi, a Puccini aficionado and classically trained singer, launched her first successful opera company in Connecticut with Maestro Anton Coppola acting as artistic director. The pair ushered in a revival of great opera for the Shubert Theater in New Haven, building a loyal following and stellar reputation for excellence in programming and production. The duo reprised this success in Tampa, when Lisi and Coppola created Opera Tampa, producing Madama Butterfly to complement a Broadway tour of Miss Saigon, a musical adapted from the opera’s story.

“When we introduced grand opera at The Straz, we knew we wanted to work with what audiences who may not be familiar with opera already knew and loved, which was Broadway,” says Lisi. “The first year we started with Madama Butterfly; the second year RENT was on our Broadway season so, naturally, we staged La Boheme, the inspiration for Jonathan Larson’s hit musical. Our original plan was to put up one opera a season, but we quickly found out we had a strong audience for the art form here. Before we knew it, we were staging three huge productions per season.”

Pirate King, Pirates of Penzance. Photo by Rob Harris Productions.

Over the years, Opera Tampa has drawn internationally-renowned singers to Morsani Hall in the Straz Center to portray the towering characters that populate the opera canon. For the past quarter of a century, the company breathed life into the masterworks of Mozart, Puccini, Verdi, Rossini, Wager, Bizet and Donizetti with outstanding local talent performing onstage with singers from The Met and La Scala. As the reputation and popularity of Opera Tampa grew, the organization decided to institute an annual recognition to someone in the field. After Maestro Coppola’s retirement, Opera Tampa unveiled The Anton Coppola Excellence in the Arts Award, bestowed each year at the Grand Gala. Recipients include such luminaries as Placido Domingo, Denyce Graves, Sherrill Milnes, Diana Soviero, Carlisle Floyd and Paul Plishka.

In November 2019, Opera Tampa held the inaugural D’Angelo Young Artist Vocal Competition, helping to establish Opera Tampa as an entity that not only produces great opera but also cultivates the next generation of opera performers. Through their extensive arts education program, Opera Tampa has also cultivated the next generation of audiences by bringing professional singers into school classrooms to get kids excited about opera music and stories. “When I look back over the past 25 years and assess the ways Opera Tampa has impacted this area culturally, educationally and artistically, I almost can’t believe how much has happened,” says Lisi. “What started as a hope that people would like this art form has grown into a full-fledged cultural institution. We have a solid name in the professional opera world; our successes in one of the most acoustically gorgeous theaters in America has people sitting up and taking notice of what’s happening in Tampa. We couldn’t be happier to have reached our 25th anniversary season with such momentum and excitement about what’s to come.”

Aida. Photo by Rob Harris Productions.

Under the baton of newly-appointed artistic director Robin Stamper, who has been with Opera Tampa as a director, choral master and pianist for several years, the future of the company looks rosy. “I have seen so much incredible talent appear with Opera Tampa in my 4 1/2 years with the company, not just onstage but with our extraordinary production crew and musicians,” says Stamper. “I am deeply honored to steward this magnificent company and to direct us into an exciting future.”

The 25th anniversary season promises to be lustrous with plenty of heat and electricity, starting with George Bizet’s Carmen in February, continuing with Gilbert and Sullivan’s madcap genius The Pirates of Penzance in March and concluding with Guiseppe Verdi’s iconic Aida in April. “We’re so grateful for the support and enthusiasm we’ve seen over the past two-and-a-half decades,” Lisi says. “We’re honored to be able to give such exemplary artistic works to everyone in this community.”

I Have Reptiles to Thank for It

A Straz Center exclusive interview with National Geographic LIVE! wildlife photographer Shannon Wild.

On Jan. 21, our popular National Geographic LIVE! speaker series kicks-off with Australian-born photographer Shannon Wild. Caught in the Act writer Marlowe Moore caught up with Shannon via phone at her home in Africa, where Shannon is currently working on a documentary about one of the only white lions left in the wild. Her documentary on that cat’s cousin, Pursuit of the Black Panther, inspired the lecture she’ll give here next Tuesday at 7 p.m. in Ferguson Hall.

Shannon Wild

Here, Marlowe chats with Shannon about a shared love of all things reptile, animals and the ups and downs of her toothy but charmed career choice.

Marlowe Moore: I’m super pumped up to talk with you because we have a couple of things in common, and one is that we have a shared love and appreciation for reptiles. I very rarely come across another woman who is totally out of her mind in love with reptiles. Can we start talking about how you grew up and how did you realize you were in love with reptiles? What were your introductory reptiles?

Shannon Wild: I don’t know exactly where the love of reptiles came from. It’s always been there. It definitely didn’t come from my parents. [laughs] They don’t share the same love … They tolerated it as I was growing up. I guess I found reptiles fascinating. Being in Australia, there’s a lot of varieties, so maybe that has something to do with it as well.

I remember rescuing a blue-tongued lizard. I think I was maybe eight years old. That was my first attempt at reptile rehabilitation, which I went on to do years later as a volunteer in Australia. Reptiles got me interested in photography in the first place because I had pet reptiles. I had snakes and lizards and all sorts of things. I just started taking pictures of them for myself, then it led to the next thing of shooting for other people and magazines.

Then I thought, “Hmm, I could take this seriously.” I enjoyed it even more than what I was doing at the time, which was working as a graphic designer. Photography was a way I could combine my love of animals with my creative side, to combine them into one sort of show. It evolved into a career. It took a long time—especially to get to the point of earning any kind of living out of it. I definitely have reptiles to thank for it. That’s for sure.

MM: I feel 100% certain that’s what I’m going to title this interview: “I Have Reptiles to Thank for It.”

SW [laughing]: It’s so true … I like them so much.

MM: So do I. I just want to hug them all the time.

SW: Oh my God. I never meet people that feel the same way. It’s hilarious.

MM: I actually lived in Australia for a while, attending uni in Wollongong for my study abroad.

SW: Oh, that’s where my father lives actually.

MM: In Wollongong?

SW: Yeah.

MM: Wow! That is crazy. Did you grow up there?

SW: Small world.

MM: Right?

SW:  I have a bit of a complicated family history. I’m actually adopted. Later, I found my biological parents. It’s my biological father who lives in Wollongong, whereas I grew up in Queensland.

MM: Did you grow up around Brisbane?

SW: Yeah, I grew up on the Gold Coast. Then moved west. My dad was a farmer, so we ended up back out west on the land. Once I was old enough and graduated from high school, I moved to Brisbane for a while, nearly a decade. Then I was in Melbourne for about four years. Then sold everything I owned, and up and moved to Africa on a whim.

MM: I love that part of your story so much. It’s the dream of many of us, yet you actually did it. It’s exciting. So, you pack up, you leave Australia, you move to Africa. What’s your end game here?

SW: I mean, honestly, if there was any logic to it, I would not have done it. I’m usually a very analytical, careful person … but I don’t know. Everything fell into place. I was at a point where I was very restless where I was career-wise. I was already looking for opportunities to work and move overseas.

Then a few things happened that opened up that I go into in my talk. I threw caution to the wind and ended up in Africa. It’s an interesting and funny story, but it’s something that I go into in the talk. It’s how I met my now husband, and it’s quite funny.

MM: Well, we won’t spoil anything in this interview. People will just have to come see the show if they want to know how it turned out for you in Africa.

SW: Yes. The story has everything. There’s reptiles. There’s moving to Africa …

MM: We’re excited. You’ll find that Tampa such a receptive audience. They’re just going to love you.

SW: That’s great!

MM: So, I’m was looking through your social, and there’s a photo of you and a king cobra. Can you talk a little bit about that moment, or is that going to be in the talk, too?

SW: No. Is that where I was probably laying down and it sort of went up and flared its hood?

MM:  Yes.

SW: Okay, so it was actually an Egyptian cobra, and it’s here in South Africa where I am at the moment. I realize people are out there probably like, “This woman is crazy.” But, I know my gear and I know the animal. I’m used to interpreting body language. I know the strike distance.

Egyptian Cobra. Photo by Shannon Wild

The image depends on the angle of the camera. It might look really close, but I’ll go within a safe distance, and I have a lot of experience knowing where to be. I have myself positioned at a nice, safe distance, but I wanted that shot of where it’s hooding. One of the things with animal photography is you have to get down low. As low as possible. Hence, the reason I’m lying on the ground. It looks like I probably couldn’t get away very quickly, but I know it’s a safe working distance.

Also, I have to be careful because they’re one of the spitting cobras, so if you annoy it enough, it will try to spray the venom in your eye. This one was somewhat relaxed. It got to the point where it obviously showed who was boss and did the nice flare out of that hood, which is the shot that I wanted to get. It’s a beautiful snake. I get so excited, but most people are like “Why?” “You’re crazy.” [laughs]

MM: I know. It’s so hard to articulate the love of snakes, the magic of what it feels like to be around them.

SW: Oh, yes.

MM: What are some of your favorite snakes? Or not even just snakes, but what are the animals that you just like to be around?

SW: Reptiles definitely always take the top position … My favorite out of all reptiles is the monitor species, so obviously the Komodo dragon. Seeing them in the wild is the pinnacle. I’ve been able to photograph Komodos a couple of times now, which is amazing. They’re just so massive and strong, but they’re also so incredibly confident in their own ability. It’s like, eh. They don’t care. They know that they can mess you up if they really want to.

But, they also are so chill. It’s really an interesting kind of contrast. I think maybe the thing that people can’t wrap their heads around is that because they don’t really understand the body language of a reptile, they just assume that it’s trying to get them. Whereas those of us who have experience with reptiles and observe them enough are able to interpret those little bits of body language that are more subtle than, say, mammals. Then we can predict the animal’s next move—usually.

We know if it’s uncomfortable or angry, or if it’s sort of relaxed, so we can act accordingly.

In terms of other animals I like to be around, oh my goodness. There have been so many incredible experiences, it’s hard to pull out a species, but, I mean, leopards are definitely up there. They’re stunning, but they’re very unpredictable as well—very dominant and strong.

The leopard is one of the most interesting cats because it’s so unpredictable. We have a saying here in Africa, the only predictable thing about leopards is their unpredictability. That’s it. You don’t mess with a leopard. I will walk where there are wild lions, but you do not want to surprise or corner a leopard. They say over here ‘it’s a hundred stitches a second.’ If you get attacked, I mean, oh my goodness. It’s all over. They’re insane. I have a lot of respect for them.

MM: I have a friend here who had a big cat sanctuary, so I was able to spend some time with his big cats, a tiger and some cougars. He knows a lot about leopard behaviors, but in captivity. I’m laughing as you’re saying all this because when we go and visit sanctuaries that have some of the big cats, whenever there’s a leopard, he’s just like, “Leopards are crazy, leopards are crazy.” But with the utmost respect.

SW: [laughing] Yes. It’s so true. We say the same thing. They literally are out of their minds crazy. I don’t know what it is that sets them apart from other cats because lions are so much bigger, but honestly if I didn’t have the safety of a vehicle, I would much rather stumble across a lion, which I have done on foot. 90% of the time they’ll run away. They’re like, “I’m out.”

Whereas with a leopard, it’s over before you realize what came out of the bushes. Thankfully, I was in a vehicle the whole time in India [photographing leopards], and we weren’t allowed to get out of the vehicle, which in Africa you can be in a lot of cases. I have a lot of experience filming on the ground. In India, it’s also a forest full of tigers. You’ve got tigers and leopards. You don’t want to get out of the vehicle.

MM: Just keep your hands and feet in the vehicle at all times.

SW: No sudden movements.

MM: Do not turn your back. [laughing] Shannon, will you talk a little bit about your life. It’s really cool. You’re doing it. You’re living the dream. You’ve been honest in your other interviews and on your YouTube videos about how hard it is. Just the grind that it takes to be able to have the life that you have … What inspires you to keep going because you’re facing a lot of circumstances where it would be easy to give up. What is it that keeps you out there?

SW: The passion for the animal. For me, when I’m out long term in the field, you don’t have basic amenities a lot of the time. You certainly don’t have luxuries. I’m a bit of a type-A person. I like to have things just so. It’s a real contrast to me to have to go out into the wild.

Shannon Wild with elephant

It was a real shift of mindset for me that I learned as I went. Honestly, I come back purely because of the passion for the wildlife, the happiness and contentment I feel when I’m out there in their presence regardless of how hard the conditions are. I’ve been shooting for 16 years, and I have so many situations where I could have given up, or I probably should have given up.

But, honestly, I feel like I’m so lucky that I get to do this job. It’s something I dreamed about doing, but somewhere in the back of my mind. It was too far away of a dream to actually acknowledge, the kind of dream you don’t even say out loud because it would never happen.

I’m so appreciative today. I feel like if I list all the troubles and challenges that I’ve had along the way, I’d sound like I was complaining, but there have been highs and lows. It’s a bumpy road. Two of my main challenges in the last kind of six years I go into in the talk. One is my cheetah attack, which I’m sure you’ve seen online.

MM: I did. We’ll save this conversation, too, so people have to come to see you if they want to find out about your cheetah attack.

SW: Yes, I tell you all about it. All the places I messed up. Why it happened.

MM: Did you at least end up with some really cool scars?

SW: I do. It’s been six years, and I still definitely have very visual scars, so if we per chance get to meet face to face, I can show you those. I’ve got clear bite-puncture wounds of the canines and stuff. It’s in an arc around my arm, but it’s healed surprisingly well because for the first two years, I had a very distinct arc indent where the mouth crushed my bicep. I was laughing the whole time—I was so embarrassed. You don’t understand. I knew how badly I’d messed up. If I get embarrassed, I get nervous, so I focus on making sure everyone else is super comfortable. I’m like, “It’s fine, it’s fine.” I just messed up so badly, but it’s healed pretty well, considering.

MM: Six years later, it’s totally cool. You have a totally cool cheetah scar.

SW: I don’t mind scars at all. They make great stories. I don’t know how much of a deep dive you’ve done into my social, but I also managed to break my back while I was out filming in India. I talk about that a little bit in the lecture, too. I just don’t go into a huge amount of detail because the lecture is about the actual panther and trying to create this documentary.

MM:  Oh my gosh, no. I didn’t come across the fact that you’d broken your back.

SW: I’m trying not to give it away, so people can be really surprised. There were a few challenges that went with trying to make this documentary [Pursuit of the Black Panther]. Not the least of which is that we’re trying to follow one very elusive animal in a massive forest that’s really dense. That was hard enough, but then there were definitely a few things along the way that made it, oh my goodness; I want to say one of the hardest films I’ve ever done, but what I’m working on at the moment is proving to be even more difficult. Oh my God. Why? Why do I do this? I don’t know.

MM: Can you talk a little bit about this new film, or is it classified information?

SW: No, no. It’s definitely not classified. We keep picking very difficult subjects. Our current project, this is my husband and I, we basically find the stories and pitch those. That’s what we did with the black panther. That’s what we’ve done with our current one for National Geographic, which is on white lions here in Kruger National Park. Like the black panther, there’s an abundance of them in captivity or in situations where they’re bred, but to appear naturally in the wild, there is only three in existence—ever.

They’re in our part of the world, so we’re trying to film them, but oh my Lord, it’s very difficult because one is an adult and he’s just … he’s old enough that he’s broken away from his pride and he’s trying to find his way, which means he has no set territory. We’re hoping that he settles down soon, but he’s crossing countries. Kruger’s right on the border of Mozambique, so he’s spending time in South Africa, then he just pops over into Mozambique. Then he comes back. There’s no collar, no tagging, so we have no idea where he’s going, when he’s going. Just the logistics of trying to find him and film the documentary with limited budget … we can’t be out in the field waiting on him.

This one particular lion is just … he’s all over the place.

MM: How do you find out where he is? Is there a phone tree where somebody’s like, “I just saw him, get up here to Mozambique,” or somebody is like, “Hey, I just saw him down here in South Africa.” How are you keeping up with his movements?

SW: We’re using a lot of methods. We have contact with different lodges in the area that have certain access to different sections of Kruger. If he comes into that range and they have a sighting, they’ll let us know. Then it’s a matter of if we can get out quick enough before he’s left … There’s only a certain amount that we can film in Kruger National Park itself because it’s different permits and la-de-da. Then if he goes into Mozambique, we can’t do anything about that because we don’t have filming permits for a different country. It’s proving a bit more difficult than the black panther.

MM: Oh, man.

SW: The white lion is a very interesting animal, that’s for sure. Then the other two white lions are some cubs who popped up, which was very lucky because when we first pitched the idea to National Geographic and got it green-lit, there was only that one adult male.

We were basically like the panther trying to make a whole documentary around this one animal. Whereas, now with a couple of cubs in the mix, we have a bit more flexibility of telling a full-on story of different life stages of such a unique cat. It’s pretty exciting. Very challenging. We keep picking difficult subjects. We need to pick something easy … We only have ourselves to blame.

Shannon Wild filming in South Africa

MM: Right. Next time you’ll have to do pigeons in Central Park or something.

SW: [laughs] Where’s the fun in that?

MM: So, where do you go for vacation? What do you do on your time off? Do you have time off? Maybe that should be the first question.

SW: Not really. I mean, I’m freelance, so there’s no regularity. I’m constantly looking for the next job. Also, I’m very much trying to diversify, so that there’s some sort of regular income coming in because being a photographer is such a difficult way to earn a living. There’s definitely no financial stability. Even when we have a long-term project. Nobody gets into this industry for the money, that’s for sure. Also, it’s taken me so long to get to this point where I feel like I’m starting to make something of it after 16 years.

It’s been such a hard job to get here that I can’t switch off anymore. If I technically had time to take off, I can’t not do something or work. Feel like I’m doing something that contributes to some kind of stability in the future. It’s something I need to work on a little bit because my husband’s always like, “Shannon, you’re a wreck.” “Calm down.” “Stop it.” But, that’s a bit hypocritical of him because he doesn’t stop either, so he can’t really tell me that. We’re as bad as each other.

MM: Right, so it’s kind of like an ‘I’ll stop when you stop’ situation?

SW: Yeah. I can’t relax. I can’t sit still and not do anything. I have to be doing something productive.

I used to like everything just so, and now if I’m in a situation where I’m in one place for too long, I’ll find myself getting restless. All the experience over the last few years has really rubbed off and changed a part of my innate personality because I literally … I think I’d drive myself nuts if I had to be in one place for a long amount of time.

MM: You do a lot of work. We noticed you’re predominantly terrestrial. Would you ever think about underwater photography?

SW: I actually really love it. In April last year, I went to Fiji and spent a bit of time in the water, and did a little bit of filming, did some shots diving. It reminded me how much I really love the water because I’d been on land for so long. I work in a lot of land-locked countries, but I really want to do more underwater.

MM: Well, look Shannon, I’d love to keep you on the phone all afternoon, but we know that you have an upcoming call.

SW: Yes, I have my first live rehearsal with Nat Geo that I am doing it from memory.

MM: This will be the talk that you’re bringing here?

SW: Yes, so as of yesterday I’ve been able to do it from memory. Today’s my first time doing it live to the Nat Geo offices.

MM:  No pressure.

SW: [laughs]  I’m terrified.

MM: You’ll totally crush it.

SW: I hope so. You’ll find out.

MM:    We’ll find out January 21st. We cannot wait to see you.

SW: Thank you so much. I really appreciate it. I’m super excited. I wish I was going to Florida for longer. I have to see the Everglades.

MM: If you ever want to come to the Everglades, I’ll hook you up with all the awesome stuff. Alligator courtship season starts soon, so this time of year is the best time to be down there.

SW: 100%. It’s on my very long bucket list.

MM: Done. All right. Well, good luck with Nat Geo. We’ll see you next week.

SW: Thank you.

Black Panther in India

Want tickets to Shannon Wild’s presentation Pursuit of the Black Panther? We got ‘em.