Episode 3: Cirque du Soleil Creations with Brandon Livanos

Transcription

1 Created by Shannon McKenna Episode 3: Cirque du Soleil Creations with Brandon Livanos THIS TRANSCRIPT CONTAINS EXPLICIT WORDS READER DISCRETION IS ADVISED Shannon: You re listening to the Artist Athlete, show number three, darling. [MUSIC] I m Shannon McKenna and I m the host of The Artist Athlete Podcast. This podcast is dedicated to circus. It s a resource for those working in the industry to share our stories, viewpoints, and information, and a place for outsiders to get a sneak-peek into our world. This week s guest is Brandon Terrence Livanos. Brandon was a high diver who got into stunt work in his native South Africa, before going on to perform in Franco Dragone s show, House of Dancing Water, in Macao. He has performed in Cavalia, been on the creation of Toruk, and is now an acrobat on Cirque du Soleil s show, Volta. This interview was recorded while I was in Tampa visiting my friends and I was teaching some workshops down there. About a week after the recording because I record these a few weeks out so a week after Brandon and I sat down, one of the performers on the show, Yann Arnaud, he fell during a show and he passed away from the injuries he sustained from that fall. I didn t want to ignore the fact that it happened, that feels really disingenuous and weird to do, but I also didn t know Yann personally. So, I don t feel like I have a lot of right to talk about it. So, I ed with Brandon and I thought a lot about it, and what I want to say is this: sometimes it seems like the only thing that ever makes the news about individual acrobats is when tragedy happens. I created this podcast because I want to celebrate individual artists in the circus community. Artists that go onstage every night and they give with all their hearts the gift of performing for the audiences. That s what I want to highlight. Yann shared his talents with countless audience members and Brandon and I would both like to dedicate this episode to him. The ARTIST ATHLETE Podcast Episode 3 1

2 [MUSIC] Ok, Brandon Terrence Livanos. Am I saying it right? Cool. He s nodding. Sorry, I didn t say it right. Welcome to the show. Brandon: It s good to be here. Shannon: Excellent. So, you have an accent. Brandon: I do. I do. Shannon: [LAUGHS] Brandon: It s a South African accent. Shannon: Oh, you have a South African accent? Where are you from? Brandon: I m from South Africa. Shannon: Yeah. Brandon: I was born in Benoni, which is a small, little town outside of Johannesburg. Shannon: Ok. Brandon: It s the same town that Charlize Theron was born in, the Hollywood actress. Shannon: Really? Shannon: That s cool. Shannon: So, you have two famous people from the town. Brandon: Oh, yeah. Not really me, but she s famous for sure. But a circus performer from the town, yeah? Shannon: Yeah. There you go. And you started in high diving? We were talking about this a little bit, right? Brandon: No, I actually started out as a tumbler first. Shannon: Ok. Brandon: Like more long tumbling on the ground. I did that for several years, competed for South Africa, went to World Junior Games and then after all of my diving career after my tumbling career, I went into diving. Shannon: Gotcha. Why did you make the switch? Brandon: I think I got to like 16/17 and I was just tired of all the discipline and hard work in tumbling. Shannon: [LAUGHS] The ARTIST ATHLETE Podcast Episode 3 2

3 Brandon: I wanted to have a little bit of a life. So, for about a year or so, I did that. I stopped, and I had a bit of a life. And I just missed the acrobatics so much after that. When I went to university, there was a diving pool near my university. So, it seemed natural just to go to the pool, play around, and do somersaults. And through that, a coach saw me, and I just started to train. Yeah, I got into diving and competed for South Africa, too, in diving afterwards. Shannon: Competed in what Brandon: Springboard and platforms. So, three-meter, one-meter and 10-meter. Shannon: 10-meter, that s Brandon: I don t know what that is in feet. Shannon: I m not sure either. Brandon: We can find out. Shannon: Oh yeah, we can totally just pull out the iphone. Brandon: But that was, yeah, that was competitive diving. Later I went to 27 meters. Shannon: 27 meters? Brandon: Yeah, but that was Shannon: I don t know what that is in feet, but I know that s super high. Brandon: Ok so 20 meters so 32 ft. is what I was competing in. Shannon: 32 feet. Brandon: Yeah, which is not too high. But then when I did circus, I was doing 27 meters which is about ft. That was really high. Shannon: Yeah, 88 ft. Brandon: You hit the water at like, what? 90 km/hour or something? Shannon: Holy fuck. That s crazy. Shannon: How do you train up to jump off something that high? Do you just go for it the first time? Brandon: No, no. Shannon: Or do you, like, incrementally get up there? Brandon: Yeah, absolutely. Shannon: Yeah. Brandon: I had done up to 10 meters before. And then when I joined Franco Dragone s show in Macao at House of Dancing Water, they had progression steps. There was a 10-meter platform, there was The ARTIST ATHLETE Podcast Episode 3 3

4 Shannon: Ok. a 14-meter platform, there was a 17-meter platform, there was a 20-meter platform, 21-and-ahalf, and the highest one was between 25 and 27 meters. Brandon: You could progress up and it took about one year to progress to that height. Even having a diving background and knowing how to fly and control myself, granted, 27 meters was it s pretty high. Shannon: Yeah, that s like a mental like woah. Crazy. Did you audition for Dragone? How did you get on that show? Brandon: They found me on YouTube actually. Shannon: They found you on YouTube? Brandon: Yeah, I had a video act, and I put it on YouTube and I don t know if somebody that knew them posted it to them or they found me on YouTube and contacted me and was like, Can you move to China in two weeks? Shannon: [LAUGHS] Brandon: So, I said, Yeah, I ll go to China in two weeks. And moved to Dragone, and I ve been in circus ever since. Shannon: Nice. How long were you on House of Dancing Water? Brandon: I did two years initially. Shannon: Ok. Brandon: Then I left, and I went to another show. I went to Cavalia. But then I went back to House of Dancing Water for another six months, a year later. All in all, it was about two and a half years. Shannon: I read somewhere you also did stunt work. Shannon: In LA? Was that before or after? Brandon: That was before. Not in LA, I was in Cape Town, South Africa. Shannon: Oh, ok. Brandon: There s a big film industry in Cape Town and yeah, I did it there. Yeah. I did some stunt work, did some movies. Shannon: Nice. Nice. Do you think the stunt work helped your performing live? Brandon: Yeah, absolutely. Shannon: How do you think that helped? The ARTIST ATHLETE Podcast Episode 3 4

5 Brandon: Before that, I was an athlete. Your mentality is very different as an athlete. Completely. You execute. You do one routine that you re working an entire year for one competition and you execute. Going into stunts helped me understand and conceptualize what it is to perform and build up towards that and immerse yourself in a character and learn how to change it. It s not so much about you, it s about the character you re displaying. How to open yourself up. Definitely learning stunts was a transitional place for me into bigger performances. Shannon: Cool. Brandon: I had some acting classes and stuff for the stunt work. It just started to open up. I started stunts when I was 23, so I started opening my mind up to performing when I was 23. Only joined the circus when I was 27. But that four years of doing stunt work definitely helped as a performer. Shannon: Yeah, for sure. I bet. Brandon: Completely. Shannon: What s the craziest stunt you had to do? Brandon: Oh man, the craziest I ve the craziest was probably a fire burn or a car hit or something like that. But, one funny story I have with the stunts is I it was the movie Chronical. I was doubling the lead actor, Dane DeHaan, and there s a scene where his character is like a superhero and he s gone crazy and he s like destroying the city and he flies into something, falls on a car, and the car explodes, and he lands on the ground. And I did that, but my head landed on the curb of the concrete and I split the back of my head open. You can feel this big dent here. Shannon: Oh my God, that is a really big dent! [LAUGHS] Brandon: And I Shannon: There is a very large dent on the back of Brandon s head. Brandon: And then they had to rush me to the hospital and I had to get 12 staples. I don t really remember what was happening and Shannon: Damn, dude. Yeah. But you didn t get a concussion or anything? Brandon: I did get a concussion. Shannon: Oh, ok. You were I didn t really know what was happening. Shannon: slightly concussed. Yeah, there s no way you wouldn t Brandon: [LAUGHS] I m still probably concussed from it. Shannon: [LAUGHS] experience something from that. That s brutal. Have you ever been part of a creation? Brandon: Yeah, yeah. Two creations. I did House of Dancing I m sorry not House of Dancing, I did Toruk creation and I did the creation for Volta. The ARTIST ATHLETE Podcast Episode 3 5

6 Shannon: for Volta. Brandon: House of Dancing Water I came just immediately after the creation during the transitional phase where they were going into show mode. But two full creations for Cirque du Soleil, yeah. Shannon: Can you explain that process? Brandon: Yeah that Shannon: That fun process. Brandon: Yeah, that s an interesting process. We arrive, I wanna say, 10 months before the show is opened. We will do the first three months; the artists will arrive, and the concept of the show is there, and the script is written out and everything. They will basically put us on the apparatus that they have an idea, with cameras and just film for six hours a day. Let us play, they let us come up with content. Choreographers come in and watch it and work with us and grow the movement that they think is the best. But for the first three months, all we re doing is character workshop, playing on all the apparatus, just getting content. Then the next three months, the directors will take those ideas that we created with the narrative, and they ll start staging. And they ll start plugging in what we ve done and developed with our acting coaches, with the choreographers, and create the show s content. It s a very natural, organic process that happens, and long hours: 12 to 14 hours a day. Training, working. Six hours training, two hours dance, one hour acting workshops, some fun classes, clowning. It s a creative wonderland. They just put you in Montreal at the headquarters for Cirque du Soleil and you re just absorbed in creativity and playing and learning. It s intense. It s great. I recommend it for any performer who has the opportunity to do a creation, to do a creation. Shannon: Nice. How was Volta different than Toruk? Brandon: Many differences. Firstly, Toruk was an arena, which is completely different to big top. Volta s a big top. Shannon: Can you explain that difference a little bit more? Brandon: Yeah, arena is from something to 14 to 15 thousand people a night, depending on sales and it s a lot bigger. You re in their arena so you go to the whichever arena Shannon: Mecercedes-Benz or one of these Brandon: Madison Square Garden. Shannon: Sure, yeah. Brandon: You perform in their arena, you bring in your equipment. The riggers set it up. You re only there for one week. You re a guest of their entire space. You re limited to what you can do. You re basically restricted to stage, because that s all you can rehearse and study. Rehearse and practice. Whereas big top, you re also moving, but you re moving the entire set, your entire tent. You have so much more freedom as to enter from the house, as to do different things. It s intimate. It s only 2,000 people, but you re in a closed, confined space. Arena s really big. The ARTIST ATHLETE Podcast Episode 3 6

7 Shannon: Yeah. Everyone likes different things, but for me, personally, the big top is more it s really more circus-y too. Brandon: It s got a real circus feeling to it. You re in close quarters, you feel the tense energy. As a performer, I enjoy a big top more, personally. Shannon: Yeah, me too. Brandon: The other differences are Shannon: Well, Toruk is also based on Avatar. Right? Brandon: That is based on Avatar. Right, right? We had a lot of input from James Cameron and Lighthouse, who is his company, what we need to do and how we need to do it. So, there was a partner involved in that creation, which is completely different to Volta. Volta is completely Cirque du Soleil production. So, it was completely all Cirque s ideas. It was two very different experiences. One was a 50/50 partnership with Cirque and with Lighthouse and the other was just completely Cirque du Soleil. Experiences were different, both the shows are completely different, the narratives are different, the concepts are different. Volta s a lot more high acrobatic, I would say, whereas Toruk is a lot more character-based and very big with the bioluminescent lighting and very different experiences on both shows. Shannon: On Volta, you re doing swings Brandon: Swinging rings. Shannon: Swinging rings. Brandon: And parkour. Those are like two acts. Shannon: Which they cut, the parkour. Brandon: Last night was our finale for parkour, it s been cut now. And we will have trampa wall coming in in place of that. Shannon: Gotcha. And are you doing that number? Brandon: And I will do trampa wall too. Shannon: Ok. Brandon: I will do trampa wall too. Shannon: Did they have to rehearse that number on Brandon: They have. So, La Nouba s closed recently and they had a very good trampa act. Really strong trampa wall artists. They ve taken those guys from La Nouba, they trained them in Montreal and created a whole new act. A whole new structure that will fit the concept and the narrative of Volta, they ve been there for the past three months. They arrived last week, those guys. Parkour is finished now. Now they will plug in what they did in Volta and the headquarters in The ARTIST ATHLETE Podcast Episode 3 7

8 Montreal into our show this week. So, this entire week, we don t actually have shows Tuesday night, Wednesday night, Thursday night. We ll just be in re-creation. We ll be working from 10 AM until 10 PM just recreating the new parkour act as a trampa wall act. Shannon: If you haven t seen the show yet, this may not make sense. But that s so crazy because part of what was so interesting, was the way that the stage moved for the parkour act. Shannon: Do they still have those elements in Brandon: They will still have that. They will still have they well, it s a surprise, so I don t want to give away too much. But basically, they will also have the trampa wall fits in line with the narrative, once again, of the show. The lift moves and the show s an urban show, so everything is urban. Basically, in the parkour act, we would come out and we would infiltrate the city. We re these free spirits and we would come out and they made the entire set look like the city. The parkour structures would move around and stuff like they were city walls. Now they ve just taken the trampa wall, and they ve created the exact same images for trampoline. The trampa walls will look like cityscape, and artists will jump in and through windows and climb around. Shannon: Cool. Brandon: There s still a parkour concept with it, but with trampa wall. Shannon: Cool. Brandon: And it raises the acrobatic level quite a bit. Shannon: Interesting. Brandon: Parkour is super strong and great, but we found that the show battled with the onedimensionality of parkour. It s very low to the ground, and very much low acrobatics. Whereas audiences really relate to things in the air and people flying. Trampa wall creates that second dimension. Shannon: Yeah. Brandon: We can really take it up and lift the acrobatic level. Shannon: Who makes those decisions to take out a number? To put in an act? Brandon: Montreal is in charge of all the shows content. We have 27 shows running at the moment and Montreal makes the final decisions. It is based on a peer decision like all acts get rated by the coaches in every different show, and for instance, like parkour, the audience all decided. Cirque gets them to fill out review papers after the show of what they like and stuff. Parkour is always scoring the lowest. The acrobatic content wasn t strong. So that was one factor. Another factor was that the coaching department of Cirque du Soleil analyzes the shows and analyzes the acrobatic quality, and parkour s quality wasn t that high. So that was another one. Then we had the conceptors come and see the show. And we had to recreate parkour, which we did do, we had a whole new act in parkour, but it still just wasn t hitting home to the level that Cirque wanted, unfortunately. The ARTIST ATHLETE Podcast Episode 3 8

9 Shannon: Sure. Brandon: Then, the next decision is to retire the act. Still have some parkour elements in it, but add trampoline, so that it takes it to another level. Shannon: Yeah. Brandon: So, it s not completely cut. We will definitely have some elements of parkour in the show still, but with trampoline now. Shannon: Yeah. Brandon: Which is a fool-proof formula that Cirque knows is good and trampa wall is powerful. Shannon: Right. Of course. Volta almost feels like an updated La Nouba in some ways. Brandon: Oh yeah? Shannon: La Nouba also kind of has that urban element to it. Shannon: To me. Brandon: I guess so. To a degree it does, but Volta it s very new-age I would say. You have to see the show, but it s really tapping on some of today s societal problems. Whereas La Nouba was 20 years old and for that time, maybe yeah. Shannon: You talked a little bit earlier and I think this is something very interesting talking to other people who were athletes before they started doing circus about the training cycles and how it s different. How do you as a human being with a human body, adjust to those periods where you don t get rest? Or you don t get that time off? It took a lot of discipline and a long career to figure out how your body works. Ultimately, I think it comes down to knowing yourself really well, and knowing what diet works for you. Knowing what nutrition, knowing how much sleep you need, how much rest you need, how much socializing you need, it s a very important thing. Shannon: Yeah, touring can be super lonely, I found. Brandon: It can be. You need to know yourself. You need to really know yourself. But this lifestyle does expose yourself to you. You know, on the road, using your body as an instrument for your job. You have to remain grounded. You have to. We do six days a week, up to 10 shows a week. You have to remain consistent. You have to remain on top of your game. You have to look after yourself. For me, it s been a journey learning what my body can handle, what my mind can handle, and just going along the process and falling sometimes and analyzing sometimes. And yeah. Just discipline. Learning how to look after yourself. Shannon: And are there tricks? Like for me, I don t do my hardest tricks if I know that I ve got a lot of shows. Brandon: Absolutely. The ARTIST ATHLETE Podcast Episode 3 9

10 Shannon: Does that make sense? Brandon: Absolutely. Shannon: Is that how you go about it too? Or you always go H.A.M.? Brandon: We ll have a royal version. I don t do any solo acts as of yet, I m always part of a house troupe, I m part of acts. And we will stipulate that we ll have a royal version and we ll do that once a week. It s a big show, there s executives in the house or whatever. That will be the big acts, the triples, the quads, the whatever we re doing for those shows. Then the rest of the nights we still have an extremely high level of acrobatic mandate Shannon: Naturally. Brandon: but, we just we ll rotate the people into those positions. Throughout the week we ll have soand-so doing the big trick, then the next day so-and-so doing the big trick. We ll still keep the high level, but we ll rotate. And then for the royal version, we ll put the best people in the best positions for that position and you ll just do a massive explosion of acrobatics. Shannon: Nice. Brandon: There s a formula to having longevity for yourself and making a career out of it and not always putting the biggest things onstage all the time. Even though you will keep them there, you ll keep that good level, rotating certain performers into that position. And cross-training other performers into those positions so that you can sustain a 10-year career. So that you can sustain 10 shows a week, six nights a week. Shannon: Performing is a form of training, or you do get a lot of physical activity out of that. But how do you supplement that? Or what is your Brandon: I like yoga. I really do a lot of yoga. I m very big into yoga. Shannon: Me too. Brandon: Oh, I love it. It s so good for body, mind, soul, stretching. Shannon: See, you hear that guys? Yoga s good for you. Brandon: Yoga s great. I ve been recently doing some Kundalini yoga. Shannon: Nice. Brandon: Next level. It takes your mind and body somewhere else. But I really find for myself, I m 33 now so my body is not as supple and malleable as it used to be. But what really does help is a very good warm-up every day before the show. Shannon: Sure. Brandon: I don t really necessarily do weight training or anything specific like that anymore because the shows are so demanding. And I ve been doing it for so long that I feel like my body s on top of things. But what is essential is a good, good warm-up for myself. Like, at least an hour, hour and a half of warm-up and just moving and stretching and The ARTIST ATHLETE Podcast Episode 3 10

11 Shannon: Yeah, nice. Brandon: being in my zone, listening to music, just being with myself and just giving my body the love it needs and the attention it needs before going onstage and giving 100% every night. A really good warm-up is essential. Shannon: As far as your day to day life when you re on tour, what does that look like? What is a day in the life of Brandon? Brandon: Let s see. A normal day. I wake up at 9/10 depending on where we stay, if it s a hotel or, now we re in a beautiful house I ll try to go outside and be in nature as much as possible. I m studying some courses so maybe I ll do an hour or two of studying before I have breakfast. Shannon: What are you studying? Brandon: I m doing neuro-linguistic programming at the moment, I m doing a practitioner s course which is super cool. Shannon: Woah. Brandon: I ve also got a whole bunch of acting workshops and stuff that I do. I m doing a master s class with Kevin Spacey at the moment. Shannon: That s cool. What s he like? Brandon: Cool. The workshop is you don t meet him, he talks to the camera and he gives a workshop to performers and actors, and you participate in it. Shannon: Yeah, I ve seen these. Brandon: It s pretty cool. Shannon: Yeah? Is it good? Brandon: He s amazing. Shannon: I mean, he s an amazing actor. He s one of my favorites. I hear he s quite creepy, as a person. [LAUGHS] Brandon: I don t know anything about his personal life, but for his craft and his art, he s phenomenal. He s a great performer. Shannon: Yeah, man. American Beauty is like one of my all-time favorite movies. Brandon: That s good. Shannon: I think it s so awesome. So, one of the reasons I started this podcast, was because when I was little, and I wanted to be a circus artist, I didn t really know what that meant or how to get into it, or what the life would be like. And so, I kind of wanted to make something that I could ve given to myself The ARTIST ATHLETE Podcast Episode 3 11

12 Shannon: at that age and said, This is what people do. What would you say to Brandon all those years ago? Maybe even before 27 when you were in stunts or at 27. Brandon: Now it s become a lot easier, I feel. I feel like when I was growing up it was tricky to really get into. And when we were growing up it was tricky. Shannon: Yeah. Brandon: Now with Instagram, this sort of amazing boom with social media and stuff, it s really, really easy. Well, not easy. It s a lot of work. It s a lifetime and career of hard work and training. But to get in touch with Cirque du Soleil, with the 7 Fingers, or Éloize or Franco Dragone, it s really possible. Go on their websites, you can audition, you can send in demos. I personally think the best way to go about it from my experience of people is circus school. I know in Montreal there s an incredibly good circus school and most of the people I ve worked with who went to the circus school. If circus is your goal, I think it s a great place to start. Do some form of acrobatics when you re younger, or some circus school, but if you can go to a really good circus school like ENC in Montreal, I ve seen some really good ones in France and stuff. It just gives you that you get the theoretical knowledge of circus, you ll get three or four different training things, disciplines. You have your peers, your trainers who have worked in circus. It s a really good start I d say for a career. If you can put away four years and study it, it s yeah. Shannon: That s what you would tell little Brandon to do? Brandon: If I had that opportunity, if I knew there was a circus school, and I had the funding and I could ve done it, I would have without a doubt have gone to ENC or without a doubt it would ve been amazing. Shannon: Yeah, for sure. Brandon: It s a curriculum designed for people who are interested in the arts. You learn acting, you learn dance, you learn circus, you learn everything. You learn Charlie Chaplain comedy, you learn so many different things. Shannon: Right? Yeah. Brandon: You can t get nourished like that anywhere else. Like as an athlete it s great and people and you can definitely transition into it from there and make a career afterwards. But if it s your dream like now I m onstage I can see it s my passion and dream. So, if I could tell younger Brandon, I would ve gone straight to circus school. Shannon: Cool. Brandon: Absolutely. Shannon: Go to circus school. It s funny, you re the second person who has said that. Yeah. Go to circus school. Brandon: Those are the best places I think for now. Yeah. Shannon: For sure. The ARTIST ATHLETE Podcast Episode 3 12

13 Brandon: And you get experience. I went to go watch their graduation last year and man, what they re putting on, these students 22 or 23 years old full on. It s a production. They learn how to create their own costumes, learn how to look after the business side, they learn how to market themselves, they learn how to diversify, they learn so many things. You look after yourself like you re a business. You learn to develop your social media of yourself. Which unfortunately as an athlete, I didn t get the knowledge of. Now being in the circus for seven years I ve learned how to network and look after myself. But if you can start that by the time you re 21/22, then step into this career. It s fantastic. Shannon: You re golden. But then how did you know to put your diving on YouTube all those years ago? Brandon: I started in the film industry and that was Shannon: Ah, your stunt work. Brandon: Yeah, we put our demos on the internet. Shannon: There you go. Brandon: Yeah, there was a demo. So how that happened, they contacted me and they re like, they like what they see I had some Russian swing into water and House of Dancing Water had that and some high-diving. And then they ask for specific demos. Where I had to film strength conditioning and things like that. Then I sent that in, and then two weeks later I moved. Shannon: Were you freaking out like Brandon: No, because I didn t know anything about Franco Dragone, circus, and stuff. I just got this random from this lady at this Franco Dragone casting asked me to Shannon: That s so funny. [LAUGHS] Brandon: asking me to do these funny things like hold my breath for one minute, 25 chin-ups, etc. etc. I just thought, Hell yeah, it s a clowning show. Why not? Shannon: Yeah, why not? Brandon: Me and my friend filmed it and I said, I think I got the that Wednesday by the Monday I sent it to them and by the Tuesday they re like, Cool. Can you come to China in two weeks? And yeah, it was open. I was a freelance stuntman, so I didn t have anything specifically lined up. Shannon: Oh, perfect. Shannon: That s awesome. Shannon: And the rest is history. Brandon: [LAUGHS] And the rest is history. It s been seven years since then. The ARTIST ATHLETE Podcast Episode 3 13

14 Shannon: Well, that is our time. So, thank you so much for coming on. Brandon: Thank you, it s been cool. [MUSIC] Shannon: That was my interview with Brandon. Brandon s pretty cool, right? I would love to do a wrap-up, but I feel like Brandon did a really great job of explaining himself and his experience. If you want to stalk him on Instagram, and you should because he s very cute, you can find him at brandonlivanos that s Brandon, B-R-A-N-D-O-N, Livanos is L-I-V-A-N-O-S. It s all one word, brandonlivanos. For podcast updates and aerial training tips, you can find me on Instagram at the_artist_athlete and if you have comments, you can go to my website. Mom, if you re listening it s Please subscribe, rate, and review on itunes. Next week, I have the sexy and deadly Inka, a professional contortionist who holds the Guinness World Record for the farthest arrow shot from a bow using her feet. See y all then. [MUSIC] The ARTIST ATHLETE Podcast Episode 3 14