Friday, August 11, 2017

Spotlight On...Sanaz Ghajar

Name: Sanaz Ghajar

Hometown: Burlingame, California

Education: New York University, Tisch

Favorite Credits:  I have developed works nationally and internationally with New York Theatre Workshop, The Civilians, The Drama League, BRIC Arts | Media House, Ars Nova, Three Legged Dog, Clubbed Thumb/Playwrights Horizons Downtown, Prelude, HERE, Red House Center for Culture and Debate in Bulgaria, Prague Film and Theater Center, Goldex Poldex Gallery in Poland, and others. I’m also a DJ.

Why theater?: I love making art in all different forms. What I find the most exciting about theater is that it is a highly collaborative medium. To create new multidisciplinary art, we need others, and as someone who is obsessed with other people (working with, thinking about, and studying them), I am most drawn to theatrical spaces that nurture the human impulse to generate new work together. For me, theatre is a practice, meant to wake us up. Artaud described it as an awakening of our "nerves and heart," through which we experience, "immediate violent action," that "inspires us with the fiery magnetism of the images and acts upon us like a spiritual therapeutics whose touch can never be forgotten."

Tell us about Danger Signals: Danger Signals is a collaboration between my company Built for Collapse and writer Nina Segal. The show is a multidisciplinary fantasia about monkeys, brains and how we deal with our problems. It’s about women and men and war and how pain is processed in the brain. It’s about arctic ice rifts and trauma and America.

What inspired you to create Danger Signals: About four years ago I read a book about Doctor Walter Freeman, who popularized lobotomies in America back in the 40s and 50s as a ‘cure’ for mental illness. A few months later, I got into a major a car accident, ended up in a coma, and woke four days later strapped to a hospital bed. The doctor told me a drunk driver had slammed into my car at seventy miles per hour and I had been airlifted to the emergency room. The collision caused severe internal bleeding in my brain and major damage to my frontal lobes. In short, I had a traumatic brain injury. “Oh.” I said. “That’s interesting. I’m working on a show about brains.” When asked what recovery was like, I tend to say, “the brain is a mysterious thing.” What I have learned is that the beauty, terror, and drama of a deeply distressing or disturbing experience is often the fuel we need to brave the making of life changing choices. It's scary. It's exciting. It's freeing. I strive to bring people together to create a space of hope and possibility within trauma.

What kind of theater speaks to you? What or who inspires you as an artist?: I often draw inspiration from visual references and am constantly invigorated by absorbing other artists’ ways of working. We begin every rehearsal process by collecting and sharing images with each other in response to the subject matter we are working on. These images inform the narrative and physical life of the piece and as the work develops we integrate sound in the rehearsal room to lend new insight to the world of the play. While the results of our process vary greatly depending the content we are working with, it is always highly emotional and expressionistic in style. Other artists who constantly inspire me include writer Virginia Woolf, choreographer Pina Bausch, and Doug Wheeler, pioneer of the “Light and Space” movement that flourished in California back in the 60s and 70s. I’m drawn to how each of these artists wrestles with memory, perception, abstraction and love.

If you could work with anyone you’ve yet to work with, who would it be?: Andrew Schneider. He’s a friend, so I hope he reads this, and then I hope he is inspired to help me make this happen.

What show have you recommended to your friends?: Doll’s House Part 2

Who would play you in a movie about yourself and what would it be called?: Probably a duck, a really friendly and fierce and emotionally unstable duck. It’d be called: "I’ll Put My Pants on When It Gets Dangerous" … that bit is a long story involving a full moon and a waterfall.

If you could go back in time and see any play or musical you missed, what would it be?: The original Broadway production of Cabaret. It’s a little surprising to say out loud, but ya, honestly, that’s the one.

What’s your biggest guilty pleasure?: Oh man I’ve seen Bridget Jones’ Diary over a hundred times. I imagine most things involving Hugh Grant are guilty pleasures.

If you weren’t working in theater, you would be _____?: An astronaut. That’s what everyone says, right?

What’s up next?:  We are Archive Residents at the New Ohio Theatre (a 2 year residency in collaboration with IRT), and the Ice Factory is the first step towards our full premiere of Danger Signals in Spring 2018! On that note, we desire post-show audience feedback. Your brain thoughts are going to be very important for our future brain show! I intend to go out every night after the show to a bar down the street, to hang with audience members and write down feedback in my fancy notebook.

For more on Danger Signals, visit

Review: Thank You for Being Our Queen

By Michael Block

When you think she couldn't top herself, she does. Current reigning Drag Race All-Stars champion triumphantly Alaska returns to the Laurie Beechman in her newest homage to America's favorite geriatric divas, "The Golden Girls." With a great assist from Handsome Jeremy on the piano, Alaska proves just why she is one of the smartest artists on any planet.
photo by Michael Block
The iconic 80s sitcom "The Golden Girls" gets a loving tribute in On Golden Girls. With a panache for comedy and performance, drag superstar Alaska structures the night in perfect fashion. And don't worry, there's no laugh track needed here. It comes naturally. She begins the show with the infamous theme song decked out in a dress of Blanche's bedspread. She deadpan reveals that this is not going to be a night of theater with costume changes and theatrical pizzazz. But it totally is. From there, she hails the holy Golden Girls scripture and channels the brown magic scripture to transform into the quarter. What happens next is nothing short of extraordinary. Yes, on the surface On Golden Girls is a tribute show but it’s more than that. It’s an artist displaying their innate gift to transcend expectations. Fans of Drag Race go to see Alaska because of what they saw her do on two seasons of a television program. And that only scratches the surface of the talent she possesses. She can sing, she can dance, she can act, and she can write. On Golden Girls is a dramaturgical wonder. It’s smartly formulaic comedy that is calculated to the beat. Dissect On Golden Girls and you will see nearly every moment, including jokes, references, and visuals, are planned out to create a cohesive piece. There are great expectations when it comes to mocking “The Golden Girls.” The archetypes of the women are strictly identifiable. Alaska played into that yet gave herself the opportunity to make them her own. Fast-talking Sophia workshopped her solo show as you pictured her time in Sicily. We watched as Blanche has a fall from grace as she waits desperately for her date. Rose was dimwitted but there was a deepness to her. And Dorothy? Well her gruffness shined through. It’s one thing to just stand there and impersonate a character. Alaska has proven her worth there on Snatch Game. But to embody each in the manner she does? Comedy gold. And those costumes were flawless and iconic. Handsome Jeremy provided the pulse of the show. To strategically cover the character changes, Handsome Jeremy played numbers iconic to the sitcom. The soundtrack that accompanied the show featured numbers that were prominently a part of the series including “Miami is Nice” and “The Saint Olaf Fight Song.” These were just some of the nuggets and Easter eggs that were hidden for the die hard fans.
It’s important to remember that the show was built for a cabaret space performed by a solo artist. Alaska took on the persona of the pastor of the scripture of the Golden Girls. But this show showcased her ability to do more. She has a background in theater, perhaps the next challenge is to see what a full show would be.

Review: Are We Ready for the Storm?

By Ed Malin

Theatre 167 presents Tina Howe’s new play Singing Beach at HERE.  Ari Laura Kreith directs.  You still have a few more summer days to catch this beach play.
 The residents of Singing Beach on the North Shore of Massachusetts are warned that Hurricane Cassandra will soon be close enough to do damage to their community.  Like the Cassandra of Greek mythology, the storm speaks of an inconvenient truth (in this case, Global Warming).  The question is, who in the world is listening to the warnings and what will they do next?  Residents are advised to evacuate, but we see many people hoarding supplies and preparing to stay in their homes and wait out the storm.  The tension between staying put and going away informs much of the rest of the interesting, dreamlike story.
 Piper (Elodie Lucinda Morss) is a young girl who is first seen at the beach using a video camera.  Her brother, Tyler (Jackson Demott Hill) teases Piper while knowing that Piper’s teacher, Miss Blake, has been making the school aware of climate change and has inspired Piper to think of how she could survive in the desert with the Bedouins.  Their mother, Merrie (Erin Beirnard) and step-father, Owen (John P. Keller) are facing the difficult choice of placing Grandpa (Tuck Milligan) in a nursing home.  Grandpa currently has a live-in caregiver, Bennie (Naren Weiss), but his situation has deteriorated.  Merrie once wrote a novel called “To Let: Narrow Room For Quiet People”.
 When Piper finds out about Grandpa’s upcoming move to the nursing home—which is delayed by the storm—she hides away in her room and uses a knife once given to her by her absentee father to whittle a wooden ocean liner.  Tyler, Merrie and Owen are all dealing with their frustration about Grandpa in different ways; the people most interested in Piper’s feelings are Grandpa (who has lost the ability to communicate verbally but gives good hugs) and Bennie.  Bennie says he is going to perform in a community theater production of Gilbert and Sullivan’s Ruddigore (fans may think of the aria “My Eyes Are Fully Open To My Awful Situation”).
photo by Joel Weber
 As the storm hits, Merrie retreats into her fantasy world of the ocean liner.  The Captain of the vessel looks a lot like Bennie.  Also on board is the charming and powerful teacher, Miss Blake (Erin Beinard), young stowaway Credo (Jackson Demott Hill) and Gabriel (Devin Haqq), the host of Merrie’s favorite TV show, “Mental States”.  Could the biggest celebrity on the fantasy craft be Piper’s father, Sebastian (John P. Keller) who is a renowned artist in London?  It just so happens that Sebastian is transporting 2,000 kilos of nylon tent fabric over to his latest art exhibition. Also to Piper’s delight, Grandpa is on board and he is able to walk and talk.  The Captain catches Credo the stowaway but instead of punishing him gives his own cabin and rewards him for taking the initiative to go and see the world.  Clearly, the path to success in this tale is going away from a rigid, untenable worldview and lifestyle.    As the toy craft goes through its own storm (see: poster for the current production), the passengers use the tent material for shelter and sing a rousing chorus from Gilbert and Sullivan’s H.M.S. Pinafore.  Throughout, Piper finds her voice in a way that she is not allowed to back home.
Finally, the storm is over.  Of the residents who stayed, or couldn’t flee, many have died.  The time has come to take Grandpa to the nursing home.  However, Piper may have other ideas.   Singing Beach itself begins to sing in a joyous, cosmic way.
Jenn Price Fick’s set is a beautiful place to experience this story.  Sections of logs are arranged on several levels and painted white, a convenient setup which transforms into the ocean liner.  White cloth stands in for the sandy beach, and for the tents and sails that come out during the storm. Add Matthew J. Fick’s lighting, and the result can be positively haunting.  As the cast reference some great poems (Miss Blake is several times compared to William Blake’s “The Tyger” and on the ship we hear of the “Rime of the Ancient Mariner” and see Piper ready to transform into a mighty bird) we are reminded of the destructive power of nature but also of humanity’s ability to make a positive impact.  All it takes is a sensitivity to new ways to adapt and survive.  As the world tries to survive the current President of the U.S.A., we should abandon our narrow rooms and ideas and strive for positive change.  Not just those who live by the water, but all of us.  Director Ari Laura Kreith takes the characters on an unexpectedly intricate journey.  Elodie Lucinda Morss, the youngest performer, carries much of the play.  For me, her transformation into a defiant leader is the most striking moment.  Erin Beinard, Jackson Demott Hill, John P. Keller and Naren Weiss show great versatility in their frequent transformations between the world of Massachusetts and the world of the imagination. Tuck Milligan (Grandpa, also known as the “Sleeper”) shows us what we can hear if we truly listen.

Monday, July 31, 2017

Spotlight On...Melisa Tien

Name:  Melisa Tien

Hometown:  Woodland Hills, CA

Education:  BA in English, UCLA.   MFA in Playwriting, Columbia.

Favorite Credits:  Yellow Card Red Card, Control, Familium Vulgare.

Why theater?:  It’s unlike any other engagement with art that a person can experience. It’s a living, breathing, give-and-take interaction with the performers, in a hyper-condensed version of real life, and thus it’s a more cerebral, emotional, and compelling experience than your average 100-minute span of real life.

Tell us about Yellow Card Red Card: A theater-and-sporting-event-in-one, Yellow Card Red Card is about four female soccer players in a small Muslim town in Central Africa preparing for a championship that will determine the future of the team, and the trajectory of each girl’s life. Incorporating movement based on the games and practices of a real-life Cameroonian girls’ soccer team, the play explores what happens when young women in a socially and culturally restrictive environment begin to recognize their own agency.

What inspired you to write Yellow Card Red Card?: Back in 2011, I was talking to a friend who ran a non-profit that raised money for community-based programs in Cameroon, and of them was a girls’ soccer program that encouraged girls to participate in the national sport. What was especially intriguing about this endeavor was that it happened in a largely Muslim region where females can’t normally leave home without being accompanied by a male. The two people who headed the soccer program built it from scratch, literally going door-to- door and asking families to relinquish females of the household for a few hours a week, at no cost to them, so they could participate in sports. In that part of the world, such a request was extraordinary, and they heard “no” more times than they heard “yes”. Still, they were able to get together enough girls to form a league. The fact that the nonprofit believed in the program, even though there was no standard rubric for measuring the impact it would have on its participants, and the fact that those who initiated the program believed in the effects it could have on the girls’ lives—enough to embark on the near-impossible task of recruiting players—these were the things that initially inspired me to want to go to Cameroon, meet the girls, and write the play.

What kind of theater speaks to you? What or who inspires you as an artist?: The theater that speaks to me is formally inventive, emotionally engaging, and/or socio-politically oriented.  The works I enjoy usually have at least a couple of those bases covered. Most recently I saw and liked A Footnote in History by anecdota, The Cost of Living by Martyna Majok, Pipeline by Dominique Morrisseau, and Tear a Root from the Earth by The New Wild. As for inspiration, I gain insights from the work of my contemporaries, and sustain my personal senses of optimism and ambition from artists who are further along in their careers.  If I could only pick a few of those, I’d go with Maria Irene Fornés, Ang Lee, and Laurie Anderson.  Fornés is a playwright whose work is a joy to read or experience—there’s passion, intelligence, humor, politics, experimentation, humanity (all the stuff that makes great art) in her plays.  Lee’s from the same country as my parents, and he’s demonstrated a mastery of a broad range of genres and subjects while maintaining a great deal of humility.  Anderson has enormous curiosity, intelligence, and imagination, all of which drive her to create in remarkable, mind-bending ways.

If you could work with anyone you’ve yet to work with, who would it be?: Hmm.  Caryl Churchill.  I’d want to work with her along the lines of a composer/lyricist dynamic, meaning she would handle one major component of the work while I handled the other.  How would that manifest?   Character 1/Character 2?  Dialogue/Stage directions?  Text/Sound?  Whatever it was, I imagine it would be ridiculously difficult but also wicked fun.

What show have you recommended to your friends?: Besides the ones I mentioned earlier, the multimedia opera A Marvelous Order.

Who would play you in a movie about yourself and what would it be called?: Truthfully, I can’t imagine anyone making a movie about me.  But to answer the question, I guess I’d prefer that the actor be an Asian American up-and-comer whom no one has heard of yet.  What would it be called?  My name, I suppose?  Maybe it would be my last name written in Chinese--which looks like a square with a line down the middle and another line across the middle--and everyone would know to pronounce it ‘Tien’.

If you could go back in time and see any play or musical you missed, what would it be?: I would have liked to have seen Julie Taymor’s A Midsummer Night’s Dream at Theatre For A New Audience.  There are a lot of shows I haven’t had the cash or chance to see, but many (fortunately) are available as recordings at the Theatre on Film and Tape Archive at the New York Public Library for the Performing Arts.  That one, unfortunately, isn’t.

What’s your biggest guilty pleasure?: I’m not sure how guilty I feel about this but there’s a fancy apartment building about a 15-minute walk from where I live, and every Thursday night is trash night.  There’s a lot of nice furniture that fancy people put out with the trash, simply because they can.  I’ve scavenged enough of it to be able to fantasize about the lives of the people that used to have this stuff; it’s interesting what a person’s discarded furniture says about who that person was.

If you weren’t working in theater, you would be _____?: Cooking, perhaps, or coding.  I went to culinary school years ago and I’ve done some professional cooking.  I also ran a supper club for a year.  Last year, I took a basic coding class and really dug it; I’d be interested in doing more of that, for fun.

What’s up next?: Yellow Card Red Card runs August 2-5 at the New Ohio Theatre; you can read more about it here:, and get tix here: Coming up on its heels, on August 8 at the Cornelia Street Café, a group of composers, singers, writers, and I are hosting a night of cabaret featuring new music we’ve been working on, spanning theater, art song, and opera. Find out more here:

Sunday, July 30, 2017

Spotlight On...Julie Dunlap

Name: Julie Dunlap

Hometown: Lawrence, Kansas

Education: B.A. in Human Biology from the University of Kansas (I’ve used it to make four humans)

Favorite Credits: MotherFreakingHood! --- prior to that, probably Charlie and the Chocolate Factory at the Lawrence Arts Center in Lawrence, KS

Why theater?: Live theatre is a communal experience. As we all share the same space, breathe the same air, and witness the same uniquely created, fleeting moments, the audience, performers, and crew become one. There is no other form of entertainment as fulfilling.

Tell us about MotherFreakingHood!: MFH follows three unlikely friends as they bond in the very real trenches of childrearing. With raw, irreverent, truth we celebrate the absurdly unpredictable ride that is motherhood as Rachael, Angie, and Marcia find that ride is best shared with friends. And champagne. And sometimes Xanax, but mostly friends.

What inspired you to write MotherFreakingHood?: Sara and I dabbled in theatre, writing songs and one-act musicals while roommates at the University of Kansas. Twentysome years later, I enlisted Sara in telling the real story behind the mom jeans and minivans the term “motherhood” so often brings to mind. With six kids between us, we had plenty of inspiration. Also it was a great excuse to drink Jack Daniels.

What kind of theater speaks to you? What or who inspires you as an artist?: Theatre that becomes a part of me long after the curtain closes – whether it’s a line or a lyric or a soul-lifting melody or orchestration that play in my head as life rolls along – speaks to me the most. As for artists, I would give my right nipple to compose like Sir Andrew Lloyd Webber. Probably not my left one, as it’s usually a bit more sensitive and may hurt significantly more. I’d save that one for Robert Lopez who – time and again – combines musical mastery with heart and humor and most definitely would be left-nipple-worthy.

If you could work with anyone you’ve yet to work with, who would it be?: Melissa McCarthy, every day of the week!

What show have you recommended to your friends?: So many NYMF shows!! Night Tide, Numbers Nerds, Temple of the Souls, Errol and Fidel, Goree All-Girl String Band, Freedom Riders, A Wall Apart – pretty much all of them! Outside of NYMF, I can’t recommend 1984 and INDECENT highly enough. Not musical comedies, for sure, but both are exquisite pieces of art

Who would play you in a movie about yourself and what would it be called?: Tina Fey would rock the role of “Girl in braces with the Willie Ames perm” in the movie “(Mid)West Side Story.”

If you could go back in time and see any play or musical you missed, what would it be?: Barbra Streisand in Funny Girl

What’s your biggest guilty pleasure?: Nachos

If you weren’t working in theater, you would be _____?: WAAAAAAYYYYYY better paid

What’s up next?: After MFH takes over the girls’ night out circuit, I have an idea for a two-person, multicharacter play, but first I have to move another child off to college and probably take a nap.

For more on MotherFreakingHood, visit

Saturday, July 29, 2017

Ridin' That Train with...Titus Tompkins

Name: Titus Tompkins

Hometown: Leesburg, Georgia

Education: MFA acting, American Conservatory Theatre

Who do you play in The Goree All-Girl String Band?: Terrance

Describe your character in three words: "Rugged, handsome, brute of a man" --quote from the character Reable Childs. I'll take it!

Tell us about The Goree All-Girl String Band: It's a badass show with an incredibly talented cast and artistic team

Describe The Goree All-Girl String Band in three words: Head, hand, heart.

What instruments do you play in the show?: Right now, percussion and mandolin--still working out some of the songs

What's your favorite country song?: "Mama Tried" by Merle Haggard

Who's your favorite country artist of all time?: Hank Williams Sr., I almost thought this was a trick question. He's followed closely by Ryan Adams for country songwriters that are still living

What is your favorite moment in The Goree All-Girl String Band?: There's a moment where I sit two feet away from the string band as they play, and stand up right as Lauren Patten is singing right into my face. It takes a lot in order to not to scream out of joy in that song. I hope the blocking doesn't change!

What is the most rewarding thing about being a part of the Goree team?: Just being blessed with amazing music every day.

Why should we come see The Goree All-Girl String Band?: 9 women, female director, 4 men. I rarely get to see a room like this. I was going to see the show regardless before I even auditioned. Imagine Johnny Cash's Folsom Prison tour...adapted from a true story about female's almost a bummer that I can't experience the show as an audience member. But I get plenty of moments to be an audience while the room is in rehearsal. I'll take what I can get!

For more on Titus, visit,,

Friday, July 28, 2017

Ridin' That Train with...Lauren Patten

Name: Lauren Patten

Hometown: Chicago IL

Education: NYU & The New School

Who do you play in The Goree All-Girl String Band?: Reable

Describe your character in three words: fierce, loving leader

Tell us about The Goree All-Girl String Band: The show is about a group of women in a Texas prison in the 1930's who learned music and formed a band as a path out of jail and into a better life.

Describe The Goree All-Girl String Band in three words: honky tonk heaven

What instruments do you play in the show?: guitar

What's your favorite country song?: “Long Gone Lonesome Blues” by Hank Williams

Who's your favorite country artist of all time?: three way tie between Hank Williams, Patsy Cline, and the Avett Brothers

What is your favorite moment in The Goree All-Girl String Band?: Ridin That Train

What is the most rewarding thing about being a part of the Goree team?: playing music as a band - a first for me!

Why is this show important now?: We need to hear strong female voices in the theatre more than ever.

Why should we come see The Goree All-Girl String Band?: it's an incredible true story, and some incredible foot-stomping music.

For more on Lauren, visit

Thursday, July 27, 2017

Spotlight On...Sara Stotts

Name: Sara Stotts

Hometown: I grew up in Ponca City, Oklahoma but now live outside of Chicago in Wilmette, IL

Education: Doctorate in Physical Therapy from Northwestern University

Favorite Credits: My favorite role was in Co-Ed Prison Sluts at The Annoyance Theater in Chicago which at the time was the longest running musical in Chicago history. Also, I got to play our ensemble character, Marcia, in MotherFreakingHood! at our debut in Lawrence, Kansas which was awesome. 

Why theater?: Theater is a genuinely unique opportunity to be expressive and emotive and have others laugh or cry with you. It brings people together in beautiful ways. I have already made numerous friends in this incredible experience of being selected as an invited production for The New York Musical Festival. Nothing will match this very different and unique experience.

Tell us about MotherFreakingHood!: MotherFreakingHood! is a raw look at three women in different aspects of motherhood who meet and become unlikely friends as they bond through battling diapers, bullies, teenage hormones, Prom night and more. You don’t need a uterus to relate to this show - men go through much of the same thing, they would just sing about it in a lower vocal range.

What inspired you to write MotherFreakingHood!?: I wrote this show as an excuse to spend more time with my best friend and college roommate, Julie Dunlap. Don’t tell my husband- he thinks all these trips these past years have been for “production purposes.” Kidding! Julie and I had so much to say about this crazy and unpredictable rollercoaster we parents go through that is seemed natural to make fun of it in the best way possible- sing about it!

What kind of theater speaks to you? What or who inspires you as an artist?: Comedy inspires me the most. I really love living in Chicago and having access to Broadway shows on tour or in previews and musical theater. Also, the improv scene in Chicago is incredible and I developed my funny bone at The Annoyance Theater and The Second City, both of which still inspire me today.

If you could work with anyone you’ve yet to work with, who would it be?: Carol Burnett rocks. She is the first comedienne that really inspired me. If I met her I would lose the ability to speak, sort of like a rigor mortis reaction. So, I guess it wouldn’t be really fun for her to work me…

What show have you recommended to your friends?: I have recommended so many NYMF shows! The Goree All-Girls String Band, Night Tide, Numbers Nerds, Temple of the Souls, Play Like a Winner, Errol and Fidel, Freedom Riders, The Fourth Messenger, Georama – all of the NYMF shows are amazing. Each of these shows are very different from another and are new works which is fascinating to see.

Who would play you in a movie about yourself and what would it be called?: Chelsea Handler would play me in the Lifetime movie, “God F***ed Up a Little Bit, But It’s OK!”

If you could go back in time and see any play or musical you missed, what would it be?: I would love to see Bea Arthur and Angela Lansbury in Mame. I used to listen to the CD in college and would have loved to see them live.

What’s your biggest guilty pleasure?: Jack Daniels with a side of Jack Daniels.

If you weren’t working in theater, you would be _____?: Saner

What’s up next?: I’m going to take a very long nap. Then we’ll take MotherFreakingHood! to theaters around the country. We want every mother and parent to be able to laugh at themselves with us!

For more on MotherFreakingHood, visit