We were lucky to catch up with Carrie Madsen recently and have shared our conversation below.
Carrie, looking forward to hearing all of your stories today. What was the most important lesson/experience you had in a job that has helped you in your professional career?
I was a successful independent contractor choreographing musicals and fundraising events and teaching dance to youth throughout the SF Bay Area when an unexpected opportunity presented itself to work for a large church. The job title was Program Director and the job description was to run their popular Sunday Evening Service. It paid a salary with benefits which appealed to me since my work as a contractor was so much scattered hustle– but what really excited me was the potential challenge of designing and growing a program. I cut back on my choreography gigs to take the job.
The expectations and format were vague when I started– my office contained only a desk, a chair and a lone binder on otherwise empty shelves– add to that my supervisor was new to the program and was looking to me for direction and support.
But this lack of structure, plus my observation that nobody else knew how to do this gave me the confidence to allow my natural creativity and attention to detail lead the way. What was definite was that I needed to organize and produce a program to be ready at a certain hour every week. My theatre instincts and people skills automatically kicked in I learned to determine which elements were needed to best underscore the message and support the community on an ongoing basis.
Over the next 5 years I built a thriving program: I managed 3 staff and 60+ volunteers, shot and edited videos, trained and ran teams of emcees, musicians, actors, and tech, and created and directed content. I basically designed and produced a big show once a week every week. for 5 years.
I learned as we went along how to make the process more efficient and how to organize and store things for future use. Maximizing the volunteers time and skills while being able to pull off bigger visions and projects became a reality. Creating various teams so more people could participate have a place to belong became integral. All of this occurred without specific training or supervision– by simply having a measurable outcome with a deadline the rest followed instinctively.
When I left the job to focus on an international adoption my husband and I were pursuing, I left shelves and storage spaces filled with resources and documents for the next director to build upon.
Our adoption ended up taking longer than anticipated and since we had taken on a mortgage to accommodate our growing family it became imperative that I get another job. I had just begun working as a contractor choreographer again when a private school reached out to me and asked if I’d like to run their dance department. It paid a salary with benefits. . . but what really excited me was the potential challenge of designing and growing a program. . .
The dance studio had a cupboard that held a stereo receiver, about 5 CD’s, and a single binder. I inherited around 20 students interested in after-school dance classes and a small Dance Team that performed for a few school functions.
It was another instance of no one else on staff really knowing how to do my job plus listening to the students and their needs that drove me to grow and build the thriving program that drew students and their families to the school. I used my theatre instincts and people skills to create a program and material that involved as many parents, students and staff as possible– so people had ownership and felt included. From my performing experiences I knew what I wished I’d been taught as a young artist so the curriculum emphasized discipline, expression, artistry, joy, and leadership. I created opportunities for every level of dancer so the students could either explore or train depending on their interests.
By the time I left 5 years later, the program was expanded to include a Nationally award-winning Dance Team, a year-long curriculum dance class– both of which satisfied California Arts Standards and provided academic credits– and 5 different styles of after-school dance classes. 80+ students consistently participated and performed in dance concerts twice a year, a musical, a fundraiser, and a feeder program for middle schoolers.
I left costumes, sets, music, trophies, competition schedules, vendors ,money in the budget, and binders and digital files full of processes and curriculum for the next Dance Department Director.
So, to the point: What important lesson did I learn at a prior job? I think this is so interesting because I didn’t learn it at the time. At the time I was just in it– making my deadlines and taking care of the people I’d been instructed to serve using my own style. I liked what I did and I knew I was good at it, but it all came somewhat naturally to me so I never counted it as particularly successful. It’s only been recently as I search for what I can do in this unpredictable economy in my precarious field as an actor that I become aware of the lessons and self-knowledge learned from these jobs:
I can take a job description, a lack of rules or expectations (freedom), and a deadline, and
create a place/program where people can contribute, participate, and express themselves while feeling
seen and appreciated.
This hits me between the eyes. It feels important and powerful, and I’ve never owned it before. I also love that both of these unasked for job opportunities started with a lone binder– that’s funny. Gauntlet thrown, you know?
But as an actor– and I also think as a woman born in the late 60’s– I received and accepted the belief that I needed to be hired or desired by someone else who possessed authority and power in order to work. That I needed to fit myself in to the structures that someone else created and directed. But besides thinking this was just the way things were, the perceived safety of this perspective had appeal and eventually became habitual– no responsibility and someone else gave me a paycheck. A friend recently used this phrase that I think applies, “a prison filled with candy.”
So I’ve spent the past ten years ignoring my leadership skills and creative ideas to attach myself risk-free to other people’s ventures– however, my inner voice, the global pandemic, and union strikes are persisting that I rethink the possibilities and my beliefs.
As I remember these work experiences from my past I allow myself to open up and be curious– what would happen if I did what I did for these organizations on my own? What if I were in charge of the program? What if I created, organized and implemented the projects and productions? What if I set the values and the theme and the desired outcome? What if I gave myself a job description and a deadline? Could I give myself five years to build and grow something exciting? Something big and special?
Now, as then, I would have no map or boss telling me how to get from this idea to “something big and special” but if I look at what I learned from my past experiences maybe it’s simply this: work with the one binder, see the basic thing that is needed next to meet my deadline, and take action on that. Fly, flop, repeat. It’s daring and scary and risky, and I would be responsible for all of it– no one to fall back on– but the thought of trying and testing myself has a thrill to it and I love the idea of stretching my potential. Go big or go home, right?
I love to grow and improve and I think it’s so cool that examining my past jobs through the neutral lens that’s created by distance teaches me the lesson I need in this moment. I can find it hard to outwardly identify who I am and what I do or what my purpose is– but by writing about these two work experiences, I see myself and my patterns and values so clearly. Those two jobs weren’t asked for– they surprised me– and I followed my interest and excitement to do them using my skills and instincts. Right now, I’m not asking for this info or this shift in my career and finances but here they are. . . And I’m feeling that same interest and excitement. Even though I’m often anxious and not super comfortable with the unknown, with full responsibility, or with risk– if I’ve learned anything, shelves can be filled when I accept the challenge.
Carrie, before we move on to more of these sorts of questions, can you take some time to bring our readers up to speed on you and what you do?
My name is Carrie Madsen and I have been a performer since I was very young. I trained and performed as an actress singer and dancer from childhood through my teenage years and then studied drama and musical theatre in college. I was a fast learner with natural talent and typically cast in leading roles so I had the impression that working professionally would be just as easy and successful. . .
Many details and lessons followed but long story short– my education prepared me to act, sing and dance very well but not so much how to be a professional or handle the business side of things. After several disappointing years I moved home to Northern California without achieving my lifelong dream. I put it firmly behind me.
I got married and very successfully worked various jobs over the years as a choreographer, dance teacher, program director and head of a high school dance department while raising our three adopted children. During my fifth year at the high school both my professional and home life unexpectedly exploded. The details are sordid and sound like a farfetched plot in a Lifetime Channel movie, but long story short– the betrayal and devastation changed everything, and I needed to adapt.
One good thing about hitting bottom is there really is nowhere to go but up and you truly have nothing to lose— so I figured I may as well make it this personal disaster count and go for something big. I realized I wanted to go back to being a performer but this time I wanted to be smart and prepared for the business so the challenges wouldn’t take me out.
I began by updating my skills attending A.C.T. Conservatory in San Francisco while studying voice-over and singing and continuing to take dance classes. I was awarded a Theatre Bay Area Atlas grant for promising new artists which funded my training and included a mentorship component. I also fostered relationships with others who were doing what I wanted to do and asked lots of questions.
I began auditioning and was cast in stage shows at several professional Bay Area theatres which lead to getting my union card and earning money and benefits as a performer. From there I followed the unfolding opportunities until I found myself here in Los Angeles pursuing Film and TV.
Currently I am a SAG-AFTRA and AEA professional actor. On-camera I appeared as a recurring sketch artist on James Corden for many years and also on the TV shows Gilmore Girls, Jane the Virgin, and Good Girls Revolt among others. During Shelter-in-Place I consistently worked from my closet dubbing foreign language programs for Netflix that included shows like Money Heist, Marianne, Maldivas, the Legacy of Bones Trilogy, and many more.
As a live performer I traveled to North Carolina with the beautiful play “Breathe” by Javon Johnson and performed to sold out crowds at the National Black Theatre Festival– a personal highpoint in my career. Last year I won the Best Supporting Actress award at the SheL.A. Theatre Festival in a contemporary version of “Electra” by playwright Luz Twigg. I have been fortunate to work with socially conscious L.A. theatre companies like Ammunition Theater, Coeurage Theater Ensemble, and Greenway Court on beautiful plays and musicals.
As a singer I have performed at Rockwell Table & Stage and at Mostly Musicals singing from unique character POV’s to raucous laughter and applause. I love creating characters and taking them out in public where they don’t belong and then publishing the videos to make people laugh. Going to a professional audition for the NBC Live production of “Hairspray” as my character Alice and making it to the final round of cuts is one of my very favorite things I’ve ever done, and I love to tell the story [laughs].
In addition to my work as a performer, I have recently started a business teaching dance classes and offering creative movement events– which is something I have done in the background all my life.
The classes are based on the innovative jazz dance technique developed by a man nicknamed Luigi by the MGM movie musicals star Gene Kelly. Luigi had danced and performed all his life and was pursuing a professional career in movies after serving in WWII when he was in a car accident that left him in coma. His body was paralyzed, and he wasn’t expected to survive. From his hospital bed he mentally repeated the words, “Never Stop Moving” and this mantra and his determination fueled his recovery.
He wanted to dance again but rehabilitation wasn’t a common modality in 1946 so it was up to him to figure it out. He created a series of exercises based on ballet but translated to jazz that developed stretch without strain, strength, and equilibrium all performed with an innate style that is like a dance itself. He proved through his own efforts and practice that his exercises were effective to heal, strengthen, and align the body.
He was always working with the consequences of his injuries, including double vision that was never corrected, but it didn’t stop him appearing in MGM Musical classics, working on Broadway, and teaching his technique and legacy in New York into his eighties. His example of how to use his exercises to calibrate the body and express musically with incredible grace and style is unbelievably inspiring to me.
Without realizing it, the teachers and choreographers I most enjoyed over the years based their styles on Luigi’s. It wasn’t until the early 2000’s I discovered the source and studied directly with him at his studio in New York. To this day my trips to the east coast are planned around the class schedule where his partner of 38 years, Francis Roach, continues to teach the pure technique and style.
On a visit last spring, I was taking class when Francis encouraged me to start teaching Luigi’s technique here on the west coast– I was really honored. It’s thrilling to be able to offer what I’ve always found to be an amazing dance experience to others– I’m basically teaching the adult jazz dance class I would be excited to discover and attend– the class I am willing to go across the country for [laughs]. Finding a good adult dance class can be tricky sometimes because they can be over simplified and not mentally challenging– which is one of the major benefits of dance as exercise.
Luigi’s technique embodies classic style and musicality and urges the dancer to “dance from the inside.” I love watching students use it to develop their own artistry as they start to express the music and not simply count it. Regularly practicing his exercises and choreography builds grace and strength– and it does so safely without putting stress on the joints. Luigi’s studio in New York always has dancers of all ages and levels of ability. Since I feel strongly that dance is for every-body this is a key reason why I love to share this dance technique. I know my dancing and performing is greatly enhanced by studying Luigi’s work.
I call the classes OG Luigi Jazz– because we use the music he had specially composed for his exercises which have an old school sound, and because it’s a pure classic jazz. Currently they are on Monday and Wednesday at Hollywood Dance Center.
In addition to weekly classes, I design custom creative dance or physical play events. I host my own personal projects that I invite others to participate in, or I co-host with clients who have an idea they want created, taught, facilitated, or performed.
Hilarious and successful examples would be: eight garbage men rehearsing and performing a G-rated Full Monty performance for their boss’ retirement party complete with back cans; 20 tired parents of young children dressing up in character and learning a Hip-Hop routine with ridiculous floor work at a catered date night event; 8 unsuspecting society ladies arriving to a birthday party dressed in evening attire dancing to the guest of honor’s favorite musical Les Mis as prostitutes and revolutionaries.
Or a recent favorite event that moved me to tears was a family who wanted to dance at their mother’s 90th birthday to her favorite song that she used to vacuum to. She had recently lost the use of her legs but loved music and dancing. The family was spread out across the country and wouldn’t be together until the party, so I created the movement and filmed an instructional video for them to watch and learn before that day.
At the party when I got the nod to start the music, I had no idea if anyone had taken time to prepare and it was an eclectic group ranging from 2-70 years old. I held my breath while their mother was wheeled to the center of the room during the song’s intro. As the vocals started every single one of them, young and old, bold and shy, started dancing– pushing their imaginary vacuums and shaking their hips. The look of delight and surprise on their mother’s face was priceless as she clapped her hands and sang along, and the family’s laughter while they danced and watched her was incredibly joyful.
One client saw a video she liked on YouTube and had me teach it to her with two of her friend’s husbands as her back-up dancers while their wives drank champagne and held their stomachs laughing. Or a group of 10 high school friends had a gathering 30 years after their graduation and wanted an activity besides eating cheese and talking– they sang and danced. I’m looking forward to doing a mamba night for some ladies in a couple of weeks.
I love being given a wacky idea or a favorite song and coming up with ways to make it special and fun for everyone. I think, and it’s been my experience, that it’s impossible not to have fun while doing something so silly together with other people. My ability to facilitate participation– even with those who are reluctant– comes in handy and I successfully create environments where everyone is supported at their level of comfort and ability. The events can be as simple as gathering in someone’s living room with a Bluetooth speaker for music, to renting space or a theatre with technical elements, props and costumes etc. Pricing is contingent on the time and details, but I strive to make it work with a person’s budget because spreading joy and encouraging others to be free and play are very important to me.
My hope is that anyone who is curious– or nervous to try something new– or anyone who hasn’t danced in years because their body and skills aren’t what they were when they were young– would feel inspired and safe to join my classes or schedule an event. It’s an opportunity for those who aren’t hustling professionally– or for those who need a break from the hustle– to express themselves physically and artistically solely for their own enjoyment. No performance pressure just the chance to connect to your own mind, body and spirit and work from that place. Dancing or moving your body to music is mood lifting and energy shifting. What’s not to like?
One other job I would mention came about by accident in conversation with a couple of different friends whose had businesses that were ready to up-level that I wanted to help. They were ready to expand and bring on support staff but found it awkward to transition while money was still tight, and the time to train people on top of their work with patients or clients was impossible. I had no idea, but it turns out I’m really good at understanding style of operations, listening to priorities and values, and clearly seeing the work to be done and the steps required. I learned the tasks and did them temporarily while writing detailed procedures that they can use to communicate job duties to their future contractors or employees, which also serves as a reference for them to refer to. This all frees up the business owner to do the tasks only they can do.
You can learn more about Carrie’s performing, teaching or creative events on her websites where you can also find her contact information.
Is there something you think non-creatives will struggle to understand about your journey as a creative? Maybe you can provide some insight – you never know who might benefit from the enlightenment.
What I find difficult to understand as a creative is how to harness all the things I do into a meaningful stream of income. I have often wished I lived during the Renaissance so I could have a patron of the arts who financed all my projects and I could spend my time producing and performing and not have to figure out the money. Alas, I’m several centuries too late, a woman, and most likely those relationships were the equivalent of being discovered sipping a soda at Schwab’s– unlikely and seldom.
When I read Elizabeth Gilbert’s book Big Magic the part that stood out to me, and at the time made me mad, was her advice to work a day job to earn money and do my art on the side. Her point was to take pressure off my precious creativity and projects and to protect them– but she makes a fabulous income as a writer and speaker, so I had trouble buying it. I wanted to use my creative strengths to support myself and be fulfilled in what I spend the majority of my time doing too.
I mentioned before that for a long time I was under the impression that I had to be hired and work for someone else to be a performer or writer. Along with this came the expectation that I needed to adapt to be what others saw me as so I would fit into their world or culture. For me this meant a certain way of dressing and cutting my hair, choosing certain material for auditions, and presenting myself in a style that wasn’t entirely authentic and didn’t embody my whole self.
Working in this environment also meant that I would follow in already established roles and patterns and do it the way that others who came before me had done it. I was signing up to play it safe, follow rules, and not create anything new or never seen before. Additionally, the nature of being a performer is that you are always having to prove yourself again and again-– jobs are transitory, and you must constantly keep an eye out for the next opportunity. We learn to be compliant and listen to others’ opinions above our own wisdom.
Recently I went to see a friend’s reading of her new musical at a local theatre. As I sat in the audience and took in the scene I counted all her contributions: she had written the book, written the lyrics, composed some of the music, staged and directed the reading, and due to one of the leads getting Covid, was playing a male lead role. And guess what? Every aspect was excellent– incredibly professional, clever, and appealing. I felt like I suddenly understood why Hollywood has been somewhat frustrating for her—she’s beyond it. She should be running things not hat-in-hand trying to get acting jobs. This then helped me understand why I am so often frustrated or confused.
When a creative does many things well but doesn’t create their own container to operate from, I think it can become easy to compartmentalize and leave parts of ourselves behind to fit where we make sense and can be hired. Or when we additionally have leadership or organizational skills they lead to a logical day job, but these can frustrate us because we’re not using what really lights us up or working to our full potential.
I am more and more open to this idea that I can create something where I use as many of my strengths and talents as possible. I can give up being an artistic “child” who needs a “parent” to give me funding, tell me I’m talented, let me be in their show, at their studio, part of their world and instead take responsibility for inventing something new that takes all the different pieces of me and incorporates them. The risks and the forging of a new path may not be for everyone, and artists are a sensitive breed who need to take care, but at this point of my life I would like to see more creative people empowered to contribute with the sum of all their parts. I’m eager to see if this is possible for myself because following the formulas, I’ve been told were necessary has only gotten me so far and I’m ready for a change.
Ralph Waldo Emerson, one of the founding transcendentalists, speaks words I feel like I’ve known my entire life. Two quotes that come to mind now are “Unless you try to do something beyond what you have already mastered, you will never grow.”, and “To be yourself in a world that is constantly trying to make you something else is the greatest accomplishment.” I am inspired by these to make some changes and see how far I can go.
Another influence is Gay Hendrick’s book The Big Leap. It spoke of not living in our excellence but instead in our genius. There are many things that people can do very well, but there is a special thing that they are especially made to do. In my own interpretation, the first is usually things that others easily understand and can be done without risk and with a fair deal of success, the second is that which may be scary to contemplate and may be criticized but will likely explode to an experience and outcome that is beyond our imagination.
I believe creatives are faced with these decisions—to use their ideas and talents to fit in to what already exists, or use them on the side as an expressive outlet and personal practice, or to identify all their multi-hyphenates and figure out how to harness them together into something brave and new.
Learning and unlearning are both critical parts of growth – can you share a story of a time when you had to unlearn a lesson?
To stop giving my power to other people and letting their opinions derail my confidence, choices and actions.
When I decided to go back to acting professionally everything moved forward quickly until I moved to Los Angeles to pursue Film and TV and experienced lulls between auditions and jobs while I built my network. I wasn’t surprised that people in Hollywood weren’t lined up to discover a 40-year-old woman, but I also needed to be more productive because I knew my mental outlook and energy were better when I was busier.
When I brought up my doubts and frustrations at my acting class to my longtime trusted coach– she studied me for a long moment and then told me to start writing. I wasn’t expecting this, and my initial response was to feel annoyed at her and the suggestion. I wasn’t trying to be a writer– I wanted to be an actor. But she had proven herself over the years to be oddly wise, and she knew me well– plus I had nothing better to do– so I pushed down my resistance and got out my computer and began typing.
I began by venting all my fears about what might or might not happen and when they ran out– a surprising thing happened– a book poured out of me. With no plan or preconceived thought– I hadn’t known I wanted to do that. It felt inspired and embodied in a way unfamiliar to me. I would work on the book periodically and each time I did words continued to pour effortlessly from me like they were meant to be.
When it was finished, I wanted to do something to mark the occasion. I dared myself to share it with ten close friends as an act of bravery. Because of what I’d been through I’d developed bullet-proof self-protection that made letting others see my vulnerability feel terrifying– like I was being in my underwear when everyone else is wearing winter coats buttoned to their chin. But I did it anyway because something about it also felt the right kind of scary.
I don’t remember having any expectations beyond just doing it, so when each of the people I sent it to wrote back immediately and urged me to keep going– I was gob-smacked. They thought it was an important story. I considered their encouragement and felt a spark of excitement flickering deep down inside me. I couldn’t help but wonder: “What if publishing this book would provide me with an income to supplement my acting career?
I set out to learn everything I could about publishing a book– seeking advice and help from professional editors, agents, and working authors I knew or researched. What I discovered was that publishing a book is just as hard as working as an actor in Hollywood.
Since I already had a whole manuscript though, I decided it was worth the effort and the odds. Over the next 4 years I set up meetings, rewrote pages, was professionally edited, made changes, and fielded many words of caution and rejection. But the faith that had been fueling all my work ran out when someone important who had made me big promises let me down. I was depleted and figured I was trying to make something happen that wasn’t meant to be– I had no signs to the contrary and was out of ideas of what to do next. I put it away and didn’t touch it for two years.
I occasionally felt twinges of regret about it, but I refused to acknowledge them and clung to my belief that I had failed. I was surprised when after a couple of years, a friend asked me about my book, and in the moment I admitted to her– and for the first time to myself– that it bothered me. She asked, “Would it be okay if I read it?”
I had no problem with that, but I knew I wanted to send her my original manuscript– the one without all the professional changes and reordering. I wanted to go back to where I’d been before it became so complicated and confused. When I got home, I emailed it to her feeling slightly curious about what I’d hear back and what it would mean. She immediately started reading it and finished the entire thing in one sitting while continuously texting me her thoughts.
Her stream of texts and emojis reminded me how it felt when I originally started down this road– excited because others were uplifted and encouraged by this story. I had left that behind when I began fantasizing that the book could provide a major stream of income. I hadn’t realized that for me to stay centered I needed a focus different from money– one that incorporated my core values of growth and encouragement. I realized that finishing it also deeply mattered to me. I was ready to commit to walking my book across the finish line– regardless of what professionals and experienced writers told me– for my own reasons that mattered to me.
I had made the mistake of taking my project to others who were experts and asking them what they thought I should do. I didn’t communicate my vision and tell them where we were going– I got in the backseat and put my seatbelt on. No wonder it all became so mixed up. I didn’t trust myself and I abdicated responsibility and lost the thread of what mattered most to me. This book came to me– I didn’t ask for it– and I think it wants me to speak up about something I carried a lot of shame for and to do it in my voice and style. Only if its authentic will it reach the people who need it and who resonate with me. Any other version will attract false followers and that has no benefit that aligns with my values.
So I’m unlearning my inclination to let others’ advice and opinions of how things have been done before to navigate my course of action. I’m unlearning my belief that others’ opinions and knowledge are better than my own. Collaboration and input are wise but not to the degree I was doing it. I need to hold the vision and speak it clearly and strongly, so the origin and my values are understood and input that’s aligned and valuable is possible and I don’t get pushed off the course I’m meant to be on.
I currently have a hybrid publisher lined up and following the book’s release I envision myself having a lot of fun doing readings that are part performances with my characters– another creative project I did when I had too much time between acting jobs. The theme of my message I want others to hear will be “trust yourself” and I will also promote love of books and reading, and the public libraries– which I believe to be a magical privilege of living where we do. The objective outcome I so look forward to celebrating is a finished book on my bookshelf– this will give me a deep sense of accomplishment.
I’m a multi-hyphenate creative and I just discovered the term Spiritual Entrepreneur during some of my preparation for this interview. I think this describes me exactly and explains why my efforts at fitting in never worked or had the success that made logical sense. At this time, the more self-knowledge I develop the clearer I become about who I am, what I do, and what I offer. This strong sense of self is creating a foundation and confidence that has felt elusive for much of my life that is essential as a business owner/entrepreneur.
Currently none of my business endeavors are financially lucrative– you are hearing in real time what it’s like to be in process. My hope is that by honestly sharing from this messy middle it will inspire or encourage anyone else who is considering being bold and betting on themselves. I totally understand if you want to wait and see what happens to me before taking a leap, but I’ll tell you this, even without knowing the outcome, I am more alive sitting in the driver’s seat of my business and career than I have been at any other point of my life.
Contact Info:
- Website: https://www.carriemadsen.com/
- Instagram: https://www.instagram.com/carriemadsen/?hl=en https://www.instagram.com/flyingleapcreative/
- Facebook: https://www.facebook.com/CarrieMadsenProfessional/?locale=fr_FR
- Linkedin: https://www.linkedin.com/in/carrie-madsen-b078327b/
- Youtube: https://www.youtube.com/channel/UCBltwiY46G9yPkSy-L89U6A https://www.youtube.com/channel/UC_FnY2ctD8gxZL08LIBoxzA
- Other: https://www.imdb.com/name/nm3773037/
Image Credits
These photos are all permissable.