After discussing the difference between lucid dreaming and dreaming that you are lucid dreaming, Lincoln and Elise speak with ACB Music Director Alin Melik-Adamyan about her really, really hard job. 

Lincoln opens by apologizing for saying “um” so much, then goes right on saying it. Then Elise wonders about the history of eyelash wishes, and Lincoln wishes she’d looked it up. (Sometimes she forgets she’s on a podcast). After a short foray into Lincoln’s new theory of Lucid Waking, they talk at length about Florian Henckel von Donnersmarck’s Never Look Away, and why you should never look away. 

Also, since Lincoln forgot to mention it, Tchaikovsky’s Serenade for Strings was played by the Vienna Chamber Orchestra, led by Philipe Entremont.

Lincoln interviews ACB principal Rochelle Chang, sort of. Actually, he calls Rochelle, and then just talks a lot. He also seems to have started saying “um” all the time. Wtf? But eventually he lets her speak a little, and things get interesting. 

OUTSIDERS Interview: Lincoln speaks with Scott Bultman about the man who invented Kindergarten, why he was persecuted for it, and his remarkable system of blocks that Lincoln used to teach himself design.

OUTSIDERS Interview: David Simon. If a sculptor dies in college, does he make a sound? Tune in for the answer, plus a fascinating interview about artistic training, concept vs. craft, and the long road to mastery.

OUTSIDERS Interview: Doug Fullington is one of the few people in the world that can read the language in which the great ballets of the 19th century were written down, and his stagings have changed the way Lincoln thinks about the history of the art.

Activation energy, Rubies, and Cierra Flood.

Lincoln discusses his grudge with ACB dancer Cara Hansvick.

Sympathetic resonance, end zone dances, and the resolve of two dancers in the face of rejection.

Why there’s so much bad ballet music, and Madeline Houk’s parents’ valiant attempt to crush her dreams. The really not bad ballet music in this episode is Delibes' "Sylvia", played by the Razumovsky Sinfonia, and conducted by Andrew Mogrelia.