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.
Yulia: [00:02:11] I'm sitting down with Osh Ghanimah today who is this CEO and Founder of Broadway For All. And they're a really awesome nonprofit that promotes diversity in film, TV and Broadway. They partner a lot of stars with kids and give them a chance to basically be on Broadway, be on film and study acting. It's a really awesome organization. And 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 and big billboards and so 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 and 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 drama club etc. and it was such a positive school culture that we were encouraged to do everything. And I remember seeing a musical at my school when I was in fourth grade called Oklahoma which we all know and I remember running up on stage and like having the lead role get off and get off the stage and continue. And instead I later woke up and realized I was having a dream about being onstage while watching Oklahoma. And so the next fall I signed up for the school musical and I was in that ever since for like four consecutive years. So as my K-8 school this remarkable social studies and english teacher Mrs. Dapong who would put on the plays and usually put her own money into it because teachers are never given enough money for resources for kids and she just loved doing it. And those were some like 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 poeple can not be creative and can not think creatively withough being able to find expression and the freedom they find through acting. to have independent thought and to perfrom. and to just explore and play. which is a huge part of creativity, whether youre developing brands, jingles or creating a story for film. you need to be able to feel that you can play.
Osh: [00:04:26] Agree.Yeah 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 you know two days or three days. After school is over from 4:15 until 5:00. And it's like I would challenge them to make the arts integral to the whole week and to have a block of theatre class and a block of dance a block of visual art. And to say that's not radical, that should be the norm.
Yulia: [00:05:17] It's not. You know, in an acting class you usually have three hours. And that establishes bonding for the class, that establishes time for warm up and time for play. And there are also a lot of after school programs, too. 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 you know this creative process and the means for self-expression but you can actually introduce academic rigor into them as well. You know whenever you're teaching theater and 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. And that is the whole lesson. You know on language.
Yulia: [00:06:02] Which I would say may rival some you know English or other linguistics courses later on you know. Yulia: So true. So you did acting as a kid and how did that lead you to come up with the idea for Broadway for All?
Osh: [00:06:19] So the idea for Broadway For All is based on my experience right coming from Palestinian American Muslim immigrant household we grew up with very little money. And 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. And 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 and ethnic backgrounds religious backgrounds. And 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. And I really do believe that those experiences going to your Korean or Jewish you know friends house for dinner and having parents who would somewhat supplement like the parental involvement piece for me because my parents were either busy working or doing their duties because they're you know immigrant parents trying to make ends meet. And so I was very fortunate to have those people there to sort of shepherd me in to be my Sherpas if you will. And so 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. And so in creating Broadway for All, We always think about giving like you know educating the poor black or poor Latino kids in the South Bronx and let's send teaching artists to those neighborhoods so those kids get theater. But I think that model still prejudiced because 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 and so I say you know 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 Side or Upper West Side and the service to those kids from the Upper East and Upper West Side who should be privy to kids who are completely different from them and to have a chance to meet them and to form relationships and how wonderful for those kids too from the Upper East Side and the Upper West Side to meet kids who they otherwise wouldn't be privy to before going to college, perhaps and it's too late. You know 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 similar attraction law principle you know. So what happens if you take a kid's world view and you shake it up and you expose that kid from a very young age to people who are starkly different and similar in many ways which they soon find out training and a rigorous conservatory together. What happens when you take a young white kid and you expose him to the issues surrounding diversity Broadway and TV and film and then have them feel that gut punch you know 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 in me. He should have a chance just like me and so it was that experience as a kid around many around 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 if you will. 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. Its about creating conservatories for people where it's not segregation. Because even the kids that to college say, "Go to Stanford" Stanford is not that diverse. you know so everybody ends up having a separate path And there has to be some kind of an intersection before. Where everybody can get a similar chance, perhaps. You know, like. Nobody is going to create that. We have to create that ourselves. Because people are not even, 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 you know still begs why 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? Cause 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. And I think people are now seeing that you know 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 because and as well they should be because it's show business and we get the business part. But I think a lot of the producers not all right because I've met some really revolutionary forward thinking ones who are doing some of the great work we're seeing now but still a large majority 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. And I think now with TV shows like you know Atlanta right on FX - remarkable show I can't stop watching it. I've even rewatched episodes with my friends who haven't seen that before. Just so they can watch it and how to get away with murder and Hamilton and I think 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 you know far more three dimensional if the world that your characters are situated than actually look like our world. You know 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. So 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 and I never felt like I was a part of any of them. like i never felt myself reflected in any of them.
Osh: [00:13:52] See I wanted to be them. Right. So when I would watch Saved By The Bell I wanted to be Zach Morris right. I remember being a kid and dreaming of having blue eyes and blonde hair. And I remember being in high school and frosting my hair with like 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 you know but we think about institutionalized racism and the effects on that as kids like how did I as a kid. And then I had a great you know like I told you a multicultural perspective when I was a kid. Yet I still wanted to be a part of a dominant powerful race if you will. And I felt that as a kid because 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 just 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 you know 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 it doesn't have to have 8 million viewers on a network on one given night.
Yulia: [00:15:36] I loved watching Master of None with my mom. I actually started watching and then I called my mom and said, "Mom you have to watch this because this is so similar to our life" And she called me back and she goes, wow This is such a great show. she's like, they <they really capture the immigrant experience. And it's interesting because, as a Russian Jew, I can relate to the Indian experiences. Because it's just about, it's just about emotions and experiences, right?
Osh: [00:16:05] And and even as like I would even argue as an upper crust you know let's say you're a wasp from the New England states. 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 and to have your parents not understand you. Yeah and so I always argue you know it's a great show. And anyone even non immigrants can relate to this immigrant experience you know 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 the ART here at Harvard University the university's president sent out an e-mail for a public service fellowship and they award 10 every year all to all students across all schools at Harvard. And I remember putting up this theater for diversity project in undergrad at Leola, which sort of did the same thing where I brought kids from inner city schools in Chicago and suburban schools and had my peers help Leola train them for a one week intensive and 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, actually. we're now a national not for profit based in New York City. And 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, Stage Door Manor, Interlochen, and hired people currently or recently having worked on Broadway and TV and film. How can we contribute to this new diversity pool? And 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 coming onboard to 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 and and 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 actually when I got the email that I had won the fellowship and they approved my idea for Broadway for All. And 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 and the whole conceit of our program is to get kids who live in the south Bronx or you know in deep in Brooklyn to come to Manhattan to the Broadway theater district every day with their counterparts from different socioeconomic status is 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. And you can come in for free and 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 and 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, you know.
Yulia: [00:19:56] Well the people that say no are the people that are not the right match. so you have to realize that.
Osh: [00:19:57] Exactly. That's why I say all the time. I'm glad you're saying that. You know it's like when I talk to people about fundraising and 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. And I know that you're looking for something meaningful to do. And 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 you can hang out and grab a tea later or something. But it's on the next one. And I think we get so fed up hearing no I guess because I'm an actor. I'm used to hearing no. So I think maybe actors should also go into fundraising because they've mastered the art of accepting no and still moving on. You know.
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, presenting whatever jingle it is whatever storyboard it is, and then getting killed like 16 times before. So you just build up a skin and you just 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. So 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 like, tribe.
Osh: [00:21:40] Yeah.
Yulia: [00:21:40] Because 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 want to be a part of something they just don't know what to be a part of
Osh: [00:21:52] I agree. And also we have resources everywhere. You know no matter where you are or where you are socially or economically or what have you. We all know somebody who knows somebody. And as long as you are professional and you know what you're asking for and you know why someone should help you. You know 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. because 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 known that I know now is how important it is to bring on people who understand infrastructure and organization. I think a lot of us creative types often struggle because we forget about the management part and have many feeder companies in Chicago where I'm from that I adore and have had trouble because of money and business and operations and I think we forget that part so it's like you have to have a great idea about 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 for that so no one's being answered twice. There's so much that goes into it and I think what we end up doing is we like to dream really big. And then to 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. And I would say to try to create a microcosm of your idea and really create and really devote time and money to marketing and media and operations and 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] I think as creatives, too, you get so excited and you start running with the ball and 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] I'm running on fumes and you no matter. And I think that's the thing too, right: No matter how great your idea I think everybody needs to know that your idea is situated. I'm a very strong foundation that once I give you money I know that this venture isn't going to crumble because 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] And 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] And I would say that's one of our biggest challenges is not having enough people on board. We just never have enough. And I would say we have so many people who email us and say we'd love to help you. We'd 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. And so it's like. So you have me bopping around all over the place and that gets really hard. And we're 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. And so the problem is right now like where we're at right now. You know we've been funded by some really wonderful corporations or our budgets in the black which is very exciting and where we're really thriving after five years and in such a great place and we've seen such great impact as an organization but where we are right now is what we need our first development director a full time person committed to development because 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 you know find those foundation opportunities and to follow up and to apply and to you know that that's a separate art form in itself. And so it comes down to the chicken or the egg you know 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 for you 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 is once you know I will say that you know this project one principal says that he liked the project came from Harvard and he liked that his kids could have access to that name. and people who went to that school. And I think I think people just want to know that you're vouched for. And 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 well hey how can I help too. And so I think people just want to know that you're secure and that their donation is in good hands. And so I think you know 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 and that you have a small infrastructure even if you haven't even piloted your project yet.
Yulia: [00:27:54] That's actually the most basic thing of fundraising once you have somebody to sign on, that signifies success. so other people just sign on automatically, almost. That's a very common thing in fundraising. So I have two more questions to ask you. And then it's 4:02 and I'll jet. hat 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 and musical theater drama and dramatic writing who will then have the skills they need to go off into the world as actors writers producers creatives and even artists advocates. Because. As we know many people who leave conservatories will still go into another field and to say 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 and 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. And our kids are working in commercials across the city and various off-Broadway and Tri-State area theaters. But I would say perhaps my favorite success story is one in which we were. We had our kids go see Fun Home on Broadway. Thanks to Fun Home producer Barbara Whitman. And. There was a comment made from one of our students that some can take is like pretty foul and homophobic. And I remember hearing that after they saw Fun home, the kids hashed out that problem together and made up and the child apologized and. They're working together harmoniously. And. I think about that social justice piece right. So you're not just learning from Broadways and TV and film's best but you're also learning how to be a good citizen. And. You know we tell them you make the best art through diversity of perspective. But you also become a better human being through diversity of perspectives. And to sort of think outside yourself.
Yulia: [00:30:27] So. You're an actor as well. Your. And you were in the Unbreakable Kimmy Schmidt lately Fun project. My. Question. Is. 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. And so I think people will sometimes say all preparation you know you can be over-prepared and you'll get in your head too much. And I think that's bullshit. I think you always have to prepare and really know know what is this or working with or be as prepared as you can. You know if you get a nine page audition for a guest star the night before the audition you know you you're you should be as prepared as you can be given the amount of hours you have for that audition or that premiere.
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 and I want to write a show that is wildly entertaining but also has the capacity for growth for all people whether you know 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 feeling valid and love. And worthy. You know.
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. And that's why that's why I always say you know When you look like me sometimes you can play like the funny you know crazy people or you can play the villains. And 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] No, I agree 100 percent.
Yulia: [00:33:29] Yeah, I'm on set too, but I don't do it enough. I really love it, but I like being behind camera and I really love script analysis and all that stuff. because it helps me with advertising and story telling. And 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] Well I think, I'm glad you're saying that because I think you know long ago you think of matchmaker. Right. Which is now Hello Dolly and this idea of the person who had multiple business cards was essentially perceived as a charlatan right. Someone who knows a bunch of things but can't do any of them well. And 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 not for profit leader producer even own like a clothing company which I'm thinking of down the line. And. I think you can be good at all of them as long as you're passionate and I think they all come from the same thing and that's what excites me. I always say you know the day I started doing the same things the rest of my life like I'm ready to be dead. Kill me then.
Yulia: [00:34:44] You know 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, "No 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 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. Because right now we're dreaming 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 from when you fail.
Osh: [00:35:42] Of course you do. And I think you know there's this you know culture on Facebook to only say the good things that we're doing. And and to not let people see us become vulnerable. So I'm thinking of another project where people can go on screen and to talk about those things which we all which we're all afraid of and don't want to talk which everyone else is going through as well. And so I just find that so strange that we can't come together for the things that. We all have to deal with and rather pretend that they all don't exist or happen us.
Yulia: [00:36:23] Sign me up. I will talk about all my failures since I was like ten years old.Because they all taught me things. So I would love to be a part. Osh. I know you have to run. You're a busy man. Thank you so much.
Osh: [00:36:23] Yeah. 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. And the kids were so amazing. And I had such a lovely night.
Osh: [00:36:46] Thank you. Thank you so much. Please come and see us in action this fall we'll be starting our content creators actually. So we're focusing the fall and the spring semesters to basically give our kids a little bid seed funding, a couple hundred hours here, a few hundred dollars here to say, we don't want you to sit around and just talk about you know diversity and read articles. We don't want you to just be actors and writers. We also want you to be...we at Broadway for All we want our kids to become what we call artists entrepreneurs. And so we want them to get a camera. So we always tell our kids for Christmas. Or for Hanukkah or three kings day or Diwali don't ask for the new Air Jordans although I would probably say to ask for New Air Jordans because I love my Air Jordans 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 and buy you a used Macbook Pro and start making movies and even if it sucks it's OK because you're going to better. And what's exciting about that is you have our kids you know who live in the West Village teaming up with our kids who live in Bed-Stuy and the South Bronx coming together to create. And so we call them our content creators. And I think that when you get kids who dream big and for whom diversity is normal you know where they don't really use that word because it's just part of their lives. I think that setting our world up for some really good stuff that.
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.