Ep. #19 A Letter from a Friend

Ep. #19 A Letter from a Friend

 
 
00:00 / 00:16:58
 
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If you’re looking for balance in destabilized times, turn to this episode, and turn to dance.  In this episode, we explore the side effects of living under lockdown during the Pandemic, and some thoughts that will help you find your footing.

Show Notes

Quick Links:

Stef Wilson  – My Mom

Promenade youtube video

Tiler Peck 

Skyler Brandt

Isabella Boylston

James Whiteside 

Maria Kochetkova

Transcript:

Intro: This is words that move me, the podcast where movers and shakers like you get the information and inspiration you need to navigate your creative career with clarity and confidence. I am your host, master mover, Dana Wilson. And if you’re someone that loves to learn, laugh and is looking to rewrite the starving artist story, then sit tight. But don’t stop moving because you’re in the right place.  

Dana: All right. All right. Welcome to the podcast. This is episode 19. Holey Smokes! It’s going by so fast. Everything actually seems to be going by so fast and honestly this is getting somewhat easier and I shouldn’t be shocked by that because I’m getting better at talking to myself alone in a room, doing a lot of that these days. And that actually is kind of what this episode is about. I’m super stoked about it. 

Um, but before we dig into that, of course we have to do our wins. My win this week is actually my mom’s. When my mom celebrated a birthday, I’m not going to say the number because the lady never tells. And we had an absolutely awesome virtual birthday party for her. And I was sensitive about that because I believe that certain things cannot be replaced or duplicated. Birthday parties up until this point were one of those sacred special things. And I’m going to be honest, we had a ball, my immediate family, my sister, her husband, her two daughters, um, my brother, his wife and myself and my husband and I all got together for a zoom conference, dinner and cake. And um, my brother also brought a life sized cardboard cutout of him. So there were actually two of my brother, his wife, my sister, her husband, myself, my husband and the nieces and my mom of course, the lady of the hour. And we sat and ate a meal and you know, shot the stuff and had an absolute blast. My sister works in a hospital, um, and she got my mom a bunch of the gifts that you find from the hospital gift store, including a family favorite, Haribo gummy bears, which are absolutely the best if you disagree. I don’t, I don’t know what to say. Um, and then also my sister and I put out the feelers to friends and family all over the world to send in video, birthday shout outs. Um, I’m telling you we got some video gems from old friends and some really priceless selfie sentiments and I got to throw down my speed editing chops and um, man, it was just so special. I got to watch people really well digitally really show up for a woman that is so, so, so special. A woman that must join me on the podcast one of these days. Mom, do you hear me? I mean it, I’m serious. Oh. And also I made my first loaves of bread from yeast that I grew off of raisins, like crazy advanced stuff here. People, I did it and it was decent, decent enough for me to eat two loaves of bread in two days and now I feel like a mattress. So maybe that’s not actually a win after all. But anyways, onto you. What’s going well in your world?  

Okay, congratulations. Keep crushing it. So proud of you. Okay. This episode is short and sweet and sensitive. You could think of it as time sensitive, but it really isn’t. The lessons in this episode are fully applicable regardless of date or time or crisis. Let’s dig in to my letter from a friend. 

Last week I received a letter in the form of a text actually from a very dear friend, an actor, a director, and one hell of a model American! Name that movie. Um, anyways, after I responded to his message, he and I talked back and forth a little bit and he said that his note was initiated by this thought. “Does everyone else know that this is kind of hard for everyone else?” That shed a light on a very interesting side effect of isolation that I honestly, I hadn’t really considered that much even in the pre covid times. I was the star of the film. That is my life and everybody in my life had a supporting role. Now, although I’m possibly more concerned with the public and public issues than I ever have been, I am absolutely thinking more about myself and my survival than I have before either. Right now my movie is way more monologue than dialogue. Basically all day, every day. I sit alone with myself and I and me and we’re really getting to know each and between you and me and myself and I, I’ve run up against some.. Woof, hard truths about myself and some challenging questions, so today I want to share this letter from my friend and I want to share my reply because I know that he’s not the only one up against challenging thoughts and feelings and it might be illuminating for you to answer some of his questions for yourself.  

My friend writes, “I was thinking at first that our pandemic would be like when you hunker down for a snow storm, since I’ve realized it is so much more, obviously the realization though is full of confusion and fragmented thoughts. It feels like unless I’m thinking about or doing something specific, tire changing, setting the table, high knees, my mind drifts but it drifts in muddled, confused, fractured bits of thoughts. I’m struggling to plan things or collect my thoughts on things. I don’t know. Again, I just don’t know. I can’t get things straight in my head sometimes and I’m feeling like it’s a problem with me. I know it’s just a problem for me, but maybe it’s normal. Do you have disconnected thoughts? Trouble getting this stuff in your head? Straight planning our lives helps us define who we want to be when we can’t plan or get excited about something coming. It feels like we’re stuck. I’m just stabbing into the dark here, but I’m not really because someone might read this and think I’m stabbing too. I guess I’m trying to say this is way harder than I thought it would be and at times think that it should be. I get down on myself and that ain’t right. Also, dude, the world needs leaders to lead us, but the world also needs more lovers, not sex, to love us back in this world, you are loved, love back”

Beautiful doozy. I want to start here at the end because I couldn’t agree more. The world needs leaders to lead us and the world also needs more lovers. Not the sexy type. Get your isolated minds out of the gutter, but the type that cares about us, so think about the movies of our lives, right? They are far more powerful when the stories are about people not at person. They’re powerful when they connect. Now, don’t get me wrong, I loved Cast Away, but what if every single movie was Cast Away? I digress. So let us love by acting compassionately towards others. Out of sight should not mean out of mind and let us lead by showing that it is possible to live clean, to live gracefully, to live gratefully, even under difficult circumstances.  

Now you could fully stop listening right here. There’s plenty of work to do simply by digging into asking yourself how you can be more compassionate towards others and how you can lead by example. Or you could keep listening to my reply to this dear friend. If you shared any of my friend’s thoughts and feelings about our current circumstances, then you can also pretend that my reply is to you. I wrote after several hours of thinking about a reply.

Dear friend, for the last year or so, I’ve been really focusing on managing my mind. I got a life coach. I’m doing the daily thought downloads the whole bit. I’m observing and I’m working on my thoughts nearly all day, every day, and if I could boil down what I’ve learned and what’s the most helpful to me, it would be this. Number one, feeling bad about feeling bad or resisting feeling bad is more than twice as uncomfortable as feeling bad all by itself. Being okay with negative emotions is where most of my work is at this time. Thinking about how or why this happened causes confusion. Instead, I choose curiosity and I am learning so much thinking that things should be different, causes suffering. Instead I choose acceptance. Things are this way period. Thinking that things can be better is empowering. I have a bright mind. I’m creative, I’m adaptable, I’m capable. I will figure out how to make the things that I can control better, better. I’ll make the things I can make better, better. Yeah, that’s right. And number two, our thoughts about the world, not the world itself are what create our experience of the world. We may not be able to change the world, but we can change the way we think about it. I hope this is helpful and I hope you keep writing. I love the way your mind works. There is no problem with your mind. Your mind is not wrong. We are all stabbing right now is just some of us are stabbing ourselves in the chest and wondering why we’re in pain. The goal is to be able to watch yourself with compassion and curiosity and to ask yourself kindly to put the knife down. I love you so much we can do this.

It’s true. We can do this totally possible to come out of our quarantine winter hibernation better than when we went in. I learned this week. This is an interesting story. I learned that I get really annoyed by questions like what are the three words that best define you? Like come on. I am COMPLEX. Those three words, those are the three words that best define me. But my husband recently said the one word that best describes this pandemic period is de-stabilizing. And yeah, I think he pretty much nailed it de-stabilizing. But if there’s one thing that a dancer’s good at, it’s stabilizing, think about that fight to really hold on to an attitude devant on releve or the mental and physical combat of a pirouette from a grand plie in second position. If it is possible for a human being to promenade in arabesque on point on another human being’s head, I’m going to link to that youtube video, by the way, in the show notes, then it is absolutely possible for us to stabilize ourselves in unstable times like these. It’s also no shock to me that ballet dancers are crushing it in this time. My favorites at the moment are Tiler Peck , obvi, uh, Skyler Brandt, Isabella Boyslton, James Whiteside  and Maria , I’m going to botch the last name. I’m so, so sorry. Kochetkova I believe so, crushing it, but that’s, you know, literally part of our jobs as dancers to find and create balance. But beyond that, beyond dancers, I think about architects and the skyscrapers that they designed and think about the people that actually built those buildings. I think about teachers and the balancing act of managing information and actual human beings. I think about bakers and balancing time and temperature and the ingredients required to make like a perfect loaf of bread. Now obviously I can’t speak for bakers, but when I’m trying to find myself on my leg, it’s really a matter of, well, a couple of things. Number one, micro adjustments, small little changes and number two, trial and error. There will be many trials, there will be many errors, there will even be overcorrection, but eventually there will be correction. We will figure it out. We can figure it out. We get to figure it out and if you find yourself in a place of being unstable on your feet, write a letter to a friend or pull a Tom Hanks and make yourself a Wilson or the podcast can be your Wilson. I can be your Wilson. I am a Wilson. This is perfect.  

With that, my friends, I will leave you for the day with love, with soap, and of course with funk. Thank you so much for listening. 

Thought you were done? No. Now I’m here to remind you that all of the important people, places and things mentioned in this episode can be found on my website. Third, TheDanawilson.com/podcast finally, and most importantly now you have a way to become a words that move member, so kickball, change over to patreon.com/WTMMpodcast  to learn more and join. All right, everybody now I’m really done. Thanks so much for listening. I’ll talk to you soon. 

Ep. #17 The Process of PROCESSING

Ep. #17 The Process of PROCESSING

 
 
00:00 / 00:23:42
 
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This episode addresses several  different ways we humans can process our emotions; from Coaching and Therapy to Journaling and even DMT (Dance Movement Therapy).   DMT is made up of countless techniques and exercises designed to create awareness of mind and body. I am not a Dance Movement Therapist, but I AM  all about awareness of mind and body, so, in this episode I recount a recent coaching session where I processed feeling STUCK by giving names, colors, movement and texture to the sensations in my body. It’s a wild ride, so buckle up!

Show Notes:

WTMM Patreon: https://www.patreon.com/WTMMPodcast

Transcript:

Intro: This is words that move me, the podcast where movers and shakers like you get the information and inspiration you need to navigate your creative career with clarity and confidence. I am your host, master mover, Dana Wilson. And if you’re someone that loves to learn, laugh and is looking to rewrite the starving artist story, then sit tight. But don’t stop moving because you’re in the right place.  

Dana: Hello. Hello everybody and welcome to episode 17. I’m jazzed about it as usual. Um, in episode 16 I mentioned, well, I promised, I think that April’s podcasts would all be about bringing the joy, the silly, the bright, the creative. Um, and this episode is exactly that, but it is in disguise. This episode is about processing the darker side of the emotional spectrum. Sadness, stillness, anger, grief, anxiety, depression. Yes. All of those guys. And it’s really about coming out on the other side of them naturally without forcing anything. So thanks for joining me. Are you excited or what? Uh, before we dig into it though, of course, let’s do some wins this week. I have a handful of wins. I’m going to try not to say cooking again cause that’s what I said last week. I’m becoming way more comfortable in the kitchen and I’ve had some really killer dinners and leftovers. So I’m counting that as a win privately, secretly, and also now publicly. Okay fine. I’ll just call it a win. But I also want to shout out the handful of dance studios that I’ve been working with, eh, in the form of some digital support. Um, Dance Impressions Michelle Latimer Dance Academy and Cary Dance  You guys have been so much fun to work with. I’m absolutely counting you and your students among my wins for the week. I’m just learning so much about, uh, transferring my syllabus and my teaching style into a different mode, different platform. Ultimately a different process and process is what we are talking about this week. So very appropriate. Um, let us, Oh, sorry. My bad. Let me give you your moment. Hit me with your wins. Say ’em out loud. It’s really important. Go.  

Okay, great. If you need more time, please don’t let me stop you. Just hit pause. Keep going with your wins. It’s very important that you do that. 

Okay. So the word process has been coming up a lot lately. Um on the podcast, I talk a lot about creative process and um, it’s also been coming up in like casual conversations. People saying things like, I don’t know, I’m still processing. Another example, the SBA, uh, assessing my application for the PPP, paycheck protection program. So fingers are crossed for that. Um, here’s another fun one that I heard recently. Uh, how long should I let this color process? Oh my God, I miss my hairdresser. Hehe, uh, yes, maybe you shouldn’t be, um, processing your own hair, doing your own color or cutting it. Just a thought. There are certain things that really ought to be left to the professionals and trust me in the COVID moment, we’re all experiencing new in terms of life and also our hair. I’m just going to encourage that you accept it for what it is and process that. Oh, also, here’s a fun game. Speaking of process, keep track of the number of times I say process in this episode and then do that many pushups per day starting now, whatever day it is, uh, for like the rest of the month or a month from now. And um, just go ahead and see how shredded you become. Look out beach bod. Even if it’s not for a year that you see a beach again, you’ll be ready for it when the day does come. Okay. So starting now it’s process time. So the word process when used as a noun means according to Merriam Webster, a usually fixed or ordered series of actions or events that lead to a result. Okay. Well this explains sort of the creative process in my mind. It’s something that moves forward or occasionally spirals. Um, but it’s always moving. And at the end there is a result. There’s this thing, whether it’s a show or a step or a film or you, you get the, gist in the last two episodes, I have talked to the seaweed sisters a little bit about the secrets of our process, which include saying yes, and to any idea. Um, and I also talked to Kat Burns in the last episode, which was 16. So let’s see, Seaweeds were 15. Kat Burns was 16, and Kat talked a lot. How processes differ depending on the format, um, or the medium, whether it’s scripted TV, a stage show or an improv show. Um, and honestly, if you haven’t listened to those episodes, go check those out. Some really golden nuggets in there. But long story short, every project and every person will have a slightly different creative process. So millions, so many different creative processes.  

All right, so when used as a verb process means to refine or rectify or even to clarify, to me, it evokes this idea of sitting with something and chewing on it, digesting it until it’s gone. So that’s sort of a difference that gets stirred up in my mind. A creative process results in something, it leaves something at the end versus a process of refinement or clarifying results in having something completely digested. And then it either goes away or turns into something else completely. So there are probably as many forms of processing emotions as there are creative processes. It’s likely that everyone has their own way or even that their way might change over time or that they’ll use a combination of different ways to deal with different things. And I’m just fascinated by that. A handful of those styles of processing might include journaling or as I like to call it a thought download, which is where I try to just stream of consciousness dump whatever is in my brain. It goes through my arm and my hand and lands on a page or on a pixel via a keyboard or pen. Um, but there’s also therapy counseling, you know, talking to somebody. And then there’s also DMT or dance movement therapy, which is made up of countless techniques and exercises that are designed to ultimately create awareness of mind and body. I will be very clear, I am not a dance movement therapist. I use dance to tell stories. I use dance to make money and yes, sometimes I dance explicitly for fun. Occasionally I dance as therapy when I’m feeling down in the dumps as I’m sure several of us have, right? Oh and I am learning by the way that dance crying is actually a thing. Literally dancing up all the feels and then dancing them out via tears from your eyes. I love this concept and I really, really love the thought that the more aware we are of our minds and our bodies and the sensations within them, the more able we are to watch and regulate them and even generate new ones, right?  Like new feelings in our body. We can control them, make decisions about them and our emotional experience of the world is effected. My job and a huge part of my life revolves around being in touch with my body and controlling it, being deliberate with its movements and using it to get a job done to craft shapes and phrases that convey emotion or information to give form to feelings to exteriorize the interior. That is my jam. That is what I do. Now, It’s the third week of April and I’ve been distancing since March 6th I have been regulating and controlling and deciding the crap out of my daily life. Are you ready for this? Okay. I coach on Monday, Wednesday and Friday I film new combos to send to studios on Saturdays. Sundays are seaweed sister sessions followed by deep household cleaning. Then I look at finances on money. Monday I do curbside produce pickup on Tuesday podcasts are Wednesdays, IgG live at five on Thursdays. All the food prep, all the dance classes, all the laundry are happening every day. And I also journal and I stretch daily. Whoa. So I really thought that I was processing these new circumstances along with all of my feelings pretty well. I seems to have found a schedule that appeared to be productive and fulfilling. Oh, but boy, spoiler alert, I certainly wasn’t processing, not all of it. Anyways, how did I find out that I wasn’t, Oh well, as you might imagine on a rainy day, the fourth in a row, I mind you, I had a breakdown, a full blown adult tantrum where hot water poured from my eye holes. And this tantrum was actually the good part. By the way. The water pouring out of my eyes was the release. It was the moment before that was actually super tough. The quiet before the storm, we’ll call it.  

That was the moment where I was feeling heavy, slow, foggy, vapid, guilty, just gross. You name it. Dark end of the spectrum. I was feeling it. I tried to motivate myself up out of it. Go, go make up a new combo. I tried, my moves were lame. I stopped. I tried to write a new podcast, but my ideas were mangled and mushy, kind of half formed, gross. I stopped, I tried to make food. It was gross. Oh, you better believe I ate it anyways. And then I felt gross and then I stopped. I just felt stopped. All of it felt pretty stopped. I felt stuck like so many of us probably felt or are currently feeling and for a person who moves for a living, for a self-proclaimed movement master feeling stuck feels pretty awful. Now by default, I’m a person that’s a pretty positive thinker, captain, bright side, Susie sunshine. Like that is how I like to live my life. But I do believe that my life will round out with a natural distribution of emotions like 50% of the time I’ll be good or better. And then the other 50% of the time I’ll be sub good or bad or occasionally awful. Now for the record, I have no scientific evidence to back up that that’s actually how my life will round out. But I have a feeling that if you did analysis on like the past five years of my journals, you’d find some plot points that you could put on a graph and you’d probably be left with a pretty good looking bell-curve. So as I sat there feeling these awful things, I was sitting way at the tail end of my bell curve. I got on the phone for some coaching and this is what I asked my coach. I asked, how do you know when to sit with yourself and your big, ugly, deep dark thoughts? And when do you coach yourself out of it? When do you coach yourself off the ropes? When do you let captain bright side shake some sense into you? Well, here’s what my coach said, and by the way, let’s pause for the cause for a second because there are a lot of different coaches and styles of coaching. Now, there are the types that will break you down to build you up. And then there are the types that will give this air of being almighty all knowing, omnipotent, like they, they know you better than you know yourself and they know the answer to your question even before you know what you’re even asking. Yeah, those are not my coaches. My coaches honor me exactly as I show up. However, broken or built that may be, depending on the day and my coaches helped me see in myself a way that gives me the power to answer my own questions or to make my own decisions. So that’s the type of coaching I’m going in for right here. 

So I asked my coach, how do I know how long I should sit with a negative feel? How do I know when it’s time to regulate and step in and do the self coaching or when is it time to move? Like move yourself out of it. Of course she didn’t answer. Instead she asked, okay, what exactly is this negative feel that you’re feeling? And the first word that came to my mind was stuck. I feel stuck. And she said, “okay, where in your body do you feel stuck?” And I said, after a little bit of checking in and thinking I had a feeling she might be expecting like my heart or my throat or my forehead, which are all totally acceptable answers to where do you feel stuck? But I genuinely like I felt it everywhere. I felt it inside my body, every inch of it. I felt it in my blood and she was unfazed by this. Uh, she was a stonewall. She was like, “okay, great. Let’s talk more about your blood.” Which is so funny to say out loud right now, but it was a perfectly reasonable question in that moment. She asked, “what color is your blood?” And I was like, you know, close my eyes and really try to visualize my stuck blood. And I decided that it’s definitely gray but not even like a full, beautiful, deep, dark rich gray but like gray at 50% opacity, like puny, sad, weak gray. And then she said, “all right, got it. Okay, so, um, is your 50% opacity gray blood? Is it moving? Does it have motion to it?” And I said, no, it is definitely still, it is what is stuck. It is the thing that is like freezing up like concrete. And she’s like, “okay, great, great, great. So tell me more about your 50% opacity, concrete blood.” And I just kept explaining the image, my made up idea of what my blood looked like and moved like inside my body. And at a certain point all that digging in was starting to make me tense. So instead of just feeling stuck, I was now feeling tight and I said, man, my now my skin feels too tight right now. I’m really tense. And she said, “Oh good, tell me about your skin.” And I said, it’s, it’s brittle. And she was like, “okay, okay, how else does it feel? Does it have movement?” And it was like, no, no, it’s, it’s too pulled tight to have movement. And she says, “okay, well how is it normally?” And I thought for a second, and I said, I think it’s normally kind of like a plum. You know what? I remember the book To Kill a Mockingbird. I think that’s where I got this from. I think there’s an explanation of skin in that book where they, uh, Harper Lee explained skin as like the skin of a plum. Like it’s supple. It would peel back if it got snagged, but my skin was definitely not that. So as my coach kept asking me to explain my skin, I was coming up with ideas like it’s not definitely not a plum, it’s more like a grapefruit, like thick, porous and, and, and instead of housing a grapefruit, my grapefruit skin is trying to contain a watermelon.  And then she said, “okay, good. Let’s go back to your blood. How’s your blood doing?” I was like, are you kidding me? Okay. All right, fine. Was talking about my blood some more. I’m explaining my blood, I’m getting emotional. Then she says, all right, how’s your skin feeling? I’m like, it’s tight. It’s too tight. And she’s like, okay, let’s go back to the blood. Has the blood doing. So we, long story short, we bounced back and forth between talking about my concrete blood that was now bubbling to my grapefruit skin that’s trying to contain a watermelon. And then she asked one last time, how’s your blood? And I said, well, it’s not stuck anymore. The stuck was gone and it was replaced by, you know, blubbering hot waterfall of other emotions. But stuck was definitely gone. So the answer to my question, how do you know how long you should sit with the negative fields? Well, sit with them, be with them, experience them deeply until they’re gone. The answer to my question, when is it time to move yourself out of it is it’s time to move into it. The only way out of it is through it. And the answer to my question, when is it time to regulate? Oh, the answer to that is it’s not time to regulate. It’s time to process. So the next time you’re experiencing life on the downside of the bell curve, stop, look and listen. There’s a good song for that to your body and process. Now the process that I used talking about my, um, now the process that I used revolved really heavily around my awareness of the sensations in my body and my imagination. I mean, come on. Gray, half opacity, concrete blood, grapefruit skin. I mean what an imagination. That is like A plus super kindergartener type style of imagination. This process means giving a color, giving emotion, giving texture, and giving names to this sensation in your body, like to a high degree of detail over and over and over again. And that process might really resonate with you, especially if you’re a dance type that checks in with your body regularly. But it also may not resonate with you. It might not be your style of processing emotions, but it was hugely effective and profoundly moving for me. So I had to share it. My interest and curiosity in, um, we’ll call it mind meets body processing is absolutely peaking. So you better believe I will be getting into, uh, some DMT and other processes for processing emotions in the upcoming weeks and months and probably years. So take a second to think about it for yourself. How do you process emotions? How do you process the events of your life? I would love to hear how you do it. You can message me on the gram @danadaners or you can send me a message via the contact page on my website, which is theDanawilson.com.

All right, my friend, I hope that that um, glimpse at my process for processing emotions gets you thinking about how you process yours. Um, then that is it for today. Thank you so much for listening. Stay safe. Say Whoa. Stay safe, stay soapy and keep it funky.  

Thought you were done. No. Now I’m here to remind you that all of the important people, places and things mentioned in this episode can be found on my website, the Dana wilson.com/podcast finally, and most importantly now you have a way to become a wards that moved me members, so kickball, change over to patreon.com/WTMMpodcast to learn more and join. All right, everybody now I’m really done. Thanks so much for listening. I’ll talk to you soon. 

Ep. #16 Serious Silliness with Kat Burns

Ep. #16 Serious Silliness with Kat Burns

 
 
00:00 / 00:47:22
 
1X
 

Plainly put, Kathryn Burns is fascinating.  The only thing that is more exciting than her choreography, is the work she did before she even owned the title “2 Time Emmy Winning Choreographer”.  From a post production machine room to UCB and beyond,  we hear about how she learned by DOING, and what it takes to do what she does.  Over 160 episodes of scripted TV is just the beginning… 

Show Notes

Quick Links:

Kat Burns

WTMM Patreon

UCB

My Crazy Ex Audition Submission

Raggle Taggle Dance Hour

Totally Unmorganized

The Dance Room

Transcript:

Intro: This is words that move me, the podcast where movers and shakers like you get the information and inspiration you need to navigate your creative career with clarity and confidence. I am your host, master mover, Dana Wilson. And if you’re someone that loves to learn, laugh, and is looking to rewrite the starving artist story, then sit tight. But don’t stop moving because you’re in the right place.  

Dana: Hello. Hello, hello. Hello. How are you doing? How’s everybody? Man, if you are like me, then these days are going by so quickly. I don’t know what it is. Maybe it’s, I’m just being inside and so many days are the same. Um, maybe it’s that I’m filling my schedule every minute of it. Uh, but it’s strange, this sensation of time passing and standing still all at the same time. Maybe it’s just me. I don’t know. Um, this episode, ah, I’m so excited for it. I’m so excited for you to listen to my guest today. Kat Burns. She’s one of my favorite well people period, but also one of my favorite choreographers and she shares so much, um, tremendously valuable insight in this episode. I’m jazzed about it. Uh, but before that, of course we have to do a quick round of wins. My win this week is that I am becoming a person, day by day, meal by meal. Uh, I am becoming a person that is confident in the kitchen. I’m having more fun and I’m having more creative freedom in the kitchen. And I think that’s a win. It’s something that for me has always been a kind of point of insecurity. Um, my husband traditionally is the cook of the household and I’m having so much fun, uh, exploring a bit, really digging that. Okay, so now you go, what’s going well in your world?  

You might need a little bit more time. So I encourage you to pause right here if you’re really, really winning, which I really, really hope you are.  Um, but this episode is just, it’s something else we gotta get to it. We’re jumping in. Ladies and gentlemen, the one and only Kat Burns. 

Dana: Yes. Kat Burns. Welcome to the podcast. 

Kat: Yeah!

Yeah! Oh, I love wees and woo hoos and yeas, it feels so good. Just smile and I cannot not smile when I, I think Kat Burns. So welcome to the podcast. Introduce yourself for those who may not know who you are, those fools, 

Kat: Those nincompoops! Um, people call me Kat burns. I’m Kathryn, uh, Kathyrn Burns, AKA, you know, Kat Burns is my like cool choreo alias. I suppose that that is just kind of taken over. And I’m a choreographer mostly for scripted comedies.

Nice. Um, I really love intro asking people to introduce themselves because it’s sometimes a different story than what the bio would read. Um, uh, your bio leads with, and I think it should, your Emmys your double. Is it two? 

It’s two, right. She’s a two timer. 

She’s sure. Just a two timer, a measly two time Emmy winner. Um, and I do think it’s, it’s cool to like acknowledge the wins, but it’s also speaks a lot to you that you do not lead with the accolades, but rather with the work itself. And I love your body of work. I love it so much. I love it. Primarily because it’s funny, but also because it’s diverse. Um, can you talk a little bit about the range of work that you do and what is the difference between a digital or scripted format or you do also a lot of live work. I know you came up through UCB, like what is the difference really truly when it comes to choreography between all those different formats. 

Oh goodness. Well I appreciate your kind words cause you know, I’m a huge fan of yours and I believe I introduced myself on a street corner and I was like, Hi. Hi. You guys are awesome. Do you want to do my UCB show? And you’re like, okay, great.

I recall, I recall. It’s so funny. I do recall, I recall because I, well it was a seaweed sisters related, um, acknowledgement and the seaweed sisters, uh, Jlilian Meyers, Megan Lawson and myself, we don’t get recognized outside of dancers very often. Um, and when we were not in a dance studio setting, we were literally on the street corner. Uh, so it, it made me feel like, Oh my God, pay attention. This is happening. You guys this, the seaweed sisters, are a thing, we’re being recognized. 

It’s like five years ago, I want to say. 

Yeah, it was a while back. Yeah. Oh, cool. Um, so thank you. Thank you for your fandom. We can, this is a safe place where we can absolutely be gushing over each other. So don’t let it stop. Um, but I am so curious about the different, um, uh, places that your work lives. 

Yeah. So there’s, it’s a, it’s a multi folded, I was gonna say two fold, but it’s uh, you know, lots of folds type an origami fold of answers if you will. Um, I, I think what’s really fun about working scripted comedy  or scripted in general is that the choreography is always dependent on the scene. And so by default I’ve been able to hire a lot of experts in a specific genre and then play within story, but still making it proper. Um, and so whether it be like a tango or a musical theater, traditional dance in the street vibe, or a tap dance or a fill in the blank, or even just like specifics that are funny or trying to make, like one of the tricky things was trying to make ’em like a viral video. Like, you know how like video or people like quote unquote dancing bad. Why? What’s the tipping point? Like why is it popular? I need to like recreate those moments as a choreographer when you have two people, it’s like the note was like, it’s too good, it’s too good. And I’m like, it’s not, it’s just like when you have two people dancing together in unison, it’s automatically going to seem more better, more, better. Just the word I like to use because it’s like, I don’t like to say something’s bad. I like to say it can be more better. 

It can be more and better and you are the more better maker. Um, I think part of that recipe is definitely accessibility. Like you don’t want to choreograph steps that only a trained dancer could do. So it’s like every, every man dance. Um, and do you do a good job at choreographing dance on a normal non dancing type characters? 

I like to call them dance enthusiasts. 

Dance enthusiasts. That’s way kinder than what I call them. I call them, I call them normies. 

Normies that’s cute. I just think Norm McDonald dancing. When you say normies.

Many Norm McDonald’s. Normies plural. Um, uh, so how many episodes of television would you say you have choreographed to take a ballpark for me?  

Well, I actually did a show a year ago celebrating a hundred, cause I was like, when I graduated college, people are like, what’s your dream job? And I said I wanted to choreograph for TV and film, but I have no idea how to do it. And you know, I had to celebrate that because I was like, I guess I figured it out. Yeah, you did. And so well sometimes you’ve got to celebrate a little milestones cause we can be so hard on ourselves on a daily basis that we’re not doing enough or creating enough or being disciplined enough or right. 

Girl, I am here for celebrating. Actually I just started a new podcast habit. I start every episode with wins. Were I just talk a little bit about what’s going well. 

That’s awesome. I used to have a thing where I would keep champagne in the fridge cause there was always going to be a reason to celebrate. 

Yes, I am about that life. And now since we’re in lockdown you’re going to need to keep at least five cause you can’t be leaving. The house as often. 

Exactly. 

Um, okay. So let’s back up a teeny tiny bit. You mentioned after college when they asked you that question and you answered, I want to choreograph TV and film but you didn’t know how, what was your next step?  

Uh, well it was more of like that’s a, that’s a fantasy job that doesn’t really exist 

Or not for you. 

Right. Uh, so I worked in post-production for years and thought I could use my degree and be an editor and I worked in post houses and like lob dailies and patched digie betas, for recording. Like lobbied editor’s reels over and was just like in the machine room learning about editing and the more responsibility I got, the more anxious I got. But I started, you know, I studied film in college and Mmm. So I was already doing that. And then, you know, you talked about the difference between scripted and stage and then I started at UCB right when they opened their doors pretty much like I was working next door at the clothing shop, um, when they went door to door to meet their neighbors and I was like changing and I stuck my foot out and I was like, “I’ll be right with you!” and my mom was in town and was like, “Hi, welcome to Native.” I was like, “she doesn’t work here. I’ll be right out”. And, 

And they were like, you’re in. 

And they were like, you’re funny, you should take internships. And I was like, great. And then I just started being a part of that community, like from the ground floor. And so I learned the art of choreographing for a script in a way to like heighten the joke without distracting. And I was already, I’d got a dance agent. I was taking Aisel’s hip hop class. Yes. After like six months of living in LA. So I got the agent, I was dancing sporadically doing like show girly type musical theater, tall girl jobs and realized quickly that I was much taller than everyone else in LA.  

Tiny. We’re all micro types. Yeah. 

They move so fast? How did they get down to the floor and in one count, tiny legs. Tiny legs. Yeah. I was like, I still have my bevel. You know, you gotta have a sensible walk and a good bevel if you’re tall.  

Oh, you ma, you have to have a sensible bevel no matter what I would argue. But definitely if you’re tall. Um, okay. I wa I want to branch in a hundred different directions. I am taking notes. 

Uh, but I very frazzled. I didn’t even answer your first question. 

I’m pretty sure you did. We talked a little bit about formats and the places that your work lives, which is on 160 episodes of television primarily, right. But also on stages because you do that. 

Yeah. And I just did a musical here in LA and I, I’ve done like comedy musicals and LA, uh, which obviously like stage is, is much more collaborative I think is the biggest difference. You have the writers in the room sometimes or you have the director in the room and you have the actors in the room and you have time and you’re playing and you’re creating, I mean obviously like a, the UCB schedule is like, learn it, do it, done. It’s very quick.

And that’s the point. 

Yeah. Yeah. Your dress rehearsals off in the performance cause no one’s getting paid and to learning learning curve. But I just did this musical with a wonderful New York team. The musical was called Found and we did it at, um, it’s, Iama Theater Company ’s musical. It was our first ever done at the LA Theater Group. And it, got closed, you know, three weeks before it was supposed to finish. It was New York team. Um, and they were so collaborative and awesome and I was like, Oh, this is what process is, you get to actually create in a room with creatives. Yes. Often on television schedules. You’re often trying to get into the minds of creatives. Like you’re each department heads given a specific ask very, very quickly and within like a 10 minute or less creative conversation, you have to then go off and do your work, present it, change it on the fly if it needs to be changed and be like, this is what I think you want. And from all your references, ID do deduced yeah. Anyways,  This was the dance pretty much. 

Um, ah, okay. That’s fascinating. So a difference between stage and film being, the amount of time you have and the people that are part of these creative conversations.  

Everyone’s process is different. I mean, I think a lot of choreographers, and this also totally depends on the budget of the show they give. It has a budget for rehearsals and the choreographer can have a skeleton crew. They can kind of like massage the choreography and change it and get it to a way and have a few days and have a process. But if you’re like, hi, hired for two days, you have one day of rehearsal, slash prep, slash casting, slash creative slash, whatever, and the next thing you know is you’re on set trying to like leave this dance with a bunch of people you just met. You’re also trying to figure out their personalities and how not to step on toes, but also do your dance, be professional, be fast, pleasant and you know, protect the dance and protect the dancers but also serve the story and serve the process of that. That is making television. 

Okay. I had to jump out right there because that’ll just happen real, real fast and I want to make sure that you all caught all of that. Kat just gave a lightspeed masterclass in what it means to be a choreographer. Yes, we decide what the dance is, but then we must lead the dance or teach the dance and occasionally that’s to people that we’ve never met. We have to navigate so many personalities, not just the dancers, but the entire teams. Then we have to protect the dancers, of course, meaning looking out for their working conditions and making sure they’re taking breaks and well taken care of, et cetera. But also we’ve got to be fast and I mean we don’t have to be, but it really helps if you’re pleasant or easy to get along with. And then of course there’s the whole serving the story and serving the big machine that makes the TV show or the stage show or the music video or the fill in the blank. I think it’s super important to remember, especially for the young aspiring choreographers that being a choreographer means so much more than making up the steps. Okay. Let’s get back into it. Kat and I talked about the many hats that she wears, the many jobs that she’s had and the thoughts that led her to become an Emmy winning choreographer.  

Dana: What was the, um, what was the step or the chase or the kickball change that took you from editing room to, uh, dance studio or choreography, I guess?  

Um, I was always that kid that did a million things so differently. Like when I was young. It was like suck or student dadadada that every dance class imaginable. I was always booked, right. Like I my and I would like highlight all of my times that like college thing happened and I’d be idea as an adult to just do one thing stressed me out and made me so anxious. I felt like I was making like, like signing a death sentence of being like I’m going to do this for the rest of my life and I was super scared. Um, so I think a lot of times I just did a bunch of side jobs. Just that I wasn’t working towards a career necessarily. Like I went, I went, I went to college. I thought state school was supposed to be the thing that you do. And I was like such a rule follower that I had a hard time listening to myself and people were like, I remember like the advice being like what do you think about when you’re at a stoplight? I was like, Oh like I’m always making up things in my head. And even when I was like bored at concerts, I would just zone out cause I’m like, no one’s dancing. This is boring. And I would like choreograph something in my head and I would feel better. And I just realized if I wasn’t dancing or moving, I was sad. I honestly feel that a lot currently with what we’re going through and like I’ll feel such an angst for the world and my heart would be so heavy. And then all, I’ve been just dancing in my studio for hours on end because it’s the only thing that makes me feel relief and joy. Um, so I, I think, I think I, I worked in posts, I thought I wanted to be an editor. I had a million side jobs, I was a paramount page. And then I would like work at a steak house. And like I served, well when I first graduated college I thought I was going to be a Rockette. I made it through all of the, the cuts and stuff and then they just never called.  

Well, I’m so glad they didn’t because we got to have you instead. I get that dream though. Oh my gosh. And that audition process is brutal. Congratulations.  Holy smokes. 

What was my first professional audition ever, ever. And then at the end of the audition, um, this is the second day,  they’re taking all my measurements and I said, “I just wanted to let y’all know this was my first audition and you were so nice. Oh really? Oh, is it? Okay.” I had a four by six picture. I just didn’t know. I went to the University of Missouri. I didn’t do like, I never went to New York for a summer or anything. I had never taken from like professionals ever. Actually.

I love this. That’s such a great example of all the grooming in the world doesn’t ensure that you will get your foot in the door and at the same time you can be totally ungroomed and come through the side door or the back door and do phenomenally well. 

Yeah, I mean, I envy  people that had all this, this massive education and like mine was just like the local dance studio or the dance team. And that was that. And I just was always dancing in my room. Or like at the time it was recording VHS is and learning the dances of Britney Spears, you know, or whatever, studying for exams while watching Cats,  the VHS recording of the Broadway show. 

All right. Jumping out again this time I had to do it because I think it’s very, very interesting that the thought of doing one thing made Kat anxious and propelled her into doing so many seemingly odd jobs that really stands out to me because to so many people, there’s contentment in doing one thing and having one career and having their job. I think that a lot of people out there would actually feel anxious at the thought of doing all the many things that Kat did from serving steaks and working retail to working as a paramount page, um, pages by the way. Uh, give tours and direct guests and do a great number of tasks on the paramount lot. Um, but dang, she, she even worked in an editing bay. I guess what’s so special to me about Kat and about her journey is that at least from the outside looking in, all of those experiences gave or refined the skills that made her a great choreographer. Yes. Like the dance, the passion, the love of movement and moving has always been there for her. It always brought tremendous joy. But what brought success was the combination of that love of dance plus her many, many unique skills and experiences. Let’s jump back in and hear about the one moment. Well, the one heartbreak that changed the way Kat thought about being a choreographer.

It took a heartbreak. Uh, I was with, I was with someone for eight years, my whole entire twenties, and when that ended, I was so heartbroken that I had no choice but to make myself happy. And that was after I’d been doing UCB classes. I liked dance at Christmas times. I had like dance gigs and I was still doing a million jobs. But there was something about that timing that I was so desperately sad. Like, he kind of was my whole life and when that ended I was like, it was a very clear change of thought. I had been doing this musical that I choreographed and was in called Freak dance the dirtiest forbidden boogaloo at UCB and Matt Besser  wrote it, And the premise is whoever dares dance the nastiest wins. And it was like a spoof of all the dance flicks and like the white girl learns how to be poor so she can be a good dancer they lose the community center and then they have to do this dance battle and they make just enough money to win back the community center, yada yada.  

I’m so glad that exists. 

We did it every Friday for two and a half years at UCB and then one day they were like, we’re making this into a movie. And we all thought we would get replaced by everyone bigger and better. The only person that got replaced was the 20 year old playing the mom and she was replaced by Amy Poehler. So like that makes sense. Um, and right around the time of this breakup, I was filming this movie and they had asked me to like storyboard, what some of the dance numbers would look like. And I was like, I’m not an artist, but I knew it. And there was, there was a something called Work that Butt, and I was like, well, what if there was like a butt flower from overhead? And I was like, butts coming in at like an encapsulated her. And then she had this reveal and was a different outfit, but like storyboarded what these two, they couldn’t afford anyone else. It was also, Mmm. So that was my first job and I was also in it and I also didn’t have an assistant, so it was crazy. And we shot it all in 13 days. It was an original movie musical. With original music with the non dancers as leads and like Drew Droege is one of my favorite comedians and one of the stars and Hal rudnickthey were like the two world’s best dancers. And then we hired, Matt Besser was obsessed with America’s best dance crew. So we hired like Quest crew and The Beat FreaksAnd, um, anyways, so like all of these comedians were like dance dancing in front of all of these crews and I’m just there heartbroken. And I had this epiphany that I was like, Oh, I thought my whole life was supposed to be love and appreciation from this one person. And if they weren’t there I would crumble. And I quickly said to the cast, I was like, I love you guys so much and I need you guys so much. So that was a pivotal moment for me as a creative to have experiences with the people I was having camaraderie with at the time. My coworkers were my family and I would experience and be alive with all of this creative camaraderie that got me through a dark time. And it was just, it’s kind of stuck. It’s kind of stuck with me. Like I, I really, I really feel fortunate that I’m able to like dive into a project with an open heart because I truly look at my collaborators. I mean you like, we’ve gotten to know each other through working together and I have so much love for you but we haven’t, yeah, separate  doing something together really. I mean like maybe a few times, but it’s always like let’s get a glass of wine. Great. I see we’re working together. I’m going to like suck up as much yummy hang time as I can. Cause I don’t know, again, cause we’re both busy as the way LA is. Everybody has something next, you know.  

Well that is the way LA was my friend.  

Certainly people are still like, Oh I can’t, I’ve got a zoom it two. Or Oh I can’t, I stopped like I said 1130 this morning. And I was like, can we do four? Can we push back?  

Kat and I talked for a while about the way the LA and the entertainment industry are uh, maneuvering through this COVID crisis. But the radio waves are pumped and coursing with that talk and there’s just so much other goodness to come in this episode. I thought I might just leap frog over that if you don’t mind. And skip ahead to my favorite video submission ever. And the importance of good lip syncing because why not?  

When you get an audition submission request from your agent for a Kat Burns project, you go, ALL IN, because working for you is such a treat. Really, truly, I am a sucker for a lovely process. So I got this audition notification and I was like, Oh yeah, I can do this. It’s asking for a doo-wop style background singer and she’s singing to her mom. Um, I happened to be in Denver at the time that I got this notification and it was with my mom and it was in my sister’s gorgeous house and it was like, okay, yeah, this is, this is a no brainer. So I taught my sister the shots and she filmed it for me and I lightly choreographed this thing with just like a chain here and a hip hip here. Nothing like crazy cause I had watched the show before and it’s never, um, it’s never meant to be the like, uh, sit down and watch this dance. It’s like you could do this dance  It was a sidebar side side thought of mine to be a dance commentator for dance, YouTube videos in that same, in that same voice. Okay. So made, made the an audition submission sent it in. And I don’t remember if you texted me directly or if my agent did, but you were like, that is obnoxious and hysterical. And will you assist me on this project? Yeah, it was so funny. It was also cool to get my family a peek into my world, right? Like, uh, audition submissions happen or happened pretty regularly and in a very like in a three hour turnaround, I’m expected or asked to create a, create a thing, memorize the lines, make up the moves, capture it, edit it and submit it. And so they got to be there for that. That was super fun. And then  

What I loved about your video too is like, a lot of times, you know, as much as I say like I want good acting, the lip sinking is really important. Like, I trust that dancers can nail a dance step, right? It’s really important to me is how you’re emoting. So I see you as this like 1960s, like, you know, shoo bop, shoo whatawhata to dancer. Um, and you totally embodied that character and the lip sinking is really important. Like, um, I had an audition for Carly Rae Jepsen and it was, um, well holding an audition for her and it was like two backup singers that were dancing. And so in the audition I was like, you guys, you’re moving your heads too much. Like you’ll never believe that they’re singing into a mic to like actually pretend like you’re seeing into the mic. Um, don’t you have to, it’s a strange thing to like not whip your hair around because a lot of times dancers really aren’t that focused on- on being the star and being seen and like with our hair around our face and like make some sexy faces was not really about the face, you know? 

Right. I have this theory that we’re dancers are um, attractive, not necessarily because we’re good looking but because movement attracts your eye. Like if you imagine a jungle setting and a bush rustles over here, your eye goes to that and I think dancers have gotten really are the good ones anyways, have gotten good about being attention, getting when they need to and just the right amount of rustle versus being distracting. And especially if you’re in a tight shot, moving your head around is distracting and its as you mentioned, very plainly, not the way that background singers would do it. Um, that’s a great consideration. I think it’s an important skill and maybe we don’t spend enough time on it. 

And you also the the why it’s hard is that to believe that we believably be a good lip syncer you have to sing out loud so your breath is different. So although it looks like an easy dance when you’re actually singing out loud, the, the, the beats are counterintuitive to like, like the pickups of the lyrics are going to be before the one. And it’s tricky to get your brain around the lyrics and have your body do what the music is doing. As you’re acting, and singing out loud and thinking about your breath, you can’t just breathe through your nose and make whatever weird sounds you need to make to get through the aggression of the dance 

It’s a much different skill. I came across this issue, uh, a handful of times like hands full, like multiple hands, like NBA basketball player hands full of times working on In the Heights where we had huge groups of dancers, a part of musical numbers, but we weren’t the people that recorded the vocals.  

We weren’t the people that um, you know, not all 150 of them have the script, you know, for a chunk of time during rehearsal we would sit down with pages and learn the lyrics. But even that is expected to happen quite quickly. And not a lot of dancers have the same memory for words that we have for moves. So it, it really is a special skill. I suggest that everybody listening to this podcast right now pick a a movie musical moment, whether it’s LA LA land opening number or anything from crazy ex-girlfriend challenge yourself, give yourself how much would, how much time would you say is allocated to learning lyrics for an episode of crazy ex? When we did the tap number? Um, the prescription one, it wasn’t that long. I want to say that was like maybe 30 minutes. 

Well, probably like it was like 30 minutes at the top of rehearsal and I’ve actually had an, I had a big audition in New York.  Um, there’s a really great show out now called, uh, Dispatches from elsewhere. It’s Jason Segel ’s new show on AMC. I worked on the finale number and they’re singing and dancing, spoiler alert. Um, and I had to just teach the lyrics real fast because people saying the lyrics was as important as the dancing and there was this really amazing dancer. And then I looked back at my video because I don’t like making cuts, so I just filmed everybody, I really want to see everybody. I want to properly give everyone a chance to be seen by me cause I don’t come to New York, I don’t have auditions much. Um, so anyways, he was like, I was like booked and then I looked and I was like he didn’t Lip sync, a word. And on most of the jobs I do dancers get Face-time like closeups and like, Oh and I’m so, so for “antidepressants”  and the, it was all, it was all like fluoxitine, fluoxetine, Our lawyers won’t let us say brand names. Like it was very tricky vernacular. Yes. Medical terms on top of that medical terms, you get pills, pills, therms. Um, but, we had, we had a, we have one day of rehearsal so you could like overnight rehearse it. That’s true. I remember on the day Rachel changed, she changed the lyrics. So what’s tricky is that you had to learn it and then on the day after you’ve been practicing, I think you said change the name of the dog and then change this lyric we’ll re-record it in post. So you guys had to say lyrics out loud. This was what was 30 minutes or less. You had to say lyrics out loud that did not match the audio you are hearing all while doing choreography, you’re fast tap dance and then staying in line and it was like super precision based and like you’re high, you’re a little high here on your airplane arm you need a little bit lower.  

We’re taking in all of the, you know, the movement notes that we’re used to, but there’s also not just the learning of the lyrics but the unlearning of the old lyrics and then the relearning of the new lyrics. This is great. Really, truly, if you’re listening, make that an additional challenge. If you’re listening, you’re listening, you’re listening. If you’re, if you’re hearing, um, then yeah, try to learn a thing in 30 minutes and then change it, but don’t change the thing that you’re playing back. That song has to say the same. Your lyrics change. Oh my gosh.

And the timing varies slightly and then the moves or shot. It’s like you have to adjust your timing and your blocking based on what the steady cam operators doing or, or at any point in time, the show runner who’s a showrunner is basically the one that hires all of the writers.  They’re like the head, they don’t usually say head writer, but they’re the one who like keeps a tone of the show in general, you know, on the right track and everything and they’re the one that’s sold the show in general. But at any point they can come in and say, why are you doing this? Or, or like, um, or like for that number it was like as you guys were holding, I like added a like a little, a little bop. Yeah. Yeah. And then, um, just constantly finding it until you, like for me it’s like playing until you find what makes you laugh and like got there. That’s it. That’s it. That’s it. That’s it. Okay. Do that. And then, and then at any point someone could say, no, don’t bounce. And so you’ve just been rehearsing it with the bounce and something as simple as that.Like your body wants to bounce, but you can’t. Um, tricky. I don’t know. It’s tricky. And then, and then when I favorite things to like hark on park, her harp, whatever you look that up as I finish this, this tale of woes, but basically. Once it’s cut the end of that she goes Mmm. Basically it’s just like, Oh you guys are, Oh you don’t want to dance anymore. Okay. Like going from dance or to pedestrian and now

Oh wait, this is one of my favorite things to do. 

Walk like a dancer. Like it’s hard cause we do that in real life. I act sporadically. And um, I was in a commercial and I had to walk to the elevator and I was wearing heels and they were like, um, excuse me Kathryn, you’re like standing like pretty cause I was like beveling, 

Your just like, it’s my Rockette in me. 

I just like can’t, you know like when we’re in heels and more like a tight skirt, as a dancer you walk differently naturally. So I had to be like, Oh, I have to ditch how I naturally walk and walk pedestrian, just go to the elevator, like for don’t dance, walk to the elevator, don’t sit in your hip. Pretty  

Just pretend like you don’t know how to walk in heels as well. 

It’s actually for me, kind of difficult to navigate the middle ground between like dancing like a pro dancer, like JT, backup dancer, pro dancer and dancing like a non dancer that moves well. And then dancing goofy like uh, your, your UCB show right now. Raggle Taggle Dance Hour which I do want to give the floor to for a second cause it’s amazing. We did an opening number, which I want you to talk about, give a little context. Um, but I watched the footage back and I looked at myself, I was like, dude, you were bad dancing. And that’s not the goal. The goal is actually to be dancing really well, but not to be a dancer. And so that’s another layer of intricacy.  

Yeah. I think that’s what I’ve found with my work. It’s like, it’s, it’s easy, not easy, hard, not hard, but we’re properly living in a world. Right. So like the reference for this number was the pink Mr emus pink windmill kids, the mill kids or something. It’s like an eighties dance show. 

We’re going to link it because it’s, it’s a game changer. 

So I, the end of season one wanted the cast of crazy ex to recreate this video and I had that had the costume department hand dye sweats to match the color palette of the early eighties.

This is what we call full out. 

And then obviously everyone was like tired or busy and so they’ve just been sitting in my storage for four years. 

The costumes or the people that were tired? 

The costume department ready to go whenever there very expensive to keep, but it was worth it at the end. But we did the, we recreated the opening video finally. And my dream came true and it’s like feel like, like why it’s so funny and enjoyable is because they are trying to hit it so hard, these little children and it happens to be sloppy and fast, but like you have to go for it with the Gusto and energy of like this is the best thing anyone’s ever seen. And it’s like eighties. You just have to hit really hard. Also like nineties hip hop. You have to hit it so hard that your every bone hurts and it doesn’t look like much or just punching. But like woo, there’s a difference. Um, so you have to hit it with full exuberance.  

There is a difference. It’s those shows. Okay. I want to talk about something you just, you mentioned, um, I, well blah, blah words. So I wanted to ask how do you do funny, but I think you’ve already answered my question when you’re talking about the crazy ex episode, uh, with the pharmaceutical drugs and we’re just sitting there, Bob like hands on knees just bopping. And you said you just play with something until it makes you laugh. Is that your general approach to humor and dance

Kind of, I mean, and even like in a good way I, I’ve said this before, but like, um, I think it’s a lot of times when I approach my work, like if it wasn’t funny it’d be cool. No, like we’re trying to like properly live in a genre and a lot of times it feels a bit like a puzzle in my brain for a while. So like it’s important for me to know the tone of a show and to know what their funny is. Like I worked on workaholics and their village is much different than the crazy ex village. What they find funny and their sense of humor, I mean comedy is also super relative, just like dance. There’s like a wide array of good dancing or what you think is good. Right? I can’t tell you how many times a script is like Fosse and you’re like, but what about Fosse are they referencing to? Do they want it to be hyper-sexual? Do they want it to be awkward? Cause like when I think about Fosse it’s like, well he’s, you know, he did like he was inverted, he had, he had musicality that matched his movements, you know what I mean? So it’s like trying to find what it is about that reference that they like. So you kind of have to like get in the brains of the reference and then play within it and then for me it’s like, because I’ve studied comedy and I’ve, I spent my whole childhood watching movie musicals and things like it’s um, I dunno, there’s like a, there’s a, there’s a good or bad or creative process you have to like know when to put the pencil down I guess. So for me it’s like finding it and then sometimes like in crazy ex we kind of found this thing of like, Oh gross.  Okay. Yeah, that’s it. That’s it. And you kind of have to push the envelope. I mean there was like S and P issues to standards and practices. So we’re a network show. You can’t just create whatever you want. It has to be approved. And West side story is super particular and has like legislation against you doing like exact choreography, same with Fosse foundation. So, but you know, choreographers don’t own their work and aren’t unionized. So you know 

Kat Burns, enter Kat Burns the organizer. I wasn’t sure if we would get to this point and I know that not everybody listening is a choreographer, but I do think that this is really important too. Everyone in creative fields, no matter what they are, uh, choreographers right now, specifically an organization called Choreographers Alliance, which is a nonunion organization are working really, really hard to win choreographers SAG-AFTRA contracts for our work because unlike everybody else on a TV, film or digital sets, choreographers do not have the protection of those union contracts, which means no healthcare, no pension and no residual structure.  Um, 

No minimum hours work, uh, overtime or anything like that. 

So Kat is a staple in the community that’s working to win us an agreement that would support us in that way. Thank you so much. 

It just seems like it needs to happen. Everyone else, literally everyone else on set, unless you’re in an assistant role, has union protection and then they have it for SDC, which is stage directors and choreographers Guild. So for Broadway shows, Vegas shows some touring shows, they get a royalty every time their work is used, they own their work, they can, you know, that’s obviously not going to happen necessarily in TV because it’s called a work for hire clause. If you’re a freelancer, um, and writers as well, like, but if they use their work again, they have to pay them. Um, and if you have the union then let’s say dirty dancing, right?  Like that’s been like Kenny Ortega . His work has been used so many times and he’s never made any money past that. Same with Vince Patterson from smooth criminal, you create like how easy would it be to be, Oh, we’re going to use this choreography. We’re not going to hire Kenny because he’s off directing in Canada. We’re going to pay him X amount of money just like you would a song. And then the, and then like they can just take the exact choreography and never pay the choreographer or anything. It’s so broken. It’s so broken. But we did it. And it’s about celebrating the wins. As you say. I was asked to recreate Christine and the Queens “Tilted”

Werk, my favorite,

It’s one of my favorites for Better Things for season one. And, and the reason why I was asked this, cause I work with non dancers and they, and it was, it was the whole family. It was the mom, the grandmother and the two daughters. But put on a performance for you. I don’t want to ruin it if you haven’t seen the end of season one. 

I haven’t done, I’m going to, I’m writing it down right now. That sounds fascinating. I already, 

You already know what’s coming, but it’s okay. There’ll be emotional and beautiful. And I said they were like, we already got the rights to the music and everything and I was like, well did they pay the choreographer? And the awesome line producer was like, well, let me look into it versus saying we’ve already paid. But, um, they actually paid the choreographer for the usage of that work. Um, but that was a big win. They paid the court and I said, you have to credit, there is no union. Like I wouldn’t get credit. And then the person who originally choreographed, it wouldn’t get credit.  Right? Like they can do whatever they want. But I said the original choreographer, Marion Motin and I was like, you have to say originally choreographed by and then like adapted by me cause it’s not my choreography, but I was hired as quote unquote THE choreographer. But I need, I just think it’s interesting because now people are doing like Tik Tok videos and they understand currency of dance and like even in this time we’re giving away or work for free, we’re teaching classes for free. We’re trying to help the community. But like, you know, this is how people make their money. 

Ah, I, I do want to dig into more of those technical issues and I want to celebrate you going to bat for an instance like that, which I’m sure happens all the time and I’m sure that choreographers who, uh, maybe don’t have as much experience or aren’t as in passionate about the subject as you are, wouldn’t even to ask if that had happened. So I’m really glad that you spoke about that. I think that’s super important. 

Choreographers definitely have asked me like even what should my minimum rate be? So like if you’re getting a job and you don’t know what to ask or even how to run a set or anything, like reach out to someone that you know that’s working if you don’t have an agent yourself. And then also I think it’s important that we ask those harder questions. People are only going to give you what you fight for, you know, otherwise they’ll just take advantage and also to know when to back off. I have a solid rule of threes. Like I’ll ask something like three different ways just to make sure that I was heard. And then the answer the third time is still no, I go, okay, well I at least try it. 

Here we go. I at least tried thrice. Yeah man, I really wish we had more time to dig into all of these lovely icebergs that we just saw the tip of. But I think that there will be time for that and I hope that people will go find you. Find more of you. Um, you’ve done a handful of podcasts as well. I think that you can be found in this, in this audible world as well. What other podcasts have you jammed on? 

Totally Unmorganized. Uh, uh Oh and then Heather and Ava’s, yeah. Yes,The dance room  the dance. And then there’s been a, Oh, the Bigfoot Collectors Club . My friend Michael McMillan has a, she has a podcast about, um, about Bigfoot. So I have a lot of non, non dance related content in that. Then my mom and I did a podcast for, My friends, a beauty beauty vegan podcast called Natchbeaut She’s a passionate vegan and finds women owned businesses through beauty and beauty is not my world. So my mom was really good at being the guest, I was just there to be made fun of. Pretty much, which I’m..

You were the link. You were the link between the worlds. Um, well thank you beyond for being my guest today and for sharing so freely. All of your wisdom and humor and insights and tips about lip syncing. You know, there is not a podcast for that yet. Thank you so much for being here. High five across the screen. Great. I think we missed 

Your, you’re doing such a good job. 

Ah, I so appreciate that. Thank you so much. I’ll talk to you soon. Bye. 

Thought you were done. No. Now I’m here to remind you that all of the important people, places and things mentioned in this episode can be found on my website, theDanawilson.com/podcast finally, and most importantly now you have a way to become a words that move me member. So kickball, change over to patreon.com/wtMMpodcast to learn more and join. All right, everybody now I’m really done. Thanks so much for listening. I’ll talk to you soon. 

Ep. #14 Finding Your Tribe

Ep. #14 Finding Your Tribe

 
 
00:00 / 00:17:00
 
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The first step to finding your tribe is to connect with yourself.  This episode will help you do just that. Learn how to reveal your core values, and shift the way you judge character, to make meaningful and lasting connections (even at a distance).

Show Notes

Quick Links:

Words That Move Me Patreon: https://www.patreon.com/WTMMPodcast

The Seaweed Sisters: https://www.theseaweedsisters.com/home

Transcript:

Intro: This is words that move me, the podcast where movers and shakers like you get the information and inspiration you need to navigate your creative career with clarity and confidence. I am your host, master mover, Dana Wilson. And if you’re someone that loves to learn, laugh, and is looking to rewrite the starving artist story than sit tight, but don’t stop moving because you’re in the right place. 

Dana: Hey buddy, how are you doing today? I hope this finds you well. I hope this finds you healthy and if you’re not, I hope that this podcast brings you a tiny bit of hope, at least a handful of words of wisdom and maybe even a chuckle at some point. Okay. I got a lot of great feedback about starting every episode with wins. So here we go. My first win is that I made a delicious dinner thanks to Megan Lawson, her mom Sue and Sue’s mom, Jeanie Cole, Jeanie Cole. That recipe warmed my soul. Thank you so much. Um, also, let’s see. Um, Oh yeah, the seaweed sisters had a very fun virtual, um, super friends build a dance zoom conference call with 15 friends. Um, that we thought would take 40 minutes, which was cute cause we actually wound up dancing for two hours altogether in this big zoom conference. It was hysterical. It was great. It will absolutely happen again. All the friends all over the world get ready. For those of you that don’t know the seaweed sisters, by the way, you will soon stay tuned. Okay, and now this one, this is a big one. Speaking of sisters, I teamed up with my sister in law who happens to be a ridiculously talented illustrator. She’s the one that did the podcast logo for me. So yeah, real good reaaal good. Her name is Bree Reetz and I really suggest that you give her a follow on Instagram at B. R. E. E. dot. R. E. E. T. Z. She’s so lucky. All those double E’s. Anyways, together we have built a few tools for you listeners out there. One of them is what we’re calling the words that move me weekly worksheets. They are digital worksheets that come with every episode and they’re designed to help you process and apply specific topics from the episode. And we created a words that move me doing daily diary for all of you daily doers out there because managing a daily or even a weekly creative project as I’m learning thanks to the podcast can be really, really challenging. So this PDF is what I wish I had when I was doing my daily dances on Instagram for a year and they are designed to basically help you organize and track your progress and sort of help self evaluate. Um, I’m really jazzed about both of them. Both of them can be found on the words that move me Patreon you are only able to access these PDFs when you become a words that move me member. And the way that you do that is by going to patreon.com/WTMMpodcast and find all the different awesome, cool perks and ways that you can become a member. Okay, great. That does it for my wins. Now it’s your turn. Cue the funky music. Okay.  

Oh right. Congratulations! All right, one more thing. These podcasts episodes come out every Wednesday and last week on Thursday I did something really fun that I will definitely be repeating words that move me, had a live Instagram chat with me, Dana and you listeners and we discussed all sorts of topics from the episode. I answered questions, we dug deeper. It was awesome. We will definitely be doing it again, so as you’re listening, please jot down any notes or questions, things that you want to discuss further and join us live on Instagram tomorrow, which if you’re listening to this on the day of its release, which is April 1st then tomorrow will be Thursday, April 2nd at 5:00 PM Pacific on Instagram. You can find that at either words that move me podcast on Instagram or on my account, which is DanaDaners. Okay, let’s get to it. 

The topic of this episode is finding your tribe and if that phrase is a little bit confusing to you, I’ll explain by saying I guess tribe in the modern sense refers to the people that you choose to connect with.  These are the people that you are most comfortable with. You don’t fake it with them, you know, with your tribe, you never have to try to fit in. You just are yourself and you belong. And there’s a difference there. A very specific difference. These are probably people that you share values with. They don’t need to be family or best friends or people that you talk to every day. Sometimes they’re coworkers, sometimes they’re people that you’ve met a couple times, but you just really fit with. These are your tribe. You have probably heard of a quote by a guy called Jim Roan who says that you are the average of the five people that you spend the most time with. Okay, well I have been doing my part to flatten the Corona curve for like 25 days now and I’m starting to wonder, am I still me when I don’t spend time with other people?  It’s wild. Uh, but I have run a few tests and yes, I am in fact still me. Fortunately for me, and fortunately for you, if you’re a person that likes me, um, but I am sort of wondering if Jim’s theory is being debunked here with this social distancing quarantine situation. Because if my, we’ll call it a “me”ness I guess is linked to the amount of time I spend with other people. Then am I less me when I spend less time with other people or am I more me by spending more time with myself? That’s kind of what it feels like, but it’s bringing up a lot of questions about togetherness and tribes and people. Like, uh, do opposites attract or do birds of a feather flock together? See what I mean? And Oh, also why am I doing a podcast about finding your tribe when most people are strongly encouraged, if not legally obligated to keep to themselves? Well, I have the answer to one of those questions. I am doing this podcast because I believe the best way to find your tribe is to connect with and find yourself.  

I explained your tribe as being people that you have similar values with. Well, it would make sense then that having clearly defined values for yourself would sort of make it easier to connect with other people who have those same values. For many of us, our core values are being challenged right now, every day, especially if you’re a person that values human interaction, for example. Um, so this is a really good time, I think to take a closer look at all of that. If you’re sitting in thinking to yourself, uh, I don’t think I know my values. What are values? Give me an example. Um, I’ve got you. I’ve got you. You can undoubtedly Google core values and find a boatload of verbs. Just mad verbs to choose from. Like creativity, as I mentioned, social interaction. Um, humor, wit, collaboration. I dunno, you name it, but I like to think of values, less of something that you would choose off a list and more as something that you would reveal to yourself. It’s something that’s already inside you. You just have to uncover it. So the way that I’m going to ask you to uncover it. Oh, and by the way, I would suggest that even if you think know what your core values are, you give this exercise a whirl. Okay, think of two scenarios. The first one is the best moment that ever happened in your life that you can remember. What is like your highlight the highlight, and then ask what was going on there. What were you experiencing? What was great about that?  

Okay, now think of a truly awful moment, your least favorite moment, the moment you wish you could delete what was happening there, what was not happening there? More specifically. All right, so the answers to these questions should reveal several values. Now think out of those which are essential to life, which are essential to the way that you operate on a daily basis. Could you come up with like five of those values that without which you simply wouldn’t be you? Okay. Those are your core values. Great. Some of my core values are humor and spontaneity, so I find a lot of tribesmen with roots in improv and comedy and acting. Shout out Liza Koshy. Dang, you’re funny. Shout out Kat Burns. Holy smokes and the Raggle Taggle Dance Hour at UCB. Look out Kat Burns episode coming soon. So excited. Um, also I really value technique, style and obviously movement.  

So it’s no wonder that I’ve found most of my besties through dance. I also value boldness and variety in fashion, in art, in food, all of it. So it’s no wonder that I flock to the coasts and to big cities. Now think for a second about what activities and communities run rich with your values. And I don’t necessarily mean physical locations. Thanks to the internet and thanks to our lockdown, we’re all getting a masterclass in finding what we’re looking for and getting what we need even without leaving the house. I do believe it’s possible to find your tribe from inside your home.  

All right. Finding your tribe isn’t just about where you are, but also how you filter. I love this quote by Klaus Kinski. I hope I’m saying that right. It’s kind of fun. Klaus Kinskii he says “One should judge a man mainly by his depravities. Virtues can be faked. Depravities are real.” Let’s run that back one more time. One should judge a man mainly by his depravities. Virtues can be faked. Depravities are real. Let’s break that down. Virtues. All right. Virtues are behaviors like, um, gentleness, sincerity, bravery, compassion. They’re admirable qualities. Depravity is not a word that’s used much anymore I’d like to point out, if you don’t know what it means, you’re not alone, but Holy smokes. If that came out on a Scrabble board, Whoa, I’d be stoked on you. Okay. Depravities are acts of wickedness or evil, like taunting, torturing, bullying, discrimination, and worse. The point of the quote is that people might pretend to be nice or trustworthy or brave or caring or compassionate, but most people are not that likely to pretend to be rude to the waiter.  They don’t pretend to tease or make fun of or taunt someone. They’re actually doing that thing. That’s just who they are. So Klaus Kinski is saying that we should use those hints when we’re filtering for our tribesmen instead of the virtues. I really love this quote. It was monumental for me because as I mentioned in episode six I think, The Gift of Fear life has trained me to see the best in people and I used to be very, very quick to overlook somebody shortcomings, especially if there were virtues like talent that I could oogle over. Well, I’m a little older and a little wiser now and I know people who are at the top of their field who are as talented as they are kind. They create without destroying things and people along the way. They didn’t push others down to get to the top. They actually brought people with them. They are my tribe. I prefer them, which brings me to the seaweed sisters. The seaweed sisters are my tribe, my tribesmen, my tribes, women, my tribes, weeds, tribe, sisters, trimesters. Okay. I could tell you a lot of words about the seaweed sisters, but I would really, really rather show you we are a visual spectacle to behold. The seaweed sisters are Jillian Myers, Megan Lawson and myself and we have been making all sorts of things that we’re proud of for the last six years and we have more ideas than the next six years could hold. Go ahead and check out the seaweedsisters.com if I am peaking your interest here. Okay, today is April 1st, 2020 and the seaweed sisters had big plans for April, but as the great prophet Mike Tyson once said, everyone has a plan until they get punched in the mouth. Well if you’re like me, the current circumstances have your teeth feeling like speed bags, but this month the podcast and I are punching back. So tell your friends to glove up. Literally you should be wearing gloves and you should definitely, definitely stop touching your face so often. Um, anyways, put your boxing gloves on because this month of podcasts go in. This episode is about finding yourself and your tribe and I’m so glad that I have found me and mine the rest of the month we’re going to take some time to look at other things, Seaweed, the power of play, exploration, discovery, and serious silliness, all of which I think are tremendously important values for a time like this, you will absolutely not want to miss a single episode. So please subscribe. Don’t miss a beat. And thank you so, so, so much for listening. Stay safe, stay soapy and keep it funky.  

That’s you are done. No. Now I’m here to remind you that all of the important people, places and things mentioned in this episode can be found on my website theDanawilson.com/podcast finally, and most importantly now you have a way to become that move on member. So kickball changeover to patreon.com/WTMMpodcast to learn more and join. Alright everybody now I’m really done. We’re done. Thanks so much for listening. I’ll talk to you soon. 

Ep. #13 “Winning Even When You’re Down” with Tiler Peck

Ep. #13 “Winning Even When You’re Down” with Tiler Peck

 
 
00:00 / 00:43:34
 
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Tiler Peck, principal ballerina with New York City Ballet talks training, streaming class on socials, and finding herself AND HER STRENGTH thanks to the most challenging time of her life.
This episode is all about flipping the question: “Why is this happening to me” into “How is this happening for me?” and THAT is a winning mindset.

Show Notes

Quick Links:

Tiler Peck: https://www.instagram.com/tilerpeck/?hl=en

New York Times Article: https://www.nytimes.com/2020/02/13/arts/dance/tiler-peck.html

Words That Move Me Patreon: https://www.patreon.com/WTMMPodcast

Transcript:

Intro: This is words that move me, the podcast where movers and shakers like you get the information and inspiration you need to navigate your creative career with clarity and confidence. I am your host master mover Dana Wilson. And if you’re someone that loves to learn, laugh and is looking to rewrite the starving artists story than sit tight, but don’t stop moving because you’re in the right place.  

Dana: Hey everybody, and welcome to the podcast. I am so excited that you’re here. I am very excited about this episode and I’m very excited to try something new for the beginning of every episode. Um, yeah, I think I’m gonna make a new habit. Tell me if you love it. Tell me if you hate it. I actually mean that. I want you to give me the feedback. So, uh, send me a message at words that move me podcast or we could do a little callback from episode seven and you can toe vote. Toe voting is a game nay an art form that my husband invented and I talked about in episode seven. I use this game when I’m going through the airport, but you can use it right now or all the time. Toe voting is, um, when you silently and invisibly vote in favor or against, um, someone’s choices or behavior out there in the world. It is silent. It is invisible. It is just for you. But, uh, the toe vote works like this. Your little toes and your shoes will respond either by jumping up and down and approval or frowning and digging themselves into the floor. That’s what a toe vote is. Um, we’re back. My new top of the cast habit is called wins. Now, I did not invent the concept of starting with wins. Actually, I became familiar with this concept. Thanks to my acting teacher, Gary Imhoff who teaches the professional artists workshop here in Los Angeles. Cannot say enough great things about Gary. But, um, it’s been awhile since I took an acting class. It’s been awhile since I did wins and I cannot think of a better time to, uh, remind ourselves of the things that are going well then this very moment. So here is how wins works. I’ll go ahead and start.  

All right. I’m actually busier than I have ever been, which is ironic because I’m a person whose work almost exclusively depends on large groups of people. Um, but I’m getting to do a lot of things that I’ve always wanted to do. Number one, train more. It seems like a lot of people are offering Instagram live or otherwise livestreams classes. I think it’s so much fun. It’s very cool. Um, another win, I actually added curtains to my dance space, um, which required a sewing machine and a power drill, which usually gives me the nervous fields. Um, but because I had to use it for like an hour, I got really solid. I’m much more confident with my power tool skills right now than I was, uh, a week or so ago. Um, let’s see, what else. Oh, also upgraded the Ram on my computer. Did that myself as well. Um, I also started a Patreon account for the podcast and it feel really, really good about this is the first time ever that I have opened up a membership option for any of my services.  And I think it’s very cool. It’s uh, a way for you to get even more value out of this exchange and it’s a way for you to help me by keeping the lights on the disco ball as it were. Uh, speaking of disco ball, I made one out of aluminum foil. It’s hanging in my dance space, so that’s also definitely a win. Um, okay. I think that’s great. That’s a really good start on wins for me. And now it is your turn to go. A win is just an answer to the question. What went well and I really am, I’m going to leave a gap here for you to fill in that blank on your Mark. Get set, go. 

Maybe I’ll play a little music for you so that it’s not as awkward.  

Okay, great. I’m not just saying that wins are important because we’re having a tough patch. Is that safe to say? We’re, this isn’t the a high point of civilization. We’re not at our pinnacle right now. This isn’t our best performance, I would say. But I’m also saying it’s not all destroyed. I’m saying the sun comes up and the sun sets and we wake up and we go to sleep and somewhere something went well. So let’s share it for ourselves at very least to ourselves. But even to someone else, I think it’d be a good practice to start a wins group. This is my wins group. Thank you for joining me. Speaking of winning, I see you daily doers out there and I honestly am so inspired. I am. I, it’s always a treat to see what you guys are daily doing. If you are new to the podcast, please circle back to episode one and have a listen as I pose a daily creative challenge to all of you out there. I think this is a perfect time for it. I think oftentimes great restraint breeds great choreography that too. Um, but great restraints can cause great creativity. So please keep it up. Um, keep tagging your videos with the hashtag doing daily. WT M M the doing is the important part. So it comes first hashtag #doingdailyWTMM go take a look at that hashtag as well. You’re going to find some super treats. Um, okay. Moving right along. I am thrilled about this episode. Um, I had a conversation with a good friend of mine, Tiler Peck, principal ballerina for New York city ballet and all of the things she had to say I find so applicable and so valuable in a time like this. She talks about injury, she talks about training, she talks about family, she talks about the most challenging time of her life and she talks about finding herself and her strength within it. So without any further ado, enjoy this conversation with Tiler Peck.  

Dana: Yes! Tiler, thank you so much for being here first and foremost today. It is a special time. It is a crazy time. Mmm. And it’s just very cool to see your face and hear your voice  

Tiler: Thanks for having me.  

Dana: Let’s start with having you introduce yourself. How do you like to introduce yourself?  

Tiler: All right. Now let me just say I’m Tyler Peck and I’m in principal ballerina with New York city ballet. 

And that is enough, my lady. Um, okay, cool. So you and I actually in years, years passed our timelines, our dance timelines overlapped when we were little NYCDA competition kid. Um, and I find something very interesting is very few of those Danclings pursue classical ballet and even fewer wind up in soloists roles and fewer still in principal roles. I think that speaks so much to your training but also to your talent and your drive. And I want to spend some time talking about that. So could you talk a little bit about your pre-professional training and uh, even before you and I met  maybe a little bit during that timeline and then before going to the company,  

Of course, I think that I am just as shocked that I became a ballerina’s probably like anybody else. I know Joe actually, Joe Lanteri always says like, I mean she can do ballet, but if you ever saw her do like jazz, then you would really see it. It’s the truth. I never thought I’d be a ballerina. I grew up first in my mom’s school in Bakersfield, California, and you know, her, her dance school, it has every style. So I grew up doing jazz. I was really bad at tap, so I can’t say that I ever really was good at that. But, um, jazz, contemporary, lyrical, hip hop, gym, you know, everything. I did everything and I did take privates. She did have me take, um, ballet privates with this, um, Russian teacher who actually is from California. Her name is Alla i and I believe the last name is Khaniashvil or something like, and she was a former principal, the Bolshoi ballet and they were my least favorite classes. Not because she wasn’t a good teacher. It just took the most discipline. Like I think ballet, when you’re younger it’s really hard because it takes the most focus just because you don’t get to dance to feel good music, you know, like a song that you love or a word that you can like relate to. It’s like classical music is sometimes honestly a little boring and especially when you’re younger. So I’d always try to get out of my ballet classes. I tell him I’m, Oh, I think when they feel sick today, I don’t think I should do ballet.  And she’d be like, okay, well then if you’re sick for ballet, you’re also sick for jazz. And I would say, Oh, I think, I think I’m feeling better. I think I’m better now. So I’m glad that made me stick with it. Cause clearly I wouldn’t have made it as far in the ballet company. But, um, what took me to New York was getting the Music Man on Broadway and Mmm, that was just because, you know, in California, I, I did lots of commercials and like more commercial dance and theater. And so when my agency, um, sent me to New York to audition, my mom was like, we’re not going in New York. And I said, mom, let’s just go. And she goes, okay, we’ll just make it a fun trip. No pressure. You know? And I ended up getting it. And then she was like, you’re definitely not moving to New York. And I said, but mom, what if I never get this opportunity ever again, and you, you didn’t let me go. And she was like..

Ooooh! The guilt trip! 

I know. And I was only 11! Yeah. So that was kind of what made me go to New York. And then from there I started taking at the school of American ballet, which is the company that feeds into the New York city ballet. And that was the first time where I ever felt like, wow, ballet is actually really interesting. And I think it was the Balanchine like technique style that I really, really love because it is a little bit jazzier and you know, all of a sudden didn’t seem so boring. And I was like, I also didn’t feel like I was really good at it. Like I felt like I looked like a jazz dancer trying to do ballet and I was like determined to not be that one that they were like, Oh, she’s just from the jazz world. You know? I was like, no, I’m going to get this. Then it’d be a ballerina.   And I’ve always kind of been like that. Like, where if something isn’t easy, that’s like the route I go, I’m like, you know what, I’m going to do this and I’m going to be a ballerina. And that’s kind of what happened. 

I love this. It’s actually one of my questions later down the, the stream that it was going to ask it, has it always been ballet and will it always be ballet? So now I know it hasn’t always been, but do you see like what is future Tiler? Is she like a tango dancer or ballroom or is she strictly choreography? Do you, do you think about her a lot? 

I mean, I love ballroom actually. Like I don’t know it, but I Mmm. It was on a gig once. Then this ballroom dancer like took me on the dance floor just at the after party and I was like, this is literally the coolest thing ever. Like he made me feel like I’d been taking ballroom forever, but I don’t think that that’s going to be my route. Um, but no, I definitely want to always other things. I, I don’t think I want to do, um, ballet for a very long time. I thought this is when I should do this because it’s such a young career. So I got into the company at 15  and you know, I’ve already been in the company 16 years. I’m 31 and I’ve never really wanted to be someone like in my mid forties still in point shoes. I always kind of want to leave when I can still do everything in such a classical company. But then I would love to do like, you know, theater or choreograph or something like that and move back into  you know, not doing just classical ballet. Um, but I just felt like this was the time for me to do it. If I was going to do ballet, I was going to pursue ballet this was the time. 

Got it. But you do also pursue these other avenues even now, a little bit of acting, a little bit of choreographing. Um, do you want to talk about any of those?  

Yeah, I mean, I think because I did grow up in California and you know, I did do a lot of acting and stuff like the story ballets at New York city ballet the most for me just because you get to tell a story, we don’t use your voice. But, um, that’s why when Susan’s Stroman like talks to me about doing this new musical that’s coming out, um, to be the lead and that I’ve kind of been a part of for like 10 years. Um, it was kind of the perfect thing for me because it has ballet, it’s about a ballerina. I get to carry this show, so I’m have to. Mmm. Basically I’m on stage for two and a half hours singing, acting and dancing. So it’s like, it was like such a challenge for me and I was like, I haven’t used my voice and like 10 years, but let’s try it, you know? Yeah. And also when I just got through this injury, I use that as a lot of time to do other things like choreograph and you know, do a few acting. Mmm. Acting jobs on TV shows and things. So it was a good time to make my mind. It was like a forced time to, to do everything you love because I had the time and I love it. Mmm. With my New York city ballet crazy schedule.  

Cool. That is a, I think an excellent segue. I couldn’t have written that myself. I’m talk about being forced into certain things or away from certain things. Um, I would love to talk to you more about  the type of training that you’re used to and how different your life is now that we are in, um, I’m going to use the word lockdown. It’s not technically a lock down, at least here in California. We’re both in California right now. So I guess what I’m asking is what is the importance of training to you? And if you could actually be interesting to hear a day in the life of principal ballerina, how much of that is training, how much of that is performing and what are you doing right now when we don’t have that, or our traditional flow. 

Yeah. So every day we work every day, but Monday just kind of like Broadway schedules. Um, but we’re training all day. It’s not like a Broadway show where one gets up, You’re just performing at night. Mmm. We start class at 10 30. They have class every day for an hour when we’re in season and then they can rehearse us from 11:30 to 6:00 and then they show at 8:00. We do that Monday, Tuesday, Wednesday, Thursday, Friday we had two shows on Saturday. And then on Sunday we have class at 10:30 they can rehearse us It’s for like three hours and then the matinee. So it’s crazy. Yeah. By the time you get to the show, a lot of times you say to yourself, I’m so tired. I literally don’t know what’s going to happen right now. Sometimes that’s when you do your best performances because you don’t have the nerve because you just don’t have the energy for them and you just, you know, so grounded. But yeah, so I’m used to dancing all day long and um, right now in order to, to keep that up, I’ve been taking class every day. You know, my mom has a dance studio, so it’d be really easy for me just to go down there.  But Mmm. You know, I’ve been listening also to what they’re saying, like stay at home and she shut her studio. And so I’ve just been doing classes in my mom’s kitchen and using her kitchen countertop as my bar. And I just thought, you know, I’m going to do this every single day for myself because I have to keep my training up. So I thought, why don’t I open it up and let people take with me on Instagram live. And I did it the first day and I was like, you know, let’s just see if anybody liked it. Then it seems like a really big thing and everybody’s really looking forward to it, I think during the day. So I thought, you know, if I’m going to keep up my training, I might as well let everybody do it with me because I’m sure so many people are missing being in their dance studios.  And it’s hard to get motivated when you’re just doing it by yourself. I mean I just came off of a huge injury where I was off for six months and I couldn’t do anything. And then it took me, you know, like another probably three months to get back and I had to do class every single day and I did it with a teacher because I needed somebody to be motivating me. And so that’s what I thought is like if I do these live classes, at least somebody can. I can be, you know, I could be leading the class and trying to motivate these people to keep moving so they’re not having to do it by themselves. Cause that’s hard.  

It is. It’s so hard. Yeah,  

It’s keeping me accountable too. I feel like because if I were doing it myself maybe it would skip combinations or do it at different times or, and this is like, no, it’s an hour every single day or Monday through Saturdays. 

People show up  for class.  

Yes, people show up. So  

I took, I’ve taken a couple, um, I was there, I think I was there on day one. I’m not sure if I was there.  

You were there day one! 

I was a day one or I have not been in everyday or a more a more often dayer or I think finding some sort of normalcy in a day is valuable. Um, but I love the normalcy. I love the sharing and I love the accountability. All of these things to me are what the internet has always been good at. Sharing information, finding solutions to urgent problems and connecting and we’re really, we’re using it for that.  

Yeah, it’s true.  

Dana: Okay. Tiler and I talked about the silver linings of this Corona virus crisis situation for quite a while, but I wanted to take a second and pop out to reflect on her training regimen and man! Hearing about the day that Tiler goes through. Made me want to up my training regimen. That is for sure and actually reminded me of episode 9 when I spoke with Jason Bonner who says if your show is two hours long then you’re training for three or in Tiler’s case if your show is two hours long, you’re training for the remaining eight hours. Hearing about this honestly made me want to up my game and it reminded me of a saying, you will not rise to the occasion. You will fall to your level of training, so train up everybody train up, now is a perfect time. 

We’re going to jump back and talk a little bit more about training with Tiler, but we’re also going to talk about the injury that put her through the most challenging time of her life. Tiler wasn’t just unable to dance or train. She was unable to execute normal daily tasks like turning her head or lifting her arm for five months.  To get even more backstory about that injury and her road to recovery. I strongly recommend you read the New York times article called Am I more than just a dancer? I will link to it on the website, theDanaWilson.com/podcast under this episode, which is episode 13 but I’m also just Google the New York times and Tiler Peck and you will probably find it. Am I more than just a Dancer? Fabulous read. Okay, let’s jump back in. 

Dana: Okay, so if you went five months, we can definitely do several weeks. My question for you is this, how does one go from five months of not even doing normal range of human motion stuff? To Sugarplum. Was that your first performance back?  

Tiler: Yeah, it was sugarplum because I did everything with every other part of my body that I could work out, so like I couldn’t ride a bicycle because they’ve thought that was too much. 

Dana: This was a neck injury right? 

Yeah, a herniated disc in my C-5-6 which is the neck and mine was so severe that it was touching my spinal cord and we all know that like that’s not good. So I had to wait and I was told I would like never dance or could be paralyzed if I was walking and got slightly pushed. I mean I went through a roundabout. Mmm, very scary time. But I had this one physical therapist who just, I like literally trust my life, who’s the New York city ballet doc therapist. And she just kept saying, I don’t know, I just don’t feel like you need the surgery like they’re saying. And we just kept searching and searching. But she, I met with her every single day and we just did like cranial sacral work and I met with an energy healer. And so we were healing my body kind of from like the inside out, you know, she made me wear my point shoes around the house every single day so that my toes and my feet would be strong. And then we actually started, she made me keep my bottom half working. You know, I’d do relevés me and my point shoes, I do a little moving. I just wouldn’t move my arm or my neck. So yeah. So she was really smart with the way that she brought me back and I really don’t know what I would’ve done without her. And um, Rob, who’s the energy healer. But yeah, it was all about finding what, how I could stay in shape without doing anything to hurt my neck so that it could heal.  

Right. The healing is so, so, so important. Um, what did you learn about yourself during that period while you were know..

Yeah. I mean the energy healer is an hour and a half session that I did every single Wednesday and 45 minutes of that hour is just talking. And so you start to learn a lot about yourself, about where your stresses are in life, where you want to get better. You know, your, your weaknesses, your tendencies and it’s kind of like you begin to heal yourself. Is what he’s there for, to kind of help you heal yourself. And I learned so much about myself. I learned, you know, that I’ve always wanted, I’ve always, and like a very empathetic person where I, I really not a people pleaser, but I really don’t like when anybody’s upset at me or I really feel when somebody’s going through something and kind of what I learned with this is that I had to sort of,  not distance myself but still have those feelings, but realize how much of that I was going to allow to be my energy of the day. You know? Like I could still have those feelings, but at the end of the day I needed to be able to stand up for what I believed in. Somebody you know, um, didn’t like something or got their feelings hurt like I’ve learned now that like I just now tell them like honestly, like, I’m really sorry if that happened that’s so not what I thought this is, you know? And it makes me feel so much better because I’m being true to myself. And also I feel like when you do tell the truth and get it forward, the problem just goes away that much faster. So I think, I think in this whole thing, I just kind of learned how to be a little bit more Mmm. Like real with myself and my own feelings. And I think that in the end that kind of like also helped the healing.  

Oh, okay. Would you say that that might’ve been like the brighter light at the end of the tunnel? Like you maybe went into this injury being injured in another area and then this injury somehow wound up healing both. 

Of course. Actually the first day he always reminds me that when I went in I said, you know, I had a back injury. You know, my body has been pretty good to me for as long as I’ve been dancing. And the only other injury I had was a back thing when I was 18 and I felt like from that injury, what I said in our first meeting was I came back such like more of an artist, like I was more mature, I was able to be more vulnerable. And I said, you know, I’m wondering what this one is going to bring, you know? And Mmm. The other day I said to him, I was like, I really just feel like I’m a different person. Like a better version of myself and I’m able to say what I feel a little bit more and not keep it so bottled up and I just feel like I’m more open and I was always warm, but I feel like I’m able to receive things a little bit easier now.  

Oh, I love this phrase. What will this bring to me? Like even an injury, I think, you know, I, I struggle with patellar tendonitis in my knees and when I have that pain or when I’m going through, even when I’m training, like when I’m doing PT, my thoughts are like, ah, I don’t have good knees. I don’t ha, I’m like, I’m without good knees. Instead of thinking, what will this like, how is this actually an active  experience instead of how is this taking away from something that I think should be fine and working perfectly with what we do? Are you kidding? Of course knees will be wonky and backs will be out in all the things like, Oh man, what we do is unnatural. So it makes sense that we experience unnatural pain at times. And I really love that thought. What, what will this bring me? And I love what it brought you, this sense of self, um,  and this idea that you can still be  empathetic and a person that’s warm and a person that cares without carrying all of that. 

Yeah. And I think I also just um, yeah, I kept worrying like, Oh my gosh, when I come back everybody is going like be judging me and what am I not going to move my neck the same way? And I finally came the conclusion. I was like, I am a different dancer. It’s okay. I’m going to be a different ballerina. But like that doesn’t mean that it’s the wrong kind. Like I’m going to be a different, Tiler and I might have to do you think a little bit differently and be a little bit smarter when it comes to the way I move my neck. But I’m going to enjoy it and love it that much more for being out there again, when they told me I would never be, and at the same time like maybe it’s going to bring a different and better quality to my dancing.  

And do you think it has?  

I do think it has even, it’s funny. It’s like I did full length Swan Lake. I mean literally they told me and I was never going to dance and then we just had this season and I did full length Swan Lake and like I got there and I said, I’m on. I was like, I didn’t just get through it like I was DANCING, I did it, I was moving. But yeah, you know, I did. I did. There were things I couldn’t do. Like I can’t jump every day because it’s bad for the my neck still. So I would really waited to do it till the show to do all of my jumps. That was the first time I did everything and I got through it. But you know, there are things now that I just have to deal with and it’s okay, you know? But yeah, I do think it is. And sometimes I think, Oh, might not look that good. And then I watch a video and I’m like, Oh, I’m moving my body. I’m moving my neck. Not so bad.  

Yes. I love that. We can’t go back. Like you won’t be the Tiler that was Tiler before you hurt your neck or your back, but you might be better. So keep going. You must go through that like cause it, it could truly be better on the other side.  

Yeah. I just kept getting stuck and then I was like, why am I so concerned about that? Like I’m just going to be the different Tiler and I’m going to be happy in that.

Oh, that’s so great. I am definitely happy when I watch this Tiler previous Tiler also was, but watching you dance, especially lately, even just watching you teaching your class, there is a sense of Mmm. Freedom and joy that I’m just like, even in a routine task, like a, uh, you know, rond de jambs we’re just doing the rond de jambs. We’re checking to make sure that all of the all of the things and all the gears and all the nuts and all the bolts are working. But it looks somehow liberating freeing and fun. And it’s incredible to watch. It’s been very fun taking class with you. I would have never for the record, um, walked into a studio in New York and taking class with you. Cause it’s all the things that we hold in our heads, but like who does the thing so, so, so good. Um, and then to put yourself in the room next to them, it can be very, uh, intense.  So there is a lot of, from the comfort of your own home happening right now. And I hope that a lot of people will progress and find, Mmm. A foothold into a world that maybe they might have otherwise been too afraid to step into. Mmm. Yeah. I, I don’t mean to say that I’m afraid of ballet. Um, it’s certainly not been my favorite style. I remember being competition kid crying, actually hot tears down my face during Adagio and I probably still would if I really got into a tough one. 

Isn’t it funny! Adagio has always been my favorite and I, and I think it’s the thing, kind of the worst at. 

No, that makes sense actually to your lean in personality. Like I didn’t just want to become an okay ballerina. That was okay. Taking class with ballerinas. No, I’m going to be the principal ballerina from injuries dancing, full swan lakes.

You know, it’s been so great with these classes. It’s like, I think because it’s like at a certain time every day, you know, that people really build in their lives. I wouldn’t get to teach half of these people, if I were going around studios or something, I would never reach the people that I’m able to. Yeah. I think yesterday like, or 15,000 people were taking class.  

Its amazing! Yeah. Any knowledge that I have passed it on to them and the one hour a day at 10, you know, Pacific standard time or whatever. That’s so exciting. 

Right. There’s not, uh, uh, uh, a classroom big enough to have that ballet class. The only a place that we could do that is on the internet is incredible. I’m so glad that we’re using it for the for good. Um, but that does beg the question. Um, is there a downside of this social media training stuff? 

I do think and what I’ve noticed, cause I’m asking people to like hashtag turnout Tyler’s that I can see, see the videos because I don’t like the one thing I don’t like is not being able to see the people that I’m teaching, because, and it was really good for me because now they’re all sending the video, then I’ll like send them back corrections. But I also seen, um, the variety of people taking the class. So then I realized three days into like, I need to be making a beginner combination and an advanced one for every single um, combination because I don’t want the little ones that aren’t up to the advanced level to be trying to do something that their bodies are not ready for. You know? And so that’s, that’s the one thing if you were like super hands on, right? Yeah. What the, what your students are ready or not ready for throwing a class out that you would want to take and it might not be a great thing for everybody.  Yeah. That’s, yeah. So that’s why I’m like, make sure and send your videos. And then like today, a little girl sent it and I was like, that’s not a high enough passe. And then she’s in another video or photo back then I was like, that’s right. You know, because I do think it’s important that they’re not just taking these classes and doing their technique wrong, you know, so, so that’s the one downside I think. 

Cool. I appreciate that. I love that. Um, okay. Speaking of downsides, um, what do you consider to be downtime? Like is this downtime, are you working? What’s your attitude about downtime? Do you have it between acting, choreographing, a clothing line, being a ballerina? Like does that exist for you or what’s your, what’s your, what are your thoughts around downtime? 

Okay. Anybody who knows me really well would probably laugh because they’re like, you don’t know how to have downtime, but I will tell you, I do love sitting in front of the TV and watching movies. And last night my family, we all watch together, dirty dancing, all six feet apart and it was just something I grew up watching and it was so amazing and my dad got so excited. My dad was like,  I think we should all pick our favorite movie. He was like, cool, I want on the phone and he went into the other room and he brought back like ghost, sister act and something else. I was like, dad, yes. I could just tell. This is the first time I’ve been dancing I guess professionally since I was like six. I think that’s when I had my first commercial and honestly I’ve been home now I think for eight days and it’s the first time I’ve ever been with my family. Like today, we went on our first walk together and I said, as we were walking, I was like, I’m pretty sure this is the first walk we’ve ever taken as a family. And they were like, for sure, because when I was younger, my grandmother drove me three hours to take class at Studio C with Dee and Tina and Dennis Casberry three hours there and hours back from age. Um, I think like seven to 11. So this is the most family time I’ve ever had. And so that is what I’m really enjoying and I’m trying to be like, okay, I need to get off the phone now and really just enjoy this time that I have because when would I be able to be here that much? 

Right. This might be the other slight downside to the social streaming class thing is that if you have that many students in class and you’re encouraging the discourse right, the back and forth, which I do. Yeah, I think that’s very smart. Um, you could spend 24 hours a day giving feedback to all of those people in class and you wind up literally stuck to this thing. 

Yeah. I’m like, how am I busier now than normal? And it’s classes and interviews. Yeah, you know, but I said, I know the weekends, like I’m definitely not going to be on the phone and I really, really want to really just enjoy my time with my family at night. Okay, fine. I’ll let you go.  

Um, okay. Yes, and I so agree. I think this is a very valuable time, not just for self-work, but for those of us that are uh, lucky enough to be in it with the family, with the people actually like hands on in person stuff. Dad said to me, can we play monopoly? And I was like, you said yes three times in a row. Dad, um, 

Ps has great taste in movies, dad, I really love that. I think this will be the birth of great new rituals and well, we’ll remember things about this time that are truly special. I’m so glad about that. Definitely. All right. Well I do want you to get back to family time. Thank you so much for sharing this time with me. I learned a lot and smiled constantly.  

Oh, I’ll see you. Hopefully soon. Not sure how summer in summer intensives are gonna work out. Um, we might have a long, Mmm. A long haul ahead of us, but perhaps a reschedule or a same schedule for your event this summer. Do you want to talk about it a little bit? 

It’s my first summer course and basically I just had this idea because I love teaching. Obviously you can tell, but I, especially if for ballet I feel like the ballerinas don’t always get a range of movement. And I think that is what it really helped me be a different kind of a ballerina. And so I kind of wanted to be how I was brought up and I wanted these dancers to get that type of training. I want them to have hip hop or funk or whatevr you want to call it. And I want him to be able have jazz. And what’s funny is like, honestly, the teachers that are teaching this intercourse are either people I grew up dancing with like you or the teachers that taught me. So I’m like, it really is like, um, like Marguerite and Alex and people. I used to take classes from that I love and Mmm. So hopefully it will, all of this will pass and if not, we’ll figure out something. I don’t know. Maybe it will do zoom classes or something, but  

Hey, we will get creative. That is what this time calls for lots of creativity.  All right, Tiler thank you so much again. I will talk to you very soon.  

Okay, bye.  

Dana: Oh right. Talk about a myth. Oh, a meaning wind set. Talk about a meaning wind set. Everybody talk about a winning mindset rather. Jeez. Winning on winning, on winning. I really love the way that Tiler thinks about emerging different, not wrong or not worse from her injury. It honestly reminds me of episode eight and talking about doing it bright instead of doing it right. Finding the value in doing it your way and that whatever your way is is the best way for you to do it. I especially love how Tiler reframed her thoughts around the injury from being the victim to being the beneficiary. She literally went from thinking, why is this happening to me? Or why is this happening at all to how is this happening for me? What could this bring to me? And that’s something I think we could all use a little practice working on right now.  So let’s get to work. Grab a pen, grab a piece of paper and think of a topic, a circumstance. Maybe it’s the Corona virus, maybe it’s lock-down, maybe it’s training at home. Now dump all of your thoughts about that topic onto the page. But first split the page, hot dog style. On the left, we’re going to keep all of our negative, dark, nasty, big, ugly thoughts. We’ll call it big ugly column. And then on the right we’ll put all the positive captain brightside, we’ll call it the bright and beauty column. Now for every negative thought, I want you to write two positive ones. Since our brains are wired to care about disease and danger to keep us alive, this might be challenging. So I’ll help you by giving a couple examples. 

Big, ugly thought. People are dying. This is true. Bright beauty thought. People are coming together. People are caring for each other. People are fighting to keep each other alive.  

Let’s take another big ugly thought. Um, I could get sick. I could die. Bright beauty thought, let’s go with the obvious one. You could also not get sick. You could live to be a hundred. It’s a possibility. Uh, let’s do one more big, ugly thought. Um, I’m going to lose my job and run out of money. Bright beauty thought I cannot lose my talent and I will not lose my training. Prepared with those things and my bright mind, I can make more money. Notice I’m not encouraging you to delete or resist big uglies. They are worthy of your attention and they are valid, especially right now. I guess I’m simply encouraging you to spend equal air time on the bright beauties, the winning thoughts, if you will. I will leave you with that for today, and also I will leave you with my new tagline. Stay safe, stay soapy and stay funky. 

Thought you were done. No. Now I’m here to remind you that all of the important people, places and things mentioned in this episode can be found on my website theDanawilson.com/podcast finally, and most importantly now you have a way to become a words that move me member, so kickball, change over to patreon.com/WTMMpodcast to learn more and join. All right, everybody now i’m really done. Thanks so much for listening. I’ll talk to you soon. 

BONUS EPISODE: Responding to Emergencies

BONUS EPISODE: Responding to Emergencies

 
 
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I don’t believe in superstitions or Friday the 13th being an unlucky day… but I do believe we are seeing some rather unfortunate times right now. You may agree. So, I am recording this podcast outside of my regular weekly schedule in response to current events ( yes, Covid-19, the the cancelation of work, and school, the waves the outbreak is causing, but also the stock market crash, The Harvey Weinstein sentence, and the rain in LA that has made an appearance in the ceiling, walls, and floor of my second bedroom. My hope is that this episode will be a friend by your side, even if you’re sitting alone, and a tool for you in troubling times. Thanks for listening!