Episode 64: The Tide Is In
This week, we talk with alumna Lara Herscovitch ’95 about balancing a career in social work with another career writing and performing music, and we travel to Fort Trumbull to learn how UConn students there got the news out in the 1940s.
TOM BREEN: [00:00:00] Hello everyone and welcome to episode 64 of UConn 360. That is the only podcast known to science that covers the University of Connecticut from every conceivable angle, coming to you from the three corners of Connecticut. We are separated by the pandemic, but we are united by our love of the University of Connecticut. My name is Tom Breen. I’m your facilitator of sorts. Joining me as always are my colleagues Julie Bartucca.
JULIE BARTUCCA: [00:00:46] I thought you were going to end that sentence as at love. We do have a cohost bond but, you know, that might be taken it a little too far. Speaking of mandatory sexual harassment training. No, don’t worry.
TOM BREEN: [00:00:46] And Ken Best joining us from the Mansfield Center Bureau.
KEN BEST: Yes, we finally were able to do that. We are continuing to have technical issues.
TOM BREEN: [00:00:58] We have some technical difficulties, but we’re soldiering through. It’s the spirit of Dunkirk here at the University of Connecticut. We’ve got an exciting program for you and there’s a lot of exciting stuff happening at UConn right now. For example, this is ripped from the headlines; the University of Connecticut, joined with many other universities and States and protesting and supporting a lawsuit against the Trump administration, which had issued an order saying that all international students were not attending classes in person the fall have to return to their home countries. I would say maybe an hour after we posted that on UConn Today, the Trump administration announced they were backing down from their order. Some people would say, well, that’s just a coincidence. It has nothing to do with it. I choose to believe that we were the deciding factor. They saw UConn Today go up and they said that, okay, we don’t want anymore. We don’t want this.
JULIE BARTUCCA: Not all the States and universities that were suing.
TOM BREEN: They were so excited. They were getting ready to fight and they saw UConn today. They said, throw in the towel; it’s over; it’s done.
JULIE BARTUCCA: [00:02:18] We did one story though, I thought it was interesting too. The Connecticut Convergence Institute for Translation in Regenerative Engineering, they created some 3-D printed mask frames to make regular masks fit a person’s face. So they actually use a photo and then there’s some3-D facial recognition technology, and that’s actually being brought to market. Connecticut Biotech, which is a Connecticut based startup, is going to be marketing, manufacturing and distributing the printed mask frames. They’re going to be called Secure Fit. So for people who really want a better fit on those masks, I thought that was pretty cool.
TOM BREEN: Very nice. Ken, despite the technical difficulties what’s been going on in your world, what’s, what’s been happening that you find interesting?
KEN BEST: [00:02:57] The final version of the summer series that Jorgensen has started as the digital stage will be gone July 28th, because they’ve been shut down because performers are not able to perform and tour. They did find a service that would allow streaming. And so they worked with them and the Dover Quartet has been streaming on behalf of the Jorgensen for the last two weeks. The final performance is on July 28th and you can go to jorgensen.uconn.edu to sign up and participate in that. You can also go to UConn today and see the story that we wrote about it.
TOM BREEN: Very nice. Speaking of performers and music; Ken, you’ve got a story for us today about a performer.
KEN BEST: [00:03:41] I do. Lara, Herskovitch graduated from the School of Social Work in 1995 and began traveling around the world as an education specialist for Save the Children, which is based in Westport, Connecticut. She carried a guitar, the sing and write that she had done since she was a child. She later worked as a grant writer and policy analyst at the Greater Bridgeport Area Foundation and more recently with the Connecticut juvenile justice Alliance. I met Lara 20 years ago through a mutual friend when I was working on my master’s degree in journalism and needed to write a profile of an interesting person for our class. Our friend thought she might be a good subject.
[00:04:21] At the time Lara was performing her original music at open mic nights and Connecticut and New York and beginning to record her first album all while holding down her full-time job in social work. I did my class assignment and then wrote a story about her as part of a longer piece I did for the Connecticut weekly section of the New York Times, which some people may remember. After I became the editor of UConn Magazine and wrote a number of stories, including an alumni profile for our readers about Lara. She continued to work a day job in social work and performed on weekends throughout the East Coast and released albums. In 2009, she was named Connecticut state Troubadour and she gained national attention after an appearance on NPR’s Prairie Home Companion when the program visited the Palace Theater in Waterbury. Three years ago, Lara decided to pursue her music full-time. She’s just released her seventh recording titled “Highway Philosophers.” We met at the Buttonwood Tree in Middletown, where she has performed many times, to catch up.
LARA HERSCOVITCH: [00:05:18] I had a full-time-ish job in lots of different segments of the public policy arena, program development arena, overseas in the U.S. and yeah, three years ago, I just couldn’t sustain both. Happily music was doing really well, and it just was too much to carry two full-time jobs at that point. So I was a part time musician, but I was also a full time musician and a full time policy, social worker. So, how’s it going? How’s it going? Well, I would have answered the question slightly differently, probably in February, then March on. Right. There’s sort of pre-COVID and post COVID-19, but overall I just have to say, it’s going great. I’m happy. I’m doing what I’m here to do. The details of how it unfolds are always surprising to me. And that has always been true. So I’m a born musician. I started writing songs when I was eight, nine, 10. I found a poem. My mom was going through our childhood stuff. I found a poem from, I think I was seven years old, something like that. It took me a long time to get to who I am. It’s been really rewarding. Any creative person, I think generally wants more time for their art. I didn’t know what that would look like for me first and foremost, I still live by the Ray Charles famous quote: I never wanted to be famous. I only wanted it to be great. And for me in this lifetime, I want to honor music and sort of give back to music, what it has given to me and honor it enough to just get better and get better and grow and improve my guitar playing and my performance skills and my poetry writing and just all of the elements of that and being full time, I would say that’s the biggest difference is I just have time to give it.
[00:07:28] I have time to play every day. I have time to tour, I’ve timed tour to places that I always wanted to go, but couldn’t fit in on a weekend per se. Now we’re in this strange new world and I’m doing a lot of it online, and it’s still great. That’s a whole other subject to cover, but I think what the pandemic has helped me understand is the importance of music and the importance of art. I think when I was working full time in the public policy world, I felt like that was important work. I still feel like that’s important work, but I always felt like that was more important work than music is. And now I understand that they’re both equally important, they’re just different.
KEN BEST: [00:08:15] Highway Philosophers has got what I know to be several of your common places to go. There is social justice messages in there. There are some personal things, and there’s a bit of humor because you’ve always had that in some of the songs you do. How has that evolved so that it’s still what you can add into a disk? Because you always look forward in what you’re singing about.
LARA HERSCOVITCH: [00:08:39]. I think it’s hard for any fish to see and understand the water that that fish is swimming in and breathing in. It’s hard for me to comment on it from a higher, like a 20,000 foot altitude. Having said that, I was shaped early on in my career by artists like Cheryl Wheeler. She was one of the first people I opened for at the Acoustic Cafe in Bridgeport. I lived around the corner. It was my first early training ground. I really enjoy offering an audience, a wide variety. If I’m inviting them into a house, I’m throwing a party and there’s a big house I want to offer a lot of different doors and a lot of different windows for people to come in. Musically, lyrically, topically, rhythmically, tempo. I really enjoy a lot of variety as an audience member as well as a performer. So I guess that just hasn’t changed. Most of my albums are like that. Maybe with one exception being “Four Wise Monkeys,” which is a concept album weaving around themes related to having to address mass incarceration, prison industrial complex in the United States.
[00:09:51] That was in 2012. I think. All my other albums have been, I think, exactly what you’re describing. I think what’s different about this one. One is this one is an album of freedom. I think it wouldn’t be surprising if you listen to all my albums back to back, that this is the one that has a lot of themes of freedom, adventure, escaping a circus, flying, becoming who you are. ] So perhaps all the albums before this were leading up to that point. But if this is the moment where I finally had the ability, courage to leave full time social work, and go into music full time. I think that’s really reflected on this album. I hope it’s a resonant, honestly, especially in this time now in the pandemic, I hope it’s really resonant for people who are also on their own hero’s journey. I think this is an album of the hero’s journey and all the different elements of it. And some of that is the past and healing, the very personal, and some of that is the very aspirational; you know, fire up a hot air balloon and get out of the circus because the ringmaster is not very kind and we need to do things a different way. I always hope to inspire people to lean into their best self in the same way that I’m trying to lean into my best self.
KEN BEST: [00:11:23] One of the things that I know has been happening over the years is you’re looking to improve everything that you do in every aspect of your performance. You’ve taken voice lessons, you’ve worked on your guitar and you’ve taken songwriting workshops and all of that stuff. Where do you think you are now, 18 years into this? Where are you still are looking to improve?
LARA HERSCOVITCH: That’s the whole part of the human journey, right? We never get there. I’m better than I was 20 years ago; I know that much. I have always tried to do that best that I can in any given moment and when I have released every other album before this I’ve always really felt even releasing it, I wish it could have been better, especially working full-time there’s all kinds of compromises you make along the way in terms of time and budget. In the past, I think I have probably let good enough be good enough. One of the really big differences being full time is that I can help encourage good enough to become more than good enough.
[00:12:11] With no disrespect to anything that came before, this is the first album that I just feel so thoroughly proud of. I worked really hard on the songs. I didn’t let good enough be that this time. If a song felt good enough, then I knew this time it wasn’t done. And that feels really good. So it took a long time to do, and it was a painstaking process in the studio. And my co-producer is super patient and talented and a really terrific partner. There’s still, as one of the songs even said, it says, Robert Frost’s quotes: Miles to go before I sleep. And I guess that’s just always true for those of us who are choosing a path of growth and you know, we see it in nature and we see it in ourselves and hopefully we’ll see it in the world and the, and the country and this moment of fiery transformation. There’s always room for improvement.
KEN BEST: What song from this new album is the one that we would reflect what we’re talking about?
LARA HERSCOVITCH: You can ask me this question 14 times a day, and I’d give you a different track each time. At this moment. I’m, I’m leaning a little bit into “Angels,” because I really feel like we’re being, we’re being called upon to be better. We’re just where there’s a huge invitation right now for us all individually and collectively to choose to evolve, to choose to be kinder, to choose to lift up integrity and contribution and community and connection. And I hope we take it. I know lots of people are already taking it and, there’s lots of room on that boat. One of the songs is “Sailing to Newfoundland.” It’s a metaphor through sailing a vessel. There’s room for everybody on the, on that boat. And I hope everybody chooses to come aboard.
KEN BEST: [00:14:00] Interesting song. I think I said when we spoke angels is a theme in lots of albums. I remember that line; it’s kind of one of those things that does recur in a lot of songs. What surprised me a bit was a “Careful Porcelain Doll. For instance, the baseball. I know you’re a sports fan of football and I guess you watch some other things as well, but that seems to be more personal.
LARA HERSCOVITCH: It is very personal.
KEN BEST: Why don’t you explain that a bit to me.
LARA HERSCOVITCH: [00:14:31] I think that’s the other interesting thing about this album. In the middle of this, gosh, I was going through one of the biggest changes in my life — from a full time social worker to a full time musician. That stirred up all kinds of stuff in the middle of all of that. I had a broken ankle that stirred up some stuff. I’m an active person and so it’s kind of forced me to be more quiet and still, and that, of course, as everyone’s learning through this pandemic, that will also stir up stuff when there is stuff there to be stirred. In the middle of that, my mother is downsizing so she kind of handed me and my sisters back all of our childhood stuff. I was reading through all this childhood stuff and that will certainly stir some stuff up. “Careful Porcelain Doll” was a true story. When I was a kid, I went to Yankee games a lot with my dad. My dad traveled a lot; he worked for IBM. He was he was away a lot, but he and I were really close. I’ve always been drawn to sports as a player and he and I would play catch. We went to Yankee games; this would be ‘78, 79, 80. Those Yankees, Reggie Jackson and Mickey Rivers and Goose Gossage and Thurman Munson. Greg Nettles played third base.
[00:15:53] So yeah, in “Careful Porcelain Doll” sort of meditating on being a young girl who at the time, the culture for young girls was still kind of repressive and not supportive of being outside of the lane of pink dresses on Barbie dolls. I wasn’t interested in pink dresses, some Barbie dolls. Really, I wanted to be outside playing. I had one grandmother who lived in Montreal. My Dad was born and raised in Montreal and so we would go up there more or less once a year. I remember shopping for her for my birthday at toy store. She said go get what you want. I went to get what I wanted and she put it back and, and took a doll off the shelf and bought the doll. Maybe it was porcelain, maybe it wasn’t. I don’t know; I wasn’t interested but it really stuck with me. I mean, the parallel is I also had a grandfather on my mother’s side, who had a Christmas tree farm. I have a song on an earlier album, “Charlie Brown Christmas Tree” that just pays tribute to him. That’s a whole other, interesting full circle story, but “Careful Porcelain Doll” really is a feminist song, which is saying like, it’s okay to be outside of that one narrow lane of how culture perceives femininity. So, yes, I wanted to be a New York Yankee when I was seven, eight.
[00:17:19] Then the parallel in the song is then I got married very young. I don’t know, 22 or something. He was a lovely person and still is, but I had no idea who I was and kind of got lost; lost myself in that marriage, which was short lived because I busted out of it, not knowing how to evolve with him. So I’m comparing myself at that point, not to being true to feeling like that “Careful Porcelain Doll.” Fast forward to being a musician and saying, I sprinted into the nearest brick wall to break all remaining porcelain doll. So really it’s another song through a much more personal lens of authenticity and courage and allowing yourself to just be who you are when we first met, which was 20 years ago.
KEN BEST: [00:18:05] When I did that profile of you for my class, which partially ended up in the New York Times as a sidebar to the Acoustic Cafe story, you said the following, and I’ve read this to you before and we also talked about it:
“I would love to have the opportunity to music full time to see how that is, but maybe because I have to do both, I believe that my day job feeds my music. Doing social work and working with the high caliber of people that I do in the arts and education and health and human services in the environment is so incredible. They’re such good people working with them feeds me as a person. I like to believe that any artist is better. If they are balanced as an individual, I may be believing that out of necessity right now, but I’d love the opportunity to test my theory.”
[00:18:50] You’re in year three of the test. I know you probably think about this periodically, but what are you thinking now three years later?
LARA HERSCOVITCH: After we had that discussion, I think I was very wise because that’s a smart young woman. [Laughs] I think it was true. I think it’s still true. I have a tattoo of yin and yang, which for me represents balance with also a compass star back to that “Sailing to Newfoundland”, like the compass star that navigates the ship in the, in, by the stars. That’s tattooed on my body, so I still deeply, I believe in balance. I’m not always in balance, but I aspire to it. Sometimes that balance is over the course of a day. Sometimes it’s over a week, sometimes it’s a month, sometimes, maybe it’s 20 years. So this is three years of balancing those 18 years of full time trying to squeeze music into the edges. I’m staring at a brick wall right now behind you and there’s places where the mortar is very cleanly covering the spaces around the brick and there’s spaces where the mortar is absent. That’s what I was trying to do for 18 years with music’ squeeze the gaps with music. It’s both and not an either or. I think that was true.
[00:19:59] Who’s to say what a different path would have looked like? It’s impossible. I wonder sometimes if I had gone to Berklee School of Music when I was 20, what would that look like? But it doesn’t really matter; I’m here now, happy with where I am so I try not to question how I got here. All of that work helped me understand the world. I got to travel to I don’t know how many continents, but a bunch of them, understand some of the common threads of humanity and understand the injustices of the world. That from my sort of privileged, suburban white existence. I would never have had the chance to know and empathize with and have, honestly, the privilege of showing up to work with incredible people on changing those injustices. I think it’s still true and I’m still deeply connected to the Community Leadership Program in New Haven. It’s a program. I went through in 2012 right around when I produced that “Four Wise Monkeys” album at the time. It was a really interesting fork in the road actually getting to now. You and I have probably had this conversation; I felt like Monday through Friday, I had a certain attire in the quote, unquote, more professional vein and I was testifying or evaluating a program or writing to get a grant or giving a grant, whatever. Friday, Saturday — or maybe Thursday, Friday, Saturday, Sunday –I had on jeans and boots and I was playing music. Going through the Community Leadership Program helped me understand that I could be both of those things at the same time. I’m still both of those things.
[00:21:39] So I’m still really connected to them. I’m creative director of their blog and I get to lift other leaders up and help them tell their stories and just create space for that. I don’t think that’s ever going to change. I am one of the protesters; I’m showing up in support and in allyship of Black Lives Matter. I think it’s important for all of us to take this very late opportunity to evolve and to make this country healthier and to increase equity and to increase justice. It’s terrifically overdue, and here we are. What’s the adage? The best time to plant a tree in this case would be 400 years ago. The best time to plant a tree is 30 years ago. The second best time to plant a tree is 10 years ago and the third best time to plant the tree is right now. So I’m trying to show up and continue to plant trees and, and let my music also be of service. Some of it’s always going to be personal; some of it’s going to be aspirational like, yes, you can be who you are; and some of it is probably always going to be social justice because I care about the world.
KEN BEST: [00:22:51] Thanks to Ann Marie McEwen at the Buttonwood Tree who provided us a very good meeting place to talk.
JULIE BARTUCCA: I hope you were socially distant.
KEN BEST: We were very socially distant.
JULIE BARTUCCA: That was really interesting. She had some interesting perspectives on things. Very cool to see her go from a social worker to being the state troubadour and a recording artist. That’s neat.
TOM BREEN: [00:23:14] You mentioned the old Connecticut weekly section of the New York Times. Back when I worked at a newspaper in Connecticut many years ago when I was editing, I had a colleague who came to me with a story and said my editor doesn’t like this story, can you help me out? I basically rewrote the whole thing and worked on a bunch of stuff because I thought it was for our newspaper. Then the following weekend, it was in the Connecticut weekly section of the New York Times with the other staffer’s byline on it. So that’s the one time my writing has been the New York Times.
JULIE BARTUCCA: [00:23:47] Free labor that you didn’t know you were a giving
TOM BREEN: [00:24:00] I also want to say this person went on to a very successful high profile career in journalism. So it just goes to show you, work smarter, not harder. But enough about that. Let’s turn to Tom’s History Corner. We’ve got some fun postwar, reminiscences. I at home, like a lot of folks during the pandemic, spend a lot of time online and on eBay. I purchased a copy of the Laurel from 1947. It’s not quite a yearbook. It’s more of a photographic annual produced by the UConn Fort Trumbull campus, which opened in 1946 for returning GIs. In 1946-1947, UConn as a whole had 8,000 undergraduates enrolled, which was four times larger than any other class in school history. Half of them were returning veterans. The university had to do a lot of different things to accommodate all these veterans. Actually, UConn had housing in Willimantic during this time, which a lot of people don’t know about. They also opened a temporary campus in Fort Trumbull in New London, which was there for four years. It was a two year campus. You could go for your freshman and sophomore year and then transfer it to Storrs to finish your degree or go to their college if you wanted to or join the circus, whatever you wanted to do after two years.
JULIE BARTUCCA: You weren’t bound to finish.
TOM BREEN: [00:25:13] Yeah, you didn’t have to go to Storrs. So I’ve always been fascinated by Fort Trumbull and I got a copy of this annual — I’ll post pictures of it on the Old Main Twitter account. I just wanted to highlight a few things. It’s a really neat snapshot of what life was like. By the way, 1500 students, all men because they’re all veterans at the time. Combat veterans were all men. You know how we’ve joked about how college students in the past always looked like they’re in their mid-thirties? First of all some of these folks were actually significantly older — late twenties or whatever — but also some of them had seen really horrible things. And boy, some of the photos of the class officers, they really had that thousand yard stare of, you know, people who’ve scaled the cliffs at Pointe du Hoc.
Anyway, one thing I found that was neat because they had their own basketball team called the Trumbull Troopers. They had their own uniforms and we’re talking about making throwback merchandise available. I would love some Trumbull Troopers gear.
JULIE BARTUCCA: Let’s call Kyle Muncy. Show me these pictures on the screen, please. I’ll try to describe them to the listeners.
TOM BREEN: [00:26:26] They’re starting five was known as the Filthy Five. You got to love it. They had teams, they had a drama club. They had a student union before Storrs did, interestingly, but the big thing that I’m interested in — I want to see if I can find copies of this – is they had a newspaper called the Trumbull Tide, which actually published all four years. This is from the Laurel 1947. By the way, I’ve also ordered the 1949 Laurel. I think there’s only two. I think by virtue of talking about it, I can write up as a business expense.
[00:27:00] Anyway, one of the outstanding accomplishments of the year. The Trumbull Tide was organized in early October. The first edition, now a collector’s item, was distributed to all in sundry from the sides of a 1922 model T Ford station wagon. Bud Jillson and his grandiose vehicle coupled with a superb first effort made the first edition overwhelmingly popular. There’s also pictures in here with and his model T and it is a grandiose vehicle. I can confirm that.
JULIE BARTUCCA: I’d like to see that old stuff, please.
TOM BREEN: They do a little splash page of headlines from the newspaper, but I can’t find anything online. There’s a superb collection of UConn student newspapers that have been digitized, but the Tide is not among them. I don’t know if anyone has a copy of the Tide or would know where to find one, but if you’re out there and you’re listening. Maybe you’re in New London and you’ve got old newspapers sitting around, look through it. I’m looking for a copy of Bud Jillson and his magnificent vehicles.
JULIE BARTUCCA: [00:27:48] I really wish we kept a list of all these excellent names you can’t pass. I never wrote them.
TOM BREEN: One of our many regrets are our 63 episodes
JULIE BARTUCCA: Gosh, that’s so cool. It’s like an open air car. It looks like a, like a fruit cart on wheels. That’s really cool and Bud Jillson looks like kind of a hottie from here. I can’t really tell, but he’s got some short shorts, nice white tee with little cuffed sleeves for cigarettes.
TOM BREEN: He has a little sign on his truck saying, The Tide Is In.
JULIE BARTUCCA: Wow. So remind me where Fort Trumbull is.
TOM BREEN: [00:28:35] It’s in New London. It’s actually been there, or I should say a fort has been there since 1775, although it’s been demolished and rebuilt several times. They built sort of temporary housing there. They leased it from the federal government or were given it by the federal government for years. And this is the last thing about the Tide. They had a banquet as the Daily Campus used to do, or maybe it still does. I don’t know. The Tide banquet in May was held at Dan Shea’s where all the staff were presented with a press card and we’re initiated into the Order of the Yellow Dogs of America by the honorable Dan Shea. I don’t know what that means. Dan Shea’s was a restaurant in New London. I Googled it. You get a lot of results for Yellow Dog. I don’t know what that was if it was a newspaper thing or a New London thing, or just a weird Dan Shay thing. So if you do know, get in touch with us at UConn Podcast on Twitter. If you are Dan Shea, the honorable Dan Shea.
JULIE BARTUCCA: I went to UConn with a Dan Shea. I don’t think it’s the same guy.
TOM BREEN: He would have been pretty old.
KEN BEST: There is a Jillson Square in Willimantic. Isit possible that there’s a connection there?
TOM BREEN: [00:29:42] Oh, interesting.
JULIE BARTUCCA: Is it Jillson with a J?
KEN BEST: Yes.
TOM BREEN: Just a little trip down memory lane in Fort Trumbull. I’ll post pictures so you can get a look at hottie Bud Jillson and the rest.
JULIE BARTUCCA: Let’s take a closer look at his face. Don’t hold me to it, but he’ll look like a, like a pretty cool dude. He’s got his knee casually propped up.
TOM BREEN: From the other pictures, it looks like he kind of drove around, like along the beach, handing out copies to people. So does sound fun.
JULIE BARTUCCA: Sounds like glory days, man.
TOM BREEN: They were probably all re all relieved to be back from fighting in the Pacific or Europe.
JULIE BARTUCCA: Driving along the beach and then handing out newspapers.
TOM BREEN: [00:30:22] Playing in a basketball team against like this weird collection of…they played a Storrs junior varsity. They also had an intramural basketball league; I’ll end on this note An intramural basketball league and there were 27 teams in the league, all from the college. There was a commuter team and there was a married men team. They really got the most other college experiences.
JULIE BARTUCCA: [00:30:47] Good times. That’s cool.
TOM BREEN: Unfortunately that means our time is up this week. Thank you for joining us, everyone. We hope you’re doing well in this very difficult time. As I’ve mentioned, you can find us at UConn podcast. If you are one of the Yellow Dogs of America, we’d love to hear from you. You can also look at old pictures at Main underscore old on Twitter, and you can follow me at TJ Breen and that’s basically it for me, Julie, what do you want the good people of listener-land to know?
JULIE BARTUCCA: I’m on Twitter at Julie Bartucca. At uconnhealthjournal.uconn.edu the latest issue of UConn Health Journal is there. Also, they can find some of those stories on UConn Today.
TOM BREENL [00:31:27] Ken, how about things in the Mansfield Center Bureau?
KEN BEST: Well, the Mansfield Center Bureau is still writing for UConn Today. My exploits can be followed there and also on Saturdays from three to six on WHUS S 91.7, UConn’s sound alternative, streaming firstname.lastname@example.org.
TOM BREEN: All right, everyone. Thanks again and let’s all meet back here in two weeks. [00:32:00].