4: Osh Ghanimah. Actor / Founder & Exec Director of Broadway For All.

Osh is the Founder and Executive Director of Broadway for All. Their mission is to transform the American stage and screen to reflect the diversity of America. Training young artists from all income levels and all ethnic backgrounds in a world-class conservatory—led by professionals from Broadway, television, and film industries. In order to shape a new generation of artists, leaders, and advocates who are impassioned to create inclusive work for all.

Osh is a city guy—born in Detroit, lived in Chicago most of his life, moved to Harlem for many years, and even spent a few months in Moscow. Osh owes much of his success to the Chicago public school system. He is grateful for the late, Former First Lady of Chicago, Maggie Daley, founder of Gallery 37, an arts program which provided him his first city-job as an actor, singer, and writer. Osh holds a BA in Theatre and English and a BS in Secondary Education from Loyola University Chicago and an MFA in Acting from the grad acting program with the longest name on earth: American Repertory Theater / Moscow Art Theater School Institute for Advanced Theater Training at Harvard University. Osh is currently based out of NYC and LA—and resides with his impressive collection of impressive hats.

Transcript

Yulia: [00:02:11] I'm sitting down with Osh Ghanimah today who is the CEO and Founder of Broadway For All. They're a really awesome nonprofit that promotes diversity in film, TV and on Broadway.  They partner a lot of stars with kids and give them a chance to be on Broadway, act in films, and study acting. Thank you for being here with me.

Osh: [00:02:08] Thanks for having me, Yulia.

Yulia: [00:02:15] The question that I ask all of my guests is, "What was your dream as a kid?"

Osh: [00:02:15] My dream was to be an advertising agent, actually. I remember loving Uncle Jesse on Full House and thinking about those jingles that they would always make the basement with Uncle Joey. And I'm like "I want to do that. I want to make ads for companies, and marketing, big billboards." I think it's sort of funny to think about that childhood dream and I feel like it's sort of still at work because I'm going into producing as well. I feel like a producer has to sort of know all the parts or be interested in many of the parts.

Yulia: [00:02:52] It's storytelling, right?

Osh: [00:02:52] Yeah absolutely.

Yulia: [00:02:53] You're an actor as well. How did you get into it?

Osh: [00:02:56] I guess I had a really remarkable elementary school where we had an incredible array of sports teams and a drama club. It was such a positive school culture, that we were encouraged to do everything. I remember seeing a musical at my school when I was in fourth grade called Oklahoma. I remember running up on stage and having the lead role get off the stage and I continued. I later woke up and realized I was having a dream about being onstage while watching Oklahoma. The next fall I signed up for the school musical. I was there for the next four consecutive years. My K-8 school had this remarkable Social Studies and English teacher Mrs. Dapong. She would put on the plays and usually put her own money into it because teachers are never given enough money for resources. She just loved doing it. Those were some of the best memories of K-8 school for me.

Yulia: [00:04:07] I think having arts in school is so important. It is even more important that possibly math — dare I say it? Because people can not be creative and think creatively with out being able to find expression. The freedom they find through acting. To be able to have independent thought. To perform, explore, and play — which is a huge part of creativity. Whether you're developing brands, jingles, or creating a story for film; you need to be able to feel that you can play.

Osh: [00:04:26] Agreed. It's funny because whenever the schools talk about the arts, it's always at least in New York City. There's this really stupid, terrible, term called "enrichment program". So it's "enrichment" for two days or three. After school is over from 4:15 until 5:00. I would challenge them to make the arts integral to the whole week. To have a block of theatre class, and a block of dance, and a block of visual art. And to say that's not radical. That it should be the norm.

Yulia: [00:05:17] It's not a radical idea. In an acting class you usually have three hours. That establishes bonding for the class, establishes time for warm up, and time for play. There are also a lot of after school programs where kids can hang out together for three hours and just jam together.

Osh: [00:05:32] I agree. And I think we always think about the arts as this creative process and the means for self-expression. But you can introduce academic rigor into them as well. I remember theater at a charter school in Harlem talking about Greek and Latin root words, so they can figure out some of the theater terms that we use. That is a whole lesson on language. Which I would say may rival some  English or other linguistics courses later on.

Yulia: [00:06:02] Yulia: So true. So you did acting as a kid, how did that lead you to come up with the idea for Broadway for All?

Osh: [00:06:19] The idea for Broadway For All is based on my experience coming from Palestinian American Muslim immigrant household. We grew up with very little money. I always say I was lucky because I lived at the cusp. I was within a one block cut off for one of the best Chicago public school districts in the city. I mentioned that school before. It's a K-8 school and there I was able to go to school with kids from many different racial, ethnic, and religious backgrounds. 

It was there that I saw a world that was entirely different from what I would see when I would go home to my apartment with my family. I really do believe that those experiences (going to your Korean or Jewish friends house for dinner) and having parents who would somewhat supplement the parental involvement piece for me (because my parents were either busy working or doing their duties) because they're immigrant parents trying to make ends meet. So I was very fortunate to have those people there to sort of shepherd me in. To be my Sherpas if you will. I really believe that this pluralistic multicultural environment in my formative years from K to eighth grade is what set up the trajectory for me for the rest of my life.

In creating Broadway for All, We always think about giving, like educating the poor black, or poor Latino kids in the South Bronx. Let's send teaching artists to those neighborhoods so those kids get theater. I think that model is still prejudiced. You're still segregating kids and you're not putting them in an environment where there are multiple diverse perspectives. Where they can learn from one another. It would be a public service to have a black or Latino kid from the South Bronx meet an upper income kid from the Upper East or Upper West Side. And a service to those kids from the Upper East and Upper West Side who should be privy to kids who are completely different from them. To have a chance to meet them and to form relationships. How wonderful for those kids who otherwise wouldn't be privy to before going to college. 

We always talk about preference among peoples not being rooted in racism and I always argue whether you think it comes from racism or prejudice, or not. It certainly comes from somewhere. And I think it all comes down to what a casting director told me is the "similar attraction law principle". So what happens if you take a kid's world view, shake it up, and expose that kid (from a very young age) to people who are starkly different (and similar) in many ways? They soon find out all those things through training in a rigorous conservatory together. 

What happens when you take a young white kid and you expose him to the issues surrounding diversity on Broadway, TV, and film? And then have them feel that gut punch in their stomach saying "Hey my friend who's black is amazing and I love making theater with him. Why are you telling me that it's harder for him to get a role than me? He should have a chance just like me." So it was that experience as a kid being around kids from all walks of life that I think crafted me into who I am today. That was the best kind of schooling - diversity and pluralism is the best kind of education one can receive.

Yulia: [00:10:10] I think it's all about opportunity and giving everybody a chance to grow. It’s about creating conservatories for people where it's not segregation. Even the kids that say "Go to Stanford." Stanford is not that diverse, so everybody ends up having a separate path. There has to be some kind of an intersection before. Where everybody can get a similar chance. Nobody is going to create that, we have to create that ourselves. Because people are not even thinking the way you and I are thinking. The fact that we are having this discussion is rare. The fact that I'm doing an podcast on diversity and the fact that you have Broadway for All. It's so rare when you look at the rest of the world.

Osh: [00:10:44] Yeah it's rare but what I'm finding though is whenever you have discussions with people no one's disagreeing. I mean I'm sure you can agree. You haven't met a lot of resistance per se. Neither have I. I've met a lot of support. And then the question then still begs why are not more people doing it?

Yulia: [00:11:13] So this leads me to my next question of "how do we get more diversity on screen and behind the camera?" Which is usually a funding related question too, right? You need funding to build schools, you need funding to make movies. You need funding to hire a crew. How do we increase diversity on screen?

Osh: [00:11:30] I think your smarter media that works like Netflix, Hulu, and Amazon have figured it out. I forget who said it, but someone from one of these big media companies had said the days of hiring the MFA in screenwriting are over. We're now looking for people with real experiences and real stories to tell. People are now seeing that I think anyone who argues that you should be more diverse or create roles for people of different backgrounds because it's the right thing to do and that's ethical. Those kinds of arguments are always destroyed. As well as they should be because it's show business and we get the business part. 

I think a lot of the producers (not all) are part of this old establishment who are basically following a formula to create a work. Because they have a 90 percent guarantee that if they mix a, b, and c they'll get this this result and have some financial success or at least a return on their investment. Now with TV shows like Atlanta, right on FX - remarkable show I can't stop watching it, I've even re-watched episodes with my friends who haven't seen it before. Just so they can watch it. How To Get Away with Murder, and Hamilton, 

We're now seeing that we're proving that diversity isn't good just because it's the right thing to do. It's good because it's the right business move. You're going to have a lot more interesting stories and characters that are far more three dimensional if the world that your characters are situated in actually look like our world. Whenever I see TV shows with an all white cast or a Broadway show with an all white cast I just think those people are delusional.

Yulia: [00:13:41] I agree. I'm an immigrant too. I moved here from Russia so even though I'm white I'm not really white, I'm from Russia. But I'm also Jewish, but i'm not really Jewish.

Osh: [00:13:44] Right. I feel like I'm Jewish sometimes and I'm a Palestinian Muslim. I live in New York City.

Yulia: [00:13:52] And all my friends are diverse. and I remember when I first moved here, I would sit and watch Full house and all these shows. I never felt like I was a part of any of them. I never felt myself reflected in any of them.

Osh: [00:13:52] See I wanted to be them. So when I would watch Saved By The Bell, I wanted to be Zach Morris. I remember being a kid and dreaming of having blue eyes and blonde hair. I remember being in high school and frosting my hair with that gold mascara that was around for like two years. I can't believe I'm admitting that.

Yulia: [00:14:22] That's amazing.

Osh: [00:14:23] But it happened. We think about institutionalized racism and the effects of that as kids. Like how I did as a kid. I had a great a multicultural perspective when I was a kid. Yet I still wanted to be a part of a dominant powerful race — if you will. I felt that as a kid. I wanted to be it so I can have more power. So I can be more valid, or more loved, and more accepted.

Yulia: [00:14:51] Well, it also opens up a larger market, too. If you are creating films with Latinos in them, with a diverse cast, you open up marketing to a whole different segment of people.

Osh: [00:15:04] Especially now with media, right. With these new media contracts like Netflix (it sounds like I'm advertising for Netflix) but I read something recently that said you can have a TV show that has a smaller niche market and they can still do well because of because of your ability to have it distributed worldwide. And if you have enough people who are interested it will survive. It doesn't have to be 8 million viewers on a network on one given night.

Yulia: [00:15:36] I loved watching Master of None with my mom. I started watching and then called my mom to say "Mom you have to watch this show because this is so similar to our life." She called me back and said “Wow This is such a great show. They really capture the immigrant experience. It's interesting because as a Russian Jew I can relate to the Indian experiences. It’s about emotions and experiences, right?

Osh: [00:16:05] I would even argue as an upper crust, let's say from New England. You can identify too because everyone knows what it's like to disappoint your parents. Everyone knows what it's like to feel like you're a failure. And everyone knows what it's like to struggle and to try to follow your dreams. To have your parents not understand you. Yeah, so I always argue it's a great show. And anyone even non-immigrants can relate to this immigrant experience. I always say “Are you telling your story about immigrants? Or are you telling your story about the plight of the human experience, which manifests itself in all forms?"

Yulia: [00:16:47] So speaking about an experience that manifested itself in the form of Broadway for All. How did you get it off the ground? Dreams are really hard to get off the ground.

Osh: [00:16:49] So I was really lucky because when I was getting my MFA at Harvard University, the university's president sent out an e-mail for a public service fellowship. They award 10 every year to all students across all schools at Harvard. I remember putting up this theater for diversity project in undergrad at Loyola which sort of did the same thing. I brought kids from inner city schools in Chicago and suburban schools and had my peers help Loyola train them for a one week intensive. 

So I said What if we took this one step further and had a conservatory. Where we brought kids from all over New York City and beyond. We're now a national not for profit based in New York City. What if we took all these kids from all over, from different walks of life, and gave them a conservatory much like the rigorous ones you see across the country like Stage Door Manor, Interlochen, and hired people currently or recently having worked on Broadway, TV, and film. How can we contribute to this new diversity pool? So I applied and with the help of the A.R.T. giving us access to the production of Porgy and Bess for our kids to go see it. And an actor from that troupe came onboard. My friend Brandon who's a musical director, my friend Samantha Eggers who's in Mama Mia who I met at Harvard, all came together after I won this fellowship to say how can we get this to happen. 

I remember calling a principal at a New York City school. His school's on 58 and 10th Avenue and I was in Russia when I got the email that I had won the fellowship, and they approved my idea for Broadway for All. I quickly e-mailed him and said "Hey I just won a fellowship to create this really cool idea. I remember being at your school for a meeting when I was a teacher in the New York City Department of Ed. Would you mind if we used it for five weeks because it's close to Broadway?

The whole concept of our program is to get kids who live in the south Bronx or deep in Brooklyn to come to Manhattan to the Broadway theater district every day with their counterparts from different socio-economic status.” He was like “Well we're going to be here for summer school anyway, so why not have a positive program in the building co-existing with us. You can come in for free." I always say Broadway for All is here today simply because of the kindness of the universe. If you ask, and you ask enough, and you're persistent, and if you truly have a mission that is powerful, that people know you're dedicated to serving. I think you'll hear a lot of yeses. You will hear no's but you have to keep going if you want it.

Yulia: [00:19:56] Well the people that say no are the people that are not the right match. You have to realize that.

Osh: [00:19:57] Exactly. That's what I say all the time. I'm glad you're saying that. It's like when I talk to people about fundraising I think I'm sure one of the questions will be “What is the challenge" and we can talk about that later. But even with fundraising, right people say I hate asking people for money and it makes me uncomfortable. But I always say when you're approaching people for money, you have to look at it as an opportunity that you're actually giving them. 

So it's like “Hey you have some extra income that you're sitting on. I know that you're looking for something meaningful to do. I have a great project or a great idea for you to either donate your money or invest your money in — and here's one option. Is this a match with your desires? And if not, great. It was fun having coffee with you and and maybe we can hang out and grab a tea later or something." But it's on to the next one. I think we get so fed up hearing no I guess because I'm an actor. I'm used to hearing no. I think maybe actors should also go into fundraising because they've mastered the art of accepting no and still moving on. 

Yulia: [00:21:07] I think that's what acting does, but I think that's also what advertising does. So that's why I can do startups. Because I'm used to presenting concepts and then getting killed like 16 times. You just build up a skin and go “Okay, next." You don't even think about that. You just go "I can create something better. You don't like that one? I'll create something better and you'll love it." It's about just doing your thing and knowing that you're doing the RIGHT thing. And finding people who believe in your thing.

Osh: [00:21:35] Absolutely, I agree.

Yulia: [00:21:40] It's about finding your tribe.

Osh: [00:21:40] Yeah.

Yulia: [00:21:40] I think a lot of people don't think that people have money to invest. Or they have all these preconceived notions. But there are a ton of people who have money. And they want to be a part of something — they just don't know what to be a part of.

Osh: [00:21:52] I agree. Also we have resources everywhere. No matter where you are socially or economically, we all know somebody who knows somebody. And as long as you are professional in what you're asking for, and why someone should help you; I think you'll hear a lot more yeses than No's. I think we're always afraid to ask. It's like dating and being rejected like celebrate the no's!

Yulia: [00:22:28] Celebrate the no's and have them say no early. You don't want to be six months in into a relationship and go "oh crap!" So my next question is “What do you wish that you knew when you first started?"

Osh: [00:22:29] How important it is. What I wish I knew now, is how important it is to bring on people who understand infrastructure and organization. A lot of us creative types often struggle because we forget about the management part. Many companies in Chicago (where I'm from) have had trouble because of money, business, and operations. I think we forget that part. You have to have a great idea, with that great idea comes great responsibility to execute it well. When need these forms sent out, and we need these things, and need a system for this, and a system for this. Oh and a system for this. But this system also requires 8 systems, and those require two more. 

Who's following up on your e-mail account that people at large email you on? If you have two people monitoring it, is there a check system so no one's being answered twice? There's so much that goes into it. I think what we end up doing is, we like to dream really big and focus a lot of our funding on these big ideas. But then we forget we also have to fund this logistics person, and this person who is making your Excel sheet. I would say to try to create a microcosm of your idea. Really create and devote time and money to marketing, media, operations, logistics people to make sure that this idea is going to be well supported for execution. I think that's where a lot of us fall short.

Yulia: [00:24:23] As creatives you get so excited and start running with the ball. Then you're like wait... I haven't created a goal post. Wait there's nobody managing the goal post. I'm just running with this ball.

Osh: [00:24:32] No matter how great your idea, I think everybody needs to know that your idea is situated. You need a very strong foundation, that once I give you money, I know that this venture isn't going to crumble. Even if you currently don't have a lot of funding. I know that your bases are covered and that you have infrastructure in place. I always say it's infrastructure.

Yulia: [00:25:07] It's also a team. You need to make sure that all your players are playing and everybody's on the team and everybody's awake.

Osh: [00:25:13] I would say that's one of our biggest challenges. Is not having enough people on board. We just never have enough. I would say we have so many people who email us and say “We'd love to help you and love to volunteer. I'd love to give a few hours here and few hours here." But someone who wants to donate a few hours here, in a few hours here, needs somebody managing that. That donated time, and someone who wants to do this, needs somebody to tell them what needs to get done.

So you have me bopping around all over the place and that gets really hard. We're very lucky to have two other year-round employees who work on a mostly volunteer part-time basis. But even that's not enough. So the problem is right now, like where we're at right now. We've been funded by some really wonderful corporations or our budgets in the black — which is very exciting. 

We're really thriving after five years and in such a great place. We've seen such great impact as an organization. Where we are right now is what we need is our first development director — a full time person committed to development. Everyone who meets us says you should win every grant and prize under the sun, but we need somebody to find those grants, and to find those foundation opportunities. And to follow up and to apply. That's a separate art form in itself. So it comes down to the chicken or the egg, how do you get your first grant to hire a grant developer if you need a grant developer to get it?

Yulia: [00:26:47] I know. Now you're going to have like 3000 people emailing you about wanting to work as a grant writer.

Osh: [00:26:55] I hope so. I always say it's going to be so easy to get our first grant and then the rest will keep pouring in. And that's the other thing too. One principal said that he liked that the project came from Harvard. He liked that his kids could have access to that name and people who went to that school. I think people just want to know that you're vouched for. So once one corporation came on board and gave us a big gift, we then had three other large corporations come on board and say “Hey how can I help too?” I think people just want to know that you're secure and that their donation is in good hands. When you're starting out, you need to do a really good job to make sure that you're operating in the most professional way possible. That you have a small infrastructure even if you haven't even piloted your project yet.

Yulia: [00:27:54] That's the most basic part of fundraising. Once you have somebody to sign on, that signifies success. So other people sign on automatically almost. That's a very common thing in fundraising. 

So I have two more questions to ask you. What are some of your success stories?

Osh: [00:28:13] What's really remarkable about Broadway for All is that we always say our goal is to train a diverse group of students across the country in musical theater, drama, and dramatic writing. They will then have the skills to go off into the world as actors, writers, producers, creatives, and even artists advocates. As we know many people who leave conservatories will still go into another field. That's great but we still want to use that fire in your belly that you got at Broadway for All to always advocate for inclusive work for all people. To not be color blind, to be color conscious, to be disabled conscious, to be transgender conscious, and gender conscious. 

We have three kids that made their Broadway debut recently in Matilda, Finding Neverland, The King and I. We have one student who's currently playing one of the older sons on Showtime's Billions. Our kids are working in commercials across the city and various off-Broadway and Tri-State area theaters. 

I would say perhaps my favorite success story is one in which we had our kids go see Fun Home on Broadway thanks to the Fun Home producer Barbara Whitman. There was a comment made from one of our students that some can take as pretty foul and homophobic. I remember hearing that after they saw Fun home the kids hashed out that problem together, made up, and the child apologized. They're working together harmoniously. I think about that social justice piece. So you're not just learning from Broadway, TV, and film's best — but you're also learning how to be a good citizen. We tell them you make the best art through diversity of perspective. But you also become a better human being through diversity of perspectives — to sort of think outside yourself.

Yulia: [00:30:27] You're an actor as well. You were in the Unbreakable Kimmy Schmidt recently. What's the greatest that acting has taught you?

Osh: [00:30:39] I would say it all comes down to preparation. I learned this in grad school and I saw it manifest itself in the professional world. The more prepared you are the more your nerves can be calmed. And the more vulnerable you can be. And I believe the more vulnerable you are — the more creative you can be in your work. People will sometimes say you can be over-prepared, and you'll get in your head too much. I think that's bullshit. I think you always have to prepare and really be as prepared as you can. If you get a nine page audition for a guest star the night before the audition, you should be as prepared as you can be (given the amount of hours you have for that audition).

Yulia: [00:31:44] My final question is what is your dream as an adult?

Osh: [00:31:46] My dream as an adult is to produce write and act in a TV series which I'm currently writing with one of my good friends. I want to write a show that is wildly entertaining, but also has the capacity for growth for all people. Whether you're a Hillary supporter, or a Trump supporter, or third party supporter. A show that teaches all people their capacity to (again) think beyond themselves and to practice empathy, and to do better, and to always try to be the best version of themselves. Because at the end of the day if you think about imperialism, or countries still participating in ethnic cleansing, I think what we all want is to feel valid and loved. And worthy.

Yulia: [00:32:46] And everybody believes they're doing the right thing. That's why this world is so complicated.

Osh: [00:32:49] Absolutely. That's why I always say “When you look like me, sometimes you can play the funny crazy people, or you can play the villains." The thing about the villains is, people always think they're doing good no matter what. I always say "I don't think anybody is born inherently evil."

Yulia: [00:33:09] No, they all think they're doing good. And that's how you play a villain. You become very convinced that whatever you're doing is the right thing to be doing. Because there are no villains.

Osh: [00:33:23] I agree 100 percent.

Yulia: [00:33:29] I like being behind camera, and I really love script analysis, and all that stuff. It helps me with advertising and story telling. I'm a creative. I'm an artist. People are like "What are you?" And I'm like "I'm a creative. I'm a maker. And I'm a person that brings people together."

Osh: [00:33:29] I'm glad you're saying that. A long time ago, you think of matchmaker (which is now Hello Dolly) as this idea of the person who had multiple business cards. They were essentially perceived as a charlatan. Someone who knows a bunch of things, but can't do any of them well. I think we've had this resurgence to go back to this model, where you can be a multi-hyphenate. You can be a hybrid, you can be an actor, writer, or non for profit leader, producer. Even own a clothing company, which I'm thinking of down the line. I think you can be good at all of them, as long as you're passionate. I think they all come from the same thing, and that's what excites me. I always say the day I start doing the same things for the rest of my life – I'm ready to be dead. Kill me then.

Yulia: [00:34:44]  I always say that. Look at Oprah as an example. She's so inspiring to me. She's an actor, she's got a production company. Nobody told Oprah she should scale down and do one thing. Oprah wasn't like, "I think i'm going to call it quits after the show."

Osh: [00:34:54] I really think at the end of the day (and when I hire people for Broadway for All) whether you're a Broadway teaching artist, or you are on our managing team, or people who I'll eventually hire for this TV show I'm working on, is your sense of possibility. I need to know if I'm working with you, that you believe that almost anything can happen.

Yulia: [00:35:19] You have to dream big.

Osh: [00:35:19] You have to.

Yulia: [00:35:19] You have to because there's no reason to dream small. We have to dream big in order to create amazing things.

Osh: [00:35:30] And if you end up falling flat on your face, at least you fell flat on your face dreaming big. And with a great deal of integrity.

Yulia: [00:35:39] And you always learn when you fail.

Osh: [00:35:42] Of course you do. I think there's this culture on Facebook to only say the good things that we're doing. And to not let people see us become vulnerable. I'm thinking of another project where people can go on screen, and to talk about those things. Which we all are afraid of and don't want to talk about. What everyone else is going through as well. I just find that so strange that we can't come together for the things that we all have to deal with. Rather pretend that they don't exist or happen us.

Yulia: [00:36:23] Sign me up. I will talk about all my failures. They all taught me things. I would love to be a part. Ohh, I know you have to run. You're a busy man. Thank you so much.

Osh: [00:36:23] Thank you so much. This is really fun.

Yulia: [00:36:34] This was so much fun! Right? I love what you're doing.

Osh: [00:36:37] Likewise. Thank you.

Yulia: [00:36:38] I came to one of the performances and it was so amazing. The kids were so amazing. I had such a lovely night.

Osh: [00:36:46] Thank you so much. Please come and see us in action this fall. We'll be starting our content creators. We're focusing the fall and the spring semesters on giving our kids a little bit of seed funding. A few hundred dollars to say “We don't want you to sit around just talk about diversity and read articles. We don't want you to just be actors and writers. We at Broadway For All want our kids to become what we call Artists Entrepreneurs.” 

We want them to get a camera. We always tell our kids for Christmas, or Hanukkah, or Three Kings Day, or Diwali — don't ask for the new Air Jordan’s. Although I would probably say to ask for new Air Jordan's because I love my Air Jordan’s, and my snapback hats, but ask them for a camera. And if you can't afford an $800 Canon camera, ask for parents to buy a used camera on Craigslist. 

Buy you a used Macbook Pro and start making movies. Even if it sucks it's OK. Because you're going to do better. What's exciting about that, is you have our kids who live in the West Village teaming up with our kids who live in Bed-Stuy, and the South Bronx. They are coming together to create. And so we call them our content creators. I think that when you get kids who dream big, and for whom diversity is normal, they don't really use that word because it's just part of their lives.

Yulia: [00:38:19] And where can they find you online?

Osh: [00:38:22] They can find us at Broadwayforall.org.

Yulia: [00:38:22] Awesome. Thank you so much.

Osh: [00:38:22] Thank you.

 

Julia Laricheva