Presenter: When Tim Robinson appears on the TV screen, everybody's face is brightened with a smile. This person always gives people a lot of positive energy and puts them in a good mood for the whole day. And it doesn't matter if you are a child or an adult.

Presenter: Tim, they say, a good actor is always a good psychologist. Is this true?

Tim: Probably, yes, it is. I can agree with you. If you need to play another person's life, YOU should be able to feel it, as they say, in your bones! You should be able to understand the motives of your hero's actions. And every actor has his or her own "master keys' to play this or that role, everyone has his or her own methods.

Presenter: Many successful people say that they "do not believe in psychologists' as doctors. How do you feel about this profession?

Tim: When a person is looking for a psychologist, who he or she wants to help them, it is very important to find, firstly, a professional with the 'head' but also with the soul and heart. It must be a person of whom questions can be asked without fear of getting the most diverse answers. After all, many people do not want, or are not ready, to hear open and truthful answers to their own questions.

Presenter: Why do you think it is so difficult for people?

Tim: You see, people often prefer to see the world through rosetinted glasses, or dark ones. And the world is diverse, human life is amazing, beautiful. And even when the black mood comes, this is only an excuse to understand, to comprehend yourself and your actions, to try to understand what to do to rise above this mood. People call life "a zebra', but often see only the black bands, preferring not to notice the white. But everybody's life is always full of wonderful things. And you need to be grateful to God. the universe and for having your parents.

Presenter: Tim, I see you are a positive person and your glass is always half-full. But do you have any strong fears m life? What are you afraid of?

Tim: The most important thing is not what your fear is and what exactly you are afraid of, but how you deal with it. A person's life is a dialogue: with himself, with space, with fears, with victories, with periods of happiness. I suppose you can't just avoid fears. You should gratefully accept them and move on.

Presenter: Do you have your own recipe for fighting fears?

Tim: What suits one person does not suit another. So I would not want to give any suggestions. I only know that the more self-esteem a person has, the stronger the desire to see and hear is in him, the sooner he will find a way out. As for professional fears, it's a fear to forget the text, forget your role, the fear of how you have to do this step from behind the scenes. The truth is probably simple: read, move, sing, live, when you do not feel like getting up – force yourself to stand up; when you do not want to do anything – force yourself do something. Energy is in motion.

Presenter: Tim, is your boundless optimism natural or the result of working on yourself?

Tim: I always try to work on myself. And, of course, from the moment of birth until today, my mood has been changing, and there were different periods of understanding, of what I was and what this world is.

Presenter: What do you think an actor should look like?

Tim: An actor must, first of all, be neat. This does not necessarily mean expensive clothes. But well-tailored suits and shirts, clean shoes, neat nails, a haircut and a pleasant smell — everything is important. There is. of course, another category of people who like to condone their vices, relying on the tact that the external shortcomings to which these evils lead, a person today can correct with the help of a surgeon... Well, what can I say? It is better to live a longer, more interesting and more active life.

Presenter: By the way, you are really a very active person. You have many hobbies Is there a path, that you have not tried yet, which you dream about?

Tim: I dream of painting pots. Any large pots, for example. To invent patterns, write them out... But it must be done somewhere sitting by the sea. I think it's very interesting.

Presenter: Tim. can you imagine your old age?

Tim: Yes, of course. I hope that I will have enough health to be active. I will work. And it is obligatory to go on stage. The artist does not retire He lives to the end in art. I think I will have many interesting and pleasant memories, and I will be surrounded by people who will be interested in learning about them.

Presenter: Today we are meeting a smart and beautiful woman and the creator of elegant dresses — Cindy Morningstar. I hope she will share her thoughts and views on music and give some valuable advice to our listeners.

Presenter: Hello, Cindy! It's realty pleasant to see you today. Let us start with a general question for you. What is the ideal life for you?

Cindy: Hello everybody! In my opinion, there is no ideal life. There are ideal moments in it. Some of them are positive, others are negative, but I would like to stop and capture all of them in my memory. That's what I'm trying to do. I believe that most people do the same. I am very self-critical and always want to achieve more. This mainly relates to work, but to life too. Although in the second case, little depends on me, even if I believe that my fate is in my hands. There are always other people, their interests and circumstances. It's impossible to change and fit into 'your picture of an ideal life". That's why moments are ideal for me and me, and life is life. It is beautiful itself, and I do not want to idealize it.

Presenter: Do you like listening to music? What kind energizes you?

Cindy: Oh sure! I like music very much. It helps and distracts, and focuses, and creates a mood, and energizes too. I do not have one particular favourite artist. I love Maroon 5, U2, Depeche Mode and many others. Perhaps music itself gives me energy.

Presenter: How do you cope with difficulties?

Cindy: Usually my relatives, work, hobbies (I really love swimming), and music help me. From my point of view, things get easier when my hands are busy, then the head has less time to think. Also, some interesting ideas come during the creative process. It even inspires something unusual.

Presenter: So, what are your other ways of looking for inspiration? Can everybody find it?

Cindy: You know, I can only say that there are not so many really talented people. As a rule, inspiration visits the person who works hard and tries hard at his favorite business and wants to get results. You should love what you do. So start working hard — and you will succeed! Inspiration will come, and you will be surprised at your abilities.

Presenter: is it difficult to create something new?

Cindy: It's hard when you go in cycles and you can't see anything except work. It takes a lot of effort. It is necessary to be able to be abstract al the right moment, to take a fresh look. Different people look for different ways of overcoming this. I try to forget about my work for an hour or two and go to the swimming pool. Then, when l concentrate on work again, it gets much easier to dream up something new.

Presenter: How do you feel when your collection is shown?

Cindy: I always had a desire to look at the show from the audience, not from the background. But that did not wort out. First the excitement comes, then a sense of self-control and pride in the work successfully done for so long. After that self-criticism comes. During the show I mark the moments that I should take into account, or correct in the next collection. I think it's important to work out my mistakes, so to improve the next collections. And, of course, during the final parade of models, when I hear applause and see smiles, everything seems ideal.

Presenter: Do you make clothes only for young people or do you have collections for elderly ones also?

Cindy: I was always touched by elderly couples walking hand in hand. They are always so harmonious together. And they are always dressed in the fashion of their years. But these clothes look very elegant on them. I can hardly imagine such pairs in jeans, dresses with leather patches, or some other fashionable modem clothes. They don't follow fashion, they have their own style. And I am very grateful to them for this.

Presenter: What is success for you?

Cindy: That's quite a difficult question... I think, success for me is happy customers. Unfamiliar girts in my dresses, who I car spontaneously meet in the city. Success is recognition of what I'm doing.

Presenter: Could you give some advice about style to our female listeners?

Cindy: Elegance and style are in their simplicity. I always say that every woman should choose everything based on the fact that it successfully emphasizes the dignity of their figure and corresponds to the circumstances. It is not necessary to put on everything black and beige to look stylish. But try to avoid more than three colors in one image. Do not follow fashion blindly.

Presenter: What are your future plans?

Cindy: Of course, my future plans are new collections and working with new customers.

Presenter: There are only a few people who believe that fifty is just the beginning of life. On the eve of his birthday Andrew Brighton, a talented actor and producer, told how a new love and family radically changed his life.

Presenter: Good evening, Andrew! First of all we want to congratulate you on your birthday. Does age play a great role in your life?

Andrew: Good evening, everybody! Thank you very much! Frankly speaking, I don't feel my age. The only thing that has changed is that I've started thinking about health, that's all. It bothers me that men of my age often die. My father died when he was 38 — I was 14 then.

Presenter: And how do you take care of your health?

Andrew: Nothing special. Only at this stage of my life everything is becoming steady. I've just created 'Brighton's Theater', now I'm becoming a producer. When I first started with theatre, I had a lot of different responsibilities.

Presenter: What do you consider is your main achievement?

Andrew: My most important achievement are my adorable children. Neither work nor housebuilding come close to this feeling. A person needs a family and children; so they grow up side by side, mature, and this really pleases me. I work hard and earn money only for them. Now I already understand dearly that I have no other goals.

Presenter: Have you faced any difficulties in your work? Do you think that acting is a business or a style of life?

Andrew: Personally I believe that acting is not a business, it's creativity. Although the production is also a very interesting creative action, where you make up something new. In the theatrical world, I wasn't accepted initially. Some producers even threatened me, because my performances were with halls full of spectators. No one likes competitors. And when they started to call me and say nasty things, I was really shocked.

Presenter: And how is your theater developing?

Andrew: The performance 'Thank you. Mary' was the best among theatrical productions last season. Now we have released one more performance — 'Love is..." — about two single people in the theatre. My wife found that the plot is rather similar to our life. When we read the play, we laughed till we cried, because it turned out to be 80 percent about ourselves. I want to say more. I have a dream. I want to make a movie myself. I started a new part of my career. Maybe now, I've just started living!

Presenter: Is it true that you have built your house with your own hands.

Andrew: l dreamt of living in a big house outside the city. But now I understand that this was a mistake. It's not necessary to live in such a huge house. It has rooms which we do not even use. But initially everything was thought out: there is a library, a guest room, a living room, a big study for the children, two kitchens and so on. All my extended family live there under the same roof, I bought my mother and my sister s family there, Today, I warn everyone against this mistake. Every family should live independently. If you have many relatives, you should choose townhouses.

Presenter: Could you tell us the story about how you met your wife?

Andrew: The first time we saw each other was at my play 'Dream'. Nancy came with a note and an unusual gift — large mittens. I reached out to kiss her on the cheek, and she shied away from me. That was the only impression left. I don't remember another thing, absolutely nothing. Two months later l received a message on Face book: "Well, how were the mittens?' Then I was confused, how did I not notice such a beautiful girt?

Presenter: I see. It's an unbelievable and amazing story. I think it will be interesting for our listeners. When did you understand that you wanted a child?

Andrew: When people are not 20 years old, they have experience, they already know what they want. At that time it seemed normal to me. And, in order not to waste time, we just discussed everything on our first date, including our future children

Presenter: Nancy is a lawyer. It is immediately evident that she is a very serious person. You are an artist, and artists are characterized by wandering m the clouds. What points of contact have been found with such different people?

Andrew: To be honest, I don't know. We just understand that being together is the most wonderful thing and we don't want to lose each other. Also, I'm not a big fan of living in the clouds. I divide life and stage. Here is my place in life.

Presenter: It will soon be the New Year. Can you sum up the results of this past year?

Andrew: Well, in general, the year was hard — we were robbed in February, all our savings disappeared. We really hoped, but we could not recover the money. Unfortunately, now we have to start all over again. But we are optimistic people. It's just money we will work and move on. The mam thing is that all our nearest and dearest are healthy, and we'll manage to overcome all difficulties.

Presenter: Today in our studio we meet Sanchez Hallton, the initiator of the new Border Tapestry Project. She did it with her friends and family members. We welcome you here, Sanchez! To begin with, can you describe your personal experience of the US-Mexico border?

Sanchez: My personal experience began as a child, growing up in Arizona and having family in Mexico. We took many trips into Mexico to large cities and smaller villages that would ultimately influence my worldview and my personal identity. During my middle school years we moved to Agua Prieta for a few years which meant we crossed several times a day into Douglas. We attended school in Douglas and also for our activities after school, except for dance. ... The weekends were spent hanging out in Agua Prieta, going to baseball games and sitting outside listening and dancing with our neighbors. ... Presenter: How can you characterize such neighbourhood?

Sanchez: If I had to describe this region with one word, I would say, "generous". In so many cases, binational communities are not held in the highest regard, and no matter what, the people remain simple and generous.

Presenter: How does this speak to your art practice?

Sanchez: Growing up, my interaction with the border became more multi-sided. Life existed equally on both sides. I do not remember feeling like the fence or politics was dividing our community. The border felt like a long stoplight, as we were moving from one place to another in one community. It's a really beautiful thing to have the privilege to go between two amazing countries in a matter of minutes. ... When I attended college in Phoenix and began getting involved in activist groups ... I quickly learned that there was a polarizing idea surrounding the border. That the border was a dangerous place with high crime and drug-dealing rates. As an artist, my goal is for the work to hold this community in the highest regard. My work does not always paint an over-idealized picture of the border but intends to celebrate the overlooked, overworked and unrealized aspects of the borderlands. I have learned through living on the border that nothing is permanent.

Presenter: How was "Border Tapestry" conceived?

Sanchez: It was conceived by borrowing fabrics that belonged to my mother and grandmother and weaving them through the border fence. The idea was to make visual the interdependence of the generational fabrics tied together to remain united, along with the existence of both countries to hold a tapestry not damaged. For that moment the fence served merely as a frame for the tapestry. On a personal level, I intended to represent how my family has created and maintained a woven lifestyle between the US and Mexico. There are not only strong economic ties between the two countries, but familial and cultural ties that keep the heart of the borderlands beating. Without close relationships bonded by love, respect and admiration, everything else would fall apart.

Presenter: How is it created or installed?

Sanchez: "Border Tapestry" was installed in 2009. The project brought my mother, cousin and me out to the fence to perform this action. My mother and I wove the fabrics onto the fence. After the installation of the tapestry, we reflected on my mother's memories of my Granny, who had died months before I was born. We spoke about how crossing the border back in her younger days was different. The movement among Douglas and Agua Prieta residents was more fluid, compared to the more visible border we know today. We then removed the fabrics as carefully as they were installed. Our audience consisted only of a border patrol agent watching from afar. When we left the site, so did he.

Presenter: What is your highest aspiration for the work?

Sanchez: My highest aspiration for viewers of this work would be to reflect on their own family stories and how they are connected with people close and far, ... that through a piece like "Border Tapestry," one could remove the physical barrier and remember that we are all made up of the same human "fabric," as idealistic as that sounds.

Presenter: What has surfaced or what have you discovered in the process of making art in this region?

Sanchez: Border fluidity is all about relationships. ... Like having the best of reasons to cross the border, whether it be to visit family, eat at the best taco stands or economic trade. Human interest is the key. When the desire is there, boundaries are minimized. When common goals are shared, anything is possible.

Presenter: Today in our studio we meet Steve Brown who initiated a new creative project. Why did you want to create the Climate Music Project, Steve?

Steve Brown: It's really that at the time, I'd just finished a degree in environmental sciences and was looking for ways to combine my new knowledge with my artistic ideas. Climate change is a big issue and for a lot of people it feels like something that's very abstract, and something we'll live in the future, not necessarily today. And I wanted to find a way to give the idea that it is a very serious issue and that we can still solve the problem, in a way that would be understood broadly across many different communities. And music seemed to be a natural way for doing so.

Presenter: How do you express climate change into musical compositions?

Steve Brown: There are different ways you can do it. There are software programs that you can use to essentially transfer data straight into some kind of sound. The problem with presenting data through sounds is that it's noise, generally speaking. Because it just follows the data. We made a very reasonable decision not to use that approach, but to work with a real science team to really find out where the important signals are in the data, and then to work with the composer to find creative ways to express those signals in a musical way that would be understandable for people. And that's done by giving musical analogs to different aspects in the climate system. For example in the piece we're currently performing, we're modeling four aspects: CO2, Earth's energy balance, atmospheric temperature of the Earth, and ocean Ph. And each one of those has an analog in the music.

Presenter: HYPERLINK "http://www.theclimatemusicproject.org/ faqs/" The website says the performance is most appropriate for adults and children 12 years and older. Why?

Steve Brown: My initial sense was that the music might sound a little bit too loud for small kids. Later I was proved wrong. In one of our concerts, we were at the conservatory in Oakland, J was watching the audience and a whole group of fourth graders came in and I was thinking, "Oh no, this is not going to be so great." But the fourth graders loved it actually. In fact, one of them even stood up in front of 220 people or so in the audience and asked about the data at the end of the concert, because the class is doing a unit on climate change. I think it really depends on the maturity of the individual child because the music gets sort of loud and a little bit experimental.

Presenter: How do you engage people to care about climate change?

Steve Brown: People can feel it, because they can sense the rhythm, because they can feel it even in their own body, and they're looking at historical references and where we are, where we might be going, it's a much more instinctive, much more sensory experience. And that conveys a whole different sense of understanding. So what we want to do is we want to take that new understanding and we want to make easier the process of helping people in our audiences connect and channel that energy in very positive ways. The way we do that, we're building out a network of both climate literacy and action organizations that we can then link our audiences directly to.

Presenter: What's in the future of the Climate Music Project?

Steve Brown: For the project to really reach a lot of people and to have an impact, we need to have more content, because any one piece of music is only going to appeal to so many people. Our goal is to create lots of content in different genres of music. Starting in 2018, we'll be developing a tool that will allow us to essentially work with composers pretty much anywhere, to create shorter work that would have a local appeal, whether it's in Africa, whether it's in Asia, whether it's in South America.

Presenter: What's the key target of the project?

Steve Brown: Ultimately, the main goal that we're aiming for — we're not there yet and we probably won't be there for about year — would be interactive performances, where the audience could also in some way take part in the performance. We'd like to integrate ways for people to interact with the music, dance pieces for example. The more people can interact with the music and feel the music, the more meaningful it will be to them.