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 Human has a deep connection not just to their fellow human beings, but also with nature as a whole and across different species. Christy Cashman explores our relationship with animals in her debut novel, The Truth About Horses. Sitting down with Corinna Bellizzi, she discusses her coming-of-age story about a young woman facing life’s unexpected challenges. Christy also shares about her non-profit organization mentoring young creatives in nurturing their artistic expression, shaping inspired individuals who know how to navigate the worlds of arts and entertainment properly.

About Guest:

Christy Cashman is an author and mother with a diverse background in film, encompassing producing, acting, and screenplay writing—a journey that inspired her debut novel. Alongside her literary pursuits, she actively engages in various organizations, serving on the boards of the Associates of the Boston Public Library and the Commonwealth Shakespeare Company, and supports numerous charitable endeavors, including Raising A Reader.

Her debut novel, “The Truth About Horses,” released in August 2023, has garnered heartfelt acclaim from readers, literary circles, and the equestrian community alike. Additionally, Christy has authored two children’s books: “The Not-So-Average Monkey of Kilkea Castle” and “Petri’s Next Things,” both inspired by the true story of a heroic monkey who resided in that historic Irish castle.

In 2021, Christy established YouthINK, a nonprofit dedicated to nurturing and mentoring young creatives, bridging them with industry experts to foster mentorship, inspiration and artistic expression. Originating in Ireland, YouthINK made its U.S. debut in August of 2023 in Boston with the immersive workshop “Decisions We Make—Macbeth.” Furthermore, she launched YOUthink Creative Wellness Retreats in 2024, providing guests with a spiritual, creative, and physical sanctuary while supporting YouthINK’s teen mentorship programs.

As the second youngest of ten children, Christy’s upbringing in North Carolina sparked her lifelong passion for horses. When not immersed in writing or leading YouthINK workshops and YOUthink retreats, she can be found riding horses throughout New England and Ireland. Alongside her husband, Jay, and their two sons, Jay Michael and Quinn, along with their beloved trio of dogs and six horses, they divide their time between Boston, Ireland, and Cape Cod.

Currently, Christy’s working on her second novel, “Beulah,” and her third children’s book, “The Cat Named Peanut Shrimp Cookie Fry Muffin Who Lives on Staniel Cay.

Guest Website: https://christycashman.com

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What We Can Learn From Horses With Christy Cashman

I'm inviting you to think about how you integrate with nature and how you tackle life's many challenges as we explore a coming-of-age story with Christy Cashman. Christy's heartwarming debut novel, The Truth About Horses, is a triumphant story about the fierce spirit of a young woman facing life's unexpected challenges. This novel has already earned early praise in the literary and entertainment world from author Colum McCann to Harry Connick Jr, Carly Simon, and even the actor, Jane Seymour, who's teaming up to co-produce the book into a feature film. 

She's even won a few new awards that she'll talk about today as well. Here's the book. I've got it in hand. I've already read it cover-to-cover. It's also available in audiobook, and I really enjoyed that as well. Let's look at this a little more closely. In 2021, Christy also established Youth Inc., a non-profit that's dedicated to nurturing and mentoring young creatives, bridging them with industry experts to foster mentorship, inspiration, and artistic expression. We have a lot to talk about. Without further ado, let me bring her right up.

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Christy Cashman, welcome to the show. 

Thank you so much for having me.

Looking Back

I enjoyed your book. I found it to be a page-turner, and perhaps as a young girl who had horses myself and then who got them again later in life, I was brought back to my adolescence. I'd love to know what inspired you as someone who is an author, an actor, a producer, and even a founder of a non-profit with a very busy life, obviously, to sit down and write this book.

That's a good question. I think I was a little bit of a frustrated creative person. I think that the world of filmmaking was maybe a little bit confusing to me because I live in Boston and so much of what happens in the film world is in New York and LA. As much as I tried to sort of understand that world and produce option screenplays. I tried to develop some books that other people had written. I don't know, it continued to stymie me as far as how to get a really good film made because it felt like I would find a good project and it would change somehow. I understand that in a collaboration which is a lot of what the film is about, you have to be willing, what's the expression, kill your babies or something like that. 

Which is no sacred cows, right? 

Yes, exactly. I felt like I learned a lot, but I never really got a grasp on it like I really wanted to in a creative way. Whereas, writing a book felt to me like it was more my wheelhouse of what I was good at. I felt like I was really lucky that the voice of Reese came to me clearly and in a very authentic way. I feel like her anger was something that I could express because my own mother died and I couldn't express my anger the way that Reese did. 

I had to hold it in. I think that in some ways, being able to express my anger like she did through the book was cathartic. I also had fun doing it. I had fun saying the things that I never would have said at her age or I would have gotten in big trouble for saying, but my reason was probably because I felt like I had something to say based on the fact that living your life and loss goes hand in hand. Living your life and frustration go hand in hand. 

Living your life and yearning for something maybe that you had at one time and don't have any longer goes hand in hand. It makes life more challenging and sometimes more beautiful if we decide to not let that yearning, frustration, and maybe anger paint our life just in one brush stroke. I think that if we allow those things to come up and bubble up and feel all of the emotions, we are then sort of set free to be able to move on to another stage. 

Life becomes more challenging and beautiful if we decide not to let yearning, frustration, and anger paint our lives in one brush stroke.

There's a lot in the book about Reese in farm life, allowing her the sort of stage to express herself and feel the emotions that life has to offer in losing animals and having to sell certain animals, some of the horses. I just felt like I could talk about that world in a very convincing way. I know that when you first start writing, it's really important to write the world that you know. I certainly know the horse world. As far as putting the characters in the world, I knew that I wanted Reese to have experienced a tragedy. It's always good to start a story with tragedy.

It's a hook, right? It's people really emotionally invested. That's the reality.

From there, it was a journey. I didn't know what I was doing necessarily. I learned as I wrote.

I have to say there were a few things that struck me about this book, which made it feel like a read that would be also good for any parent of a young girl who's coming of age or anyone who likes to read horse stories. I know there are a lot of people out there who like to read horse stories. Chicken soup for the horse lover's soul. 

You have these moments where a parent is faced with the impossibility of promises that you simply cannot keep or promises that you realize are unrealistic to even try and keep and then the disappointment that you see in your child and the inability to fix everything for them because as is the case for Reese, her mother died, an untimely death, a tragic story, and then they have to give up their farm. That's like pretty much at the beginning of the work.

It really captivates you and puts you in this position of the impossibility of running into such a deep tragedy at the time when someone is also coming of age and already in that really fragile time, that fragile space, and having to work through all of those intense emotions and the likely rebellion that might have been on the horizon anyway then becomes a little bit worse and harder to manage. 

As the parent, maybe you just want to allow a little bit more because what are you going to do? This is awful and you don't even know how to confront it. I think you encapsulated that story so well that I found myself relating to the dad as much as I was also pissed off at him. Relating to the daughter Reese and her enamored with these animals and the need to be with them because you don't have to sit there and explain your story to a horse. 

You could talk to them and they're never going to judge you. You can get on their backs and go for a stroll, go for a ride, or work a round pen. The reward of physical labor is also something that can help people to really get through tough times. I think that we don't understand as much in today's society. 

I'm just talking in general about our society, the value of that labor to get through a really difficult time, the value of that connection with animals, because often people don't even know what a farm animal really looks like close up because they don't have that experience of pushing a cow around or getting on board a horse. I have met people in my life who literally have never set foot on a farm. 

To me, it's different because I grew up with that because I'm a horse lover. I've owned many horses. Perhaps because I read Black Beauty too many times as a young girl, have never sold any of them. They've always been donations to not-for-profit charities that worked with people and where I knew that their end of life was going to be something more like living as a pastor ornament and getting chiropractic as opposed to being on a butcher's block which can also be a terrifying reality in the horse world.

I love that you do that.

Book To Film

It's like they're your loves. The emotional bond you can build with a horse is as strong or stronger than that that you build with your family dog. I think people also don't necessarily know that if they've never had horses. The story invites us to think about what that's like which is something I absolutely loved about it. Now, you have been in over 20 films, including some pretty big ones like American Hustle, Joy, The Women, Ted Too, and The Forger. It feels like you knew how to prep this for the screen. Like I felt in some ways like I was reading a screenplay, which means it's both digestible and visual, I was really able to get all of it inside my head. Like I could see the shots in a way. How close on the horizon is a film of this book?

It's looking like it's more going to be in the direction of a series which is exciting. I think that could be amazing. The way that I wrote it, and it's in three parts and in some ways, I saw it as something that could be easily a miniseries because each part could easily be e two episodes. There are six episodes right there. Then you take any of the characters and continue with the dad, or maybe you start when Jessie, her mother is still alive, or maybe you continue after the birth of the foal in the end. 

There are a lot of different directions it can go. It can follow Wes's life. He's the selective mute in the story. We can delve into his life a little bit more. I felt like some of that was intentional and some of it was just a happy accident that I had had the experience of reading a lot of screenplays, really understanding the anatomy of a story by taking a lot of classes and by reading a lot of screenplays, sometimes actually reading a lot of bad screenplays is a good lesson and I definitely read a lot of bad screenplays. 

All of that my experience reading screenplays, working in film, trying to produce, and that informed me as an author. I'm most certain that it did. I think that writing visually was also something that came with the territory because I had read a lot of screenplays, and I definitely pictured it. There is a saying though if you write well, you write what you see. If you can describe what you see in a scene and get into the detail of what the room looks like and smells like and the feeling of the table or tablecloth and all of that, everything that you can describe going on with your senses in a scene is helpful. In some ways, we think we're seeing it because we're describing other senses as well. 

When you write, write what you see.

Do you know what? Sometimes if you describe a smell, it makes us see something that is interesting. I think the horse world and barns and rural environments and what the grass smells like at a certain time of year and what river water smells like and mud and stuff like that, I grew up with. I had those feelings and descriptions at my fingertips, luckily. They were easy for me, but I also worked at it. I also worked really hard at making sure that I didn't shortchange my audience or the project by not giving the description that I felt was necessary and that the book was meant to have. 

When you talk of Wes, who is one of the main characters in the book and who, as you said, is mute and doesn't speak by choice. There's this emotional trauma that's under the surface that you're curious about and learning about but to understand that this young teenage girl can find a path to really reach him and that their communication can be as subtle as the communication that you might have with a horse. 

Aside from the times that they write one another notes, even just the visual or the connection to this prior animal, there was a picture of it in the barn and it had been broken, he puts it back up, and what that says about the moment. Getting people to really follow the depth of their emotional connection, even as it wasn't formed in the most traditional fashions. To me, that's exceptional storytelling. Perhaps, I hope we've provided a snapshot of why this makes a great read. 

I personally found it to be thought-provoking again from the perspective of now being a parent. I have boys, not girls. I'm trying to get them in horses. We'll see if that works out. I've known a fair number of cowboys who are the horse whisperers of the world. I have hope that my older son is of that ilk. He seems to really get it. We have a Pony of the Americas horse that he has access to and a POA horse. He's learning to ride and groom and do all that stuff. 

Even to your point, even the tidiest of barns still have a lot of dust and dirt around it and manure, there's always manure and there's always flies. You have the things about a barn. When you talked about the tack room being tidied up, I was like, “That sounds like one of my Sunday afternoons or many of them, frankly.” I was transported into that. I could smell it. I think that again, is an indication of a well-written story. I've read a lot of stories that are harder to get through. This is really a refreshing read. 

Makes me feel great. Thank you. It's a long road to decide to sit down and write a novel. I was talking to somebody about this today. I didn't know when I sat down to write that nine years later would be when I would actually, it would actually come out into the world. If I knew that, I might not have done it. The best saying is, and I say it a lot in probably in other podcasts, but whether or not you decide to write the book, those nine years are gonna go by anyway. You may as well decide to write it or do whatever it is you want to do.

Whether or not you decide to do something, time will pass anyway. You might as well decide to do what you are going to do.

To your point, it could become a series and it could inspire a lot of people along the way to think a little more deeply about their relationships and maybe even help them with an unruly daughter. I think it's so easy often for women as our daughters are coming of age to just write it off as “It's teenage angst or something.”

Wild Horses

Really, there's usually something going on under the surface. If we just learn to listen a little better, we can help them along in a different way. I love that about it. I wanted to get into a couple of things from your book because you have this, there's this repeating pattern of these wild horses and you're not sure about them in the beginning. Is this a figment of somebody's imagination? Are they going crazy? Is this part of a, I don't know, a coping mechanism for this incredible pain that this individual went through, the main character, Reese? 

To me, it meant that there was someone connecting with the spirit world in some way. It was a commentary on our connection to something on the other side, whatever that might be, whatever your belief might be because it was so tangible. Then come to an ending point within the book where other people hear or see that, and it's ratification that this wasn't just an imaginary thing. It sent chills up my spine to be reading about this.

I'm getting chills right now listening to you because when I hear that something that is sort of left interpretive is resonating in the right way it is such gratification for me to hear you talk like that because I've read books where things are left sort of interpretive and I'm frustrated because I don't know and I don't even have necessarily something inside saying, “The author didn't spell it out for me, but I'm still left with too much confusion around it that I just don't know.”

I was a little bit insecure about my choices sometimes about what the wild horses were and what they represented. At one point was told by somebody who read it that maybe I shouldn't even put them in. I didn't even know why, but I fought for them. I wasn't fighting anyone, it was my book. I chose that, no, this is what makes the book stand out. 

I think you nailed it in that they represent a bridge to the spiritual realm and it's something that some people are in tune with and some people aren't. Some people believe in and some people don't. I like the magical realism element that they bring to the story because I also think that helps elevate it to another level of a story. It's not linear, it's not just based on the real world. We're seeing something else that might be present.

I think that that story in particular will resonate a lot with the horse people of the world because there's something intangible about our relationship with these horses. I don't know if you've experienced this, but I have many times throughout my life where there are moments that it's almost like you forget you're riding the horse like you're part of their mind and they're part of your mind and you might be barreling down a trail somewhere and really off on your own with this animal and experience that fluid moment where there isn't really separation between you and the animal or when you first meet an animal for the first time. 

There's a connection there that you cannot really describe and you just know it. That intangible side of our everyday experience that is just as much real as turning the pages of a book, I think is what grounds us. It's part of our connection to nature and across species and even person to person that I think we end up taking for granted. It would have been easier in a way to encapsulate it in a God story and make it about a religious thing. It was more than that in a way to me like an expression of an enigma, like this is in the spirit world or maybe even a different dimension or something, but it's whatever you believe, it could fit with that in my mind. 

They very much were an enigma for sure. I think, when I'm reading a story, I don't want to be told or led by the nose this is what you're supposed to think about this, or this is how I want you to see this relationship. In fact, after I finished the novel, it became really clear to me that in some ways, I was all the characters. It wasn't all of me in Reese, and it wasn't all of me in the father, it wasn't all of me in Wes, but I was part of all of them. 

Part of me was definitely the father because the father was the master of avoiding his emotions. Believe me, I think sometimes it's just easier to avoid your emotions than deal with them head-on because after a tragedy or after something that's traumatic that happens to you in your life, then what we have to do is we have to continue living. We have our lives to live.

After a tragedy or traumatic event, all we have to do is continue living.

Sometimes patching it up and making it look like everything's okay is easier than actually dealing with what's going on inside. I loved writing his character because I was him. I was that flawed person and still am I'm still like the master of avoiding. That was easy for me. It was easy also to write Reese because I have that anger inside. I have that like that's not fair that that happened. 

I want the life back that I had before I was forever changed. That's understandable for a fourteen-year-old to feel that way. It's understandable for a 40-year-old to lose a parent and feel like I want my life back before the tragedy. I think in storytelling and even in our lives, there's the before and the after. We are the person before something traumatic. Doesn't have to be huge. It doesn't have to be the loss of a person you love. It can be the loss of a dog.

It can be when you had to move out of the town that you lived in and start someplace new when you were maybe in the third grade or fourth grade. There are so many different things that give us sort of a before-and-after look at our lives. It's watching the struggle or reading about the struggle that is what the story is all about, the journey from the before to the after. 

A Life With Difficulties

I think you explained that so eloquently here. Again, in the book as well, because Reese, what she's essentially rejecting is the next big change. She's saying, I've had enough, I want to get back to that. I'm going to do the things in my power to get back to that. I'm going to hide it from my dad along the way. There's a little rebellion. 

There's the team doing the things that maybe we aren't supposed to be doing, but we think are in our best interest. In her case, she was probably right. Also, finally finding the horse that's going to be sold at auction. This is a total spoiler alert. If people really want to read the book and be surprised, maybe you shouldn't listen to this. Skip ahead five minutes. 

She has to basically locate this animal and find that they're going to be sold at auction. For me, this was the hardest part of your book to read because it happened to me in a different way. I had a very old mare. She was 32, and this was my first horse, a pony, a Shetland. My mom was terrified would just die in the pasture and we'd have to deal with it. She didn't want to emotionally have to deal with it. She thought she could save me from the trauma. 

After the third time that I had to get up and walk her all night because she was caulking, she called and decided to sell her at auction. The wherewithal is somebody who was probably honest to a fault and told me exactly who bought her and for how much. My first pony was bought by the glue factory for $35. To think about what tragedy you could be confronting, like for me, there was a before and after in that moment.

Your mom would have been wanting to protect you from those emotions. I can see doing that. I can actually see doing that. Having that, you only want your child to remember those beautiful memories and not have to deal with the pain of losing that animal. Walking out and seeing it in the pasture. I can see doing that. 

There would have also been closure in that. I think this is part of the impossibility of being a parent. You cannot protect your child from every pain. In this case, in this story, you're telling that story of this girl finding the horse, rushing to find it, and learning that it's being sold as a decrepit old horse on that auction block, but almost not identifying it was the same horse because it didn't look the same to her. 

I'm sitting here going through all of this emotion, having been told the thing that my mother probably should have kept to herself. She had the horse put down or something like that would have been a gentler thing but the end of a horse's life isn't always beautiful. I think there are a lot of people out there who understand that just from having read a work of fiction or from knowing people and the world of horses or who have followed the stories of all the BLM horses that end up getting rounded up. 

We know it's not always beautiful. In a way, since horses are so expensive to keep, they're last months or years sometimes just aren't that great. It's the world we land in. I wondered if this was particularly close to a reality that you lived or what might have inspired you to put this story this way in this book.

I wanted Reese to be always trying to return to the life that she had when her mother was still alive. Part of that life was the horse's trusted treasure. I think it's always great in a story to have a character wanting something and not just wanting something but you see them actively trying to find it when she's searching online. I just think that brings more depth to the character. It makes the story more readable and engaging to see what the character is doing to try to get what they're yearning for, even if it might not be something good for them. 

In most great stories, the character has to want something desperately and we as the audience have to believe that there are a lot of high stakes and there are a lot of challenges along the way. We have to run into those challenges. That was just something that came naturally because it felt like when they had to sell the farm, there would just automatically be this special horse that her mother had a relationship with. Part of getting that horse back was also wanting to hold on to something of her mother's.

Not-For-Profit

That's a beautiful story, really, truly. I'm just choking up a little bit, being transported back into it. I really encourage people to go and pick up this book and give it a read. I will include a direct link with our show notes. Before we prepare to wrap the entire episode, I wanted to talk with you for a moment about your not-for-profit work, because this is connecting to young people and helping them really navigate the challenges that they might face and the world of arts and entertainment. what really got you to the point where you felt like you had found this not-for-profit only a few years ago, back in 2021? What is your aim with this particular work?

Thank you for asking, first of all, because it is something that's very close to my heart. I'm in the middle of it right now. I have 12 people from Ireland staying at my home right now in Boston. We have 30 students in total that we're doing a workshop with, but we went to the Boston Public Library today. We were at the Goodwin Chapel on Boylston Street doing some workshops. I also did a writing workshop to kick it off this morning. I am right now, right in the middle of it. 

It's our second installation here in Boston, but I've done about 12 or more in Ireland at our property at Kilkea Castle, which we just basically use the place as our venue, and it was an easy thing to do there because we own the property. My reason for doing the mentorship program was this. While I was writing my book, there were about three people who said things to me, read some of my early pages, and some of my raw pages, encouraged me, and were there for me and pushed me in a way that made me continue. 

That is hard to do when you don't know how to put one foot in front of the other. If you're stuck in it in your plot. You don't know where you're going, you're in the weeds in your story and you don't know how to get out. You get lost along the way. I was lost a lot but it was those people who said some things to me that encouraged me to do it. I can tell you one was Arthur Vanderbilt, who's an author, Betsy Horst, who's a poet, and Eson Kim, who was one of the first instructors that I had at Grub Street when I was taking classes when I first started 2014 to take classes. I decided to take myself seriously and sign up for classes.

That was how I began the journey. Knowing how important that was to me after I finished the book, and after I sent it out to a few people like Joyce Carol Oates, Arthur was the one who got it to Joyce Carol Oates. After I sent it out to a few people, got the feedback that I did from Harry Connick Jr., Colum McCann, and Carly Simon. I thought, writing this book was the best gift I ever gave to myself. I might not have been able to do it if I hadn't been encouraged along the way by Art and Betsy, Esan, and many others. Those stand out for me because they taught me how to keep going when things get rough and that's important. 

I frankly completely understand that story because anytime you undertake a project that can be multiple years long and that is essentially it's not a have-to-do, it's not going to be the thing that puts a roof over your head or not. You have to really have a passion inside to complete the project. I confront the same thing sometimes with this podcast. I'm over 200 episodes in now, but there've been moments along the way where it's just like, what am I doing? 

What am I doing this for? Is this really serving a purpose? Am I reaching enough people? Then I get to have a conversation like the one I'm having with you that feels both personally rewarding and also that I feel will truly help people along the way. Now you pursued traditional publishing. You didn't decide to publish this yourself. You had the right connections and the skill, honestly, to make it happen. Many people choose to self-publish and that can also be an avenue to get there. 

They still confront all of those same challenges, self-doubt and not knowing how to finish a line of the story. Is it okay to leave this artifact here as something to think about or should I wrap it up in the end? All of those questions that you have to ask and answer along the way to create a story that is both engaging enough to read from start to finish, but also that feels like a complete work as opposed to just an article or a short story.

I've tried my hand at fiction a few times and I find that that's the hardest part for me is the transition to the end or even the transition to the next chapter. It's like, how do I manage this piece so something feels like a bow is being tied on it and can lift off again? That's the part that for me, I find the most difficult. I'm sure that if I worked at it more, it would get easier. I've also spoken to authors who say that just is the hardest part of the work for me too. It doesn't matter how skilled I get it, that part is the part that nags.

I think everybody who works in the creative space will run into that from time to time. You absolutely need a support system and you're going to produce your best work when you have champions in your court who are also able to give you strong feedback that you can act on. I applaud you. I think it's awesome that you have this community. I'm really happy to hear that you're offering this as a service to a bunch of young creatives. I think that's fantastic. 

Thank you so much. 

Where can people go specifically to find out more about the not-for-profit? 

We have on my website, ChristyCashman.com, we have a link to Youth INK, and its youth capital INK. You think has its own website as well and we're based in Ireland, but we are, as I said, doing sort of a cross-cultural exchange and having the kids from Ireland here once a year, as well as having kids from Boston over to Ireland once a year. It's been fun watching that develop and people become really passionate about it everyone who gets involved has become so passionate.

Again, it just makes me feel so blessed and grateful that I can do it first of all because when you want to give back sometimes there's a big investment involved. The fact that there's a big investment is something that would stop a lot of people simply because they might not have the resources. I'm just grateful I have the resources to do it.

Episode Wrap-Up

That's amazing. Thank you so much for joining me. I have one question I ask all of my guests before they depart. That is if there's a question I haven't asked that perhaps you wish I had, you could ask and answer it or if there was just a closing thought that you wanted to leave our audience with, you're welcome to share that as well. The floor is yours. 

How about Helen Keller's quote? Life is nothing at all if not a daring adventure. 

Life is nothing at all if not a daring adventure.

Perfect timing, we're going to leave that in. He chimed right in, that's amazing. Thank you so much for joining me. This has been my absolute pleasure. I look forward to seeing the next work you put into the world, whether it be a film or another novel. If the series goes into production, I just think that would be amazing too. Hats off to you.

Thank you so much. Thanks for having me on. I really enjoyed it. I enjoyed our conversation. 

Christy, thank you. 

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To find out more about Christy Cashman and her new book, The Truth About Horses, see here. I probably gushed on a bit here, but I really did enjoy the work. Once found all of this on our website at CareMoreBeBetter.com, you'll now find it at CircleB.co. CircleB.co offers plastic-free products from housewares and clothing and personal care items, which are circular in design minimize waste, and seek to limit or eliminate plastic. 

Plus, for every new subscriber to our newsletter, we will plant a tree. Once you subscribe, you'll receive alerts when we come out with new episodes like this one, tools to live a little greener, and specialized promos from time to time. When you shop on CircleB.co, your purchase will also benefit the earth through our partnership with 1% for the planet. Thank you listeners and watchers now and always for being a part of this show and this community because together we really can do so much more. We can care more. We can be better. We can find our creative paths and step into who we're truly meant to be. Thank you.

 

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