Ep. #60 Clean Up, Read Up, Open Up with Terry Santiel and Co-host Ava Flav

Words That Move Me with Dana Wilson
Ep. #60 Clean Up, Read Up, Open Up with Terry Santiel and Co-host Ava Flav
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THIS is history right here; past, present, and future.  I am honored to be co-hosting this episode with my dear friend and long time (tour time) bookend, Ava Bernstine Mitchell (aka Ava Flav).  Ava is a journalist, world renowned dancer, choreographer and educator, podcast host and much more!  In this episode, Ava and I go down memory lane AND look to bright and wealthy futures with the one and only Terry Santiel.  We all met back in 2007 when Terry was playing percussion and Ava and I were dancing on JT’s Future Sex Love Show Tour!   This episode peeks behind the curtain of the recording and touring industries, and will leave you inspired AND in stitches.  So, get ready for giggles and some very teachable lessons about legendary hits, building your financial foundation,  and keeping it clean with Terry Santiel and Ava Bernstine.

Quick Links:

Ava Flav: https://www.instagram.com/avaflav1/

Terry’s email: terralzzzz@aol.com

The Dance Room Podcast with Ava & Heather: https://podcasts.apple.com/us/podcast/the-dance-room/id1470544579

Bagpipe Daily video: https://www.instagram.com/p/malL3wxnAU/

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: Ladies and gentlemen. Hello, Hello. My name is Dana and this 

Ava: Is Ava Flav here with you.  

Dana: Ava will be joining me as co-host on this episode and I could not be more thrilled. Um, I’m jazzed that you’re here and I’m really excited for this episode because today will be, we will be talking to our friend, Mr. Terry Santiel. 

Ava: Yes. 

I mean, we’ll let him do the speaking the introduce of himself, but, uh, we met Terry back in 2007 when we toured with JT on the future sex love show tour. Terry plays percussion and Terry is exceptional, and we’re going to get to that. But first, you know how we do on the podcast, and I think this is important, All my guests introduce themselves and maybe it’d be cool for you for you to do a little self intro real quick. 

Cool, cool. Well, my name is Ava Bernstein Mitchell. I am a dancer choreographer teacher worked with lots of artists, toured with many artists, Justin Timberlake, Britney Spears. I am heavy in Dance advocacy. I am on the board at SAG AFTRA and on dancers Alliance and fighting a lot for dancers rights and what not and I just all around just loved dance.  

And you are also a podcast host, and I am borrowing you for this episode. Tell us a bit about your podcast.  

Oh, my podcasts called the dance room. It is a podcast that I co-host with Heather Morris and we basically talk about dance shows and have wonderful guests on there. But at the moment it is on a hiatus, but you can always go back and listen to these episodes. We have some great guests and go over some really cool stuff. So yeah, The Dance Room,  

Your library is good. I went on a, I did a road trip once I was doing a long drive and that’s just what I listened to top to bottom the whole thing the two of you together. Hi, Heather, love you. Okay. But first Ava, you know the deal we’re doing wins and I’m going to let you kick it off today. What are you celebrating today?  

It’s might sound not like a win to some people, but it’s a win because I’ve been teaching three-year-olds, which is a struggle. I’m not going to lie. Three-year-old is tough. I’m five and up and recently that class just got canceled and I’m so excited. It’s a win for me. So yes.  

And do you know what? I think that might be a win for them as well. You know, they have this time freed up now they can be yes.  

Now they can play with each other. That’s all they wanted to do. They want us to play with each other and I’m happy for that. You didn’t need to dance. 

Congratulations. Thank you. I’m glad that I’m glad that you’re winning in that way is it’s important. Cancellations are not always a loss. 

No, not always a loss. 

Okay, great. I love that. Um, this week I am celebrating that I’ve decided I can’t believe it took me so long to decide to do this, but I’ve decided to choose a donation organization to send all the proceeds from my podcast shop. So for the next 30 days, all proceeds from my Words that Move Me online store are going directly to Chloe and Maude Arnold, 

My sister, friends. Yay.

I, I love that too. And I, I love that. I love what they do. I love how they lead. Um, and I’m really thrilled to be supporting them. Okay. Um, now it’s your turn. What is going well in your world? 

Phenomenal. Congratulations. Maybe, maybe without any further ado we jump to, how do you feel about that? 

I think we shall let’s do it. 

Enjoy everybody. 

Dana: I think we’re doing it. I think this is it.  

Ava: Yes. Well hello Terry Santiel, yeah. 

Terry: Hey Ava. And now I’m saying hi, Dana.  

Dana: Hi Terry. Welcome to the podcast, my friend. This is amazing. I’m jazzed about this. The first thing we’ll ask you to do, unfortunately, because this is a challenge is to introduce yourself. What would you like us to know about you?  

Somebody who’s never met you? 

Terry: Well, my name is Terry Santiel. Terrell Santiel is my legal name and I’m born and raised in Los Angeles, California. Um, I went to school all over this city. I am, I guess I’m a rolling stone of Los Angeles. You know, where my mom and dad were when I was growing up, my mom and dad were separated. So I moved a lot. That’s why I sent him a rolling stone of Angeles. Cause I’ve lived everywhere from the Valley, to Compton to Watts, to South central and now I’m here near Hollywood. So anyway,  

Amazing. I love it here. That you’re, uh, a native Ava is as well.  

Yeah, I think I know that about Ava. Yes.  

Isn’t it odd that things that we’ve learned about each other and the things that we remember and the things that we, that we, don’t.  Ava and I were just talking the other day about how our memories are so selective. Like I remember the oddest things about being on tour and then full-blown chapters that are just, I have zero recollection.  

I do remember one thing about you on tour when you were watching the tour bus bus to carwash. 

That’s amazing.  

Yes! We washed the bus! Terry thank you for reminding me. And actually that is, is one of the things that I would like to talk about on this, but, but maybe we’ll get there oddly enough. I talk about car washes on the podcast a lot. Not because they’re interesting, but because I live across the street from one,

Literally across the street 

I hear it often. I don’t think, I don’t think we can hear it today. I’m in the booth as it were. Um, but, but let’s, uh, let’s go pre carwash for a second. Some people listening might not even know what we mean by that, but we’ll get there.  

Ava: I would love to know where your lover percussions came from. 

Well, that’s a very interesting question. My, um, family grew up basically playing percussion, my uncles, my cousins, my brothers, everybody. Sort of kind of played, but with me they sorta kinda like wouldn’t let me play. They told me, I didn’t know. You know? And then they set out to be a challenge for me to learn. And then I learned, and I got better than everybody. I hate to say that, but better. I got a little bit more skilled than the rest of them. And my career started from that point. But man, I can remember my uncle junior. He would like, we would play on the bottom of oatmeal boxes, the Quaker oatmeal boxes at like three years old, four years old, just didn’t know we were doing just, it was fun and it was noise cause they had to real drums. So yeah, it started at a very young age. I was like 13 though  

Okay. So it started young, but when did it take off, like when did you start getting paid to do this? How did that happen?  

Started getting paid at a really early age. I, um, well first, uh, before I guess I must’ve been 16 and my mother used to sign for me to be able to play in clubs, the local bands on the waiver. So we could play because they sold alcohol in these places and, you know, go in and play with some of the bands. And then I ended up getting my own, you know, being in a band that I was involved in. At the time the band was called Total concept Unlimited 

That’s a good name

TCU. 

I really loved that name.  Total concept, unlimited LLC incorporated unlimited.  

That’s a point. Maybe I’ll start LLC with that TLC total.  

Come on. Okay. So, so we get a tiny picture of the early days and then Rose Royce happened. So you’re one of the founding members of the group Rose Royce with that mega hit carwash, uh, which I will not sing because although I did do my vocal warmups today, the voice of the little subpar, there it is. Don’t let it stop please. Uh, that crack crack, crack, crack, Terry that’s you. And my question about that track is as you were writing that song, as you came up with that mega catchy super clap, did you know that that was going to be a hit, like as you were making it, did you know?  

No. When you know, when you’re doing these things, when they’re, when they’re happening and they’re in their infancy, you don’t know what’s going to happen with these songs. And that, by the way, that song was written by Norman Whitfield, if you guys Google Norman Whitfield, you’ll see his catalog is pretty extensive and like that. So anyway, but yeah, but those are my hands on that hand clap that you hear all the time. 

That is remarkable. I just think thats so cool

Let me say this about Rose Royce. Since we went there, Total Concept Unlimited became Rose Royce. We changed the name to Rose Royce.  

Oh see, now I’m conflicted because I like both names. Uh, and when did, what brought about the change?  

Well, we met Norman Whitfield, the producer, and we ended up getting a girl in the group and we decided to change the name to Rose Royce. So a lot of people got it mixed up with Rolls Royce, the car, right. It’s actually Rose Royce like the flower. 

Like the flower. So that’s an important distinction. Yes. So I did a little, a little digging and I know that you were one of the, uh, early incorporators of using electronic instruments. Like you would use an electronic drum pad. I would love to hear a little bit about the differences making music then versus making music now.  

Okay. Making music now. Well, let’s start with making music now. Making music now is a little easier with all of the computers and all of the easy ways of making music. Now you could play, say a shaker for four bars, and then you could copy it and paste it, make it go throughout the whole song and cut it and chop it back in the day we had to physically play all of the parts. Whether you said play as shaker as an example, whether you sit there and play shaker 10 times on a five minute song, you know, your wrist will be on fire because the weight it gets heavy, you know, and holding your arm in a certain position for so long and not trying to mess up a tempo or anything like that. And then a lot of times it wasn’t your fault that you had to do it, you know, as many times as you’re going to doing it because we recorded everything together with multiple people. So one person could make a mistake that starts the whole thing over. So that’s how that works out. Yeah. Even back when we did carwash, when we did carwash, there were, um, before we got it all the way, right. I think there were 47 tapes. So that song had to be played that many times with a whole band together. A whole group of people together from top to bottom. Yeah. Well, if we even got to the bottom, right, right.  

Top to Middle. Yeah. Wow. Okay. This is, that’s giving me flashbacks of, I think the same is true for dance in video, especially. That’s flashbacks to the opening scene of Lala land, which is this big ensemble highway moment. And it’s a oner and to get all the way through, without everybody messing up, like camera, props that yeah.  

So speaking a la la land, the percussionist that was on the back of the truck is my cousin. 

Get out of town! Yeah.  So much fun in that moment, we got Liz Imperio dancing in front of that truck. That’s so cool. The entertainment world is the size of a tiny acorn. At very least it could fit into the back of a truck. Um, okay. So that’s one of the key differences is like the duration or the actual recording process. Having to be a steady all the way through. I’m sure that damn near everything else has changed as well. But maybe this is the better question. What has stayed the same?  

What has stayed the same? 

Um, nothing.

My, my drum set stayed the same  

Because you’ve got it tuned in. You’ve got that.  

That set up is nice. 

Well, you know, the drums I used for my real recording sessions. I used the same drum set I use since they, the first drums I ever owned and the original Mahogany Congas, and they’re all everybody’s stuff. I mean, I played on a lot of records, but they’re from carwash back in the day, you know,  

Will you name drop a little bit for us. Yeah. 

Tell us you’ve, you’ve played on a lot of records, but don’t, don’t be shy. I mean some Motown classics, the Temptations, Smokey Robbinson.  

Yes. Yes. Actually the temptations were, those were temptations was the first group I’ve ever recorded with. And interesting about that story is the Temptations Runaway child, running wild song was the first song I learned how to play on congas, you know, like very young.  

And then, and then you found yourself working for them.  

Yeah. It was the first thing that I did professionally you recording wise. So did the 1990 album with the Temptations. Yeah, it was, it was amazing experience back then, but the same drums are used on like all of that stuff from Marvin Gaye to Smokie. Can you everybody’s yeah. Even recordings with Berry Gordy over there. I did a lot of Mo-Town stuff. It was amazing. I had a, I had a great time over at man.  

So funky that music. Oh, but you also, you, I don’t want to, um, pigeon hole you or, or pin you as being this old school guy. Um, we obviously know you from touring with JT, but you play for Janet Jackson, um, and, and, uh, a host of others. So your, your musical talents and sensibilities are not, I couldn’t put a date on them. 

You transcend generations 

So how, how is it that you do that?  

I just try to stay current and I don’t feel like I know everything or think that I know everything I’m always progressing and learning, you know? And I think that’s what keeps me current, you know? Um, now, like right now I’m like, uh, I’ve sorta kinda like figured out the whole trap thing and  

Yes, what is it? Please explain it to me.  

Well, what I’m trying to do now is a corporate rate, low am, percussion stuff to match the stuff that goes on within those rhythms and groups. That trap is all about, you know, it’s and the whole trap thing. It’s like, it’s fascinating to me because it’s all low end, and A lot of people can’t hear that frequency, but it moves them. You know what I mean? That’s what I mean about  

Figuring it out on a Sonic level, you’re figuring out the trends and how to do it and how to make complimenting things, right?  

Yeah. Yeah. Like I can do it. And I know how I’m just trying to figure out how to incorporate my instrument in it and make it like, make it crazy like I’m in that process now. How about that?  

Cool. I can’t wait to hear what comes out of it. I know  

This, this is the reason why you stand the test of time is because you, you keep current and you’re always learning, like you said, and that is fascinating to see and a good lesson to take away. Honestly,  

I agree absolutely 

The thing is too, is just to stay humble. That’s the, that’s the main thing. Stay humble and try to not, I guess, try not to feel like you’re more than you are. That’s the best, better way, uh, way of putting it. But then when I say that, there’s, I see a lot of people all the time on a lot of tours and throughout my whole career, they think they’re as important as the artist. And you’re not, you’re there to compliment the artists, you know what I mean? And do what you do. But I see a lot of people, you know, over the years just doing things that just in my mind make absolutely no sense at all, you know, with the life. Because when you go on through life, you’ve got to, you’ve got to set up your future, you know, and a lot of people don’t do that. They live for now. They want to go to all them clubs. They want to be a part of the, I call it the hype crowd. They want to be, you know, they’re not artists, they’re just a part of something, you know? So,  

You know, that’s, that’s a lovely segue. We had planned to talk about touring. I think one of the areas where musicians and dancers overlap almost in an identical type of way is an a tour scenario. A dancers’ experience of tour is very similar to a musician’s experience of tour. You’re away from your loved ones. You’re unnaturally like living, eating, sleeping, you know, breathing, working with your, you know, uh, cohorts colleagues. Um, and I think that’s really unnatural. And I think you do it very, very well. How many, how many tours have you been on Terry? Is that even a number you can count?  

You know, I’ve been torn since forever.  

Did Terry did Jesus’s Birthday Tour.  

I’ve been on several tours, but I’ve not been on a lot of tours because I will pick and choose who I like to work with. And a lot of them have worked for, you know, I’ve worked with them for a long period of time, You know? And you could take JT as an example, you know, I’ve been working with JT since 2002, it’s been 20 years. It doesn’t even seem like that long. And in the same, same thing, you know, with like Janet, I worked with her for at least, at least 10 years, you know, and Mary J Blige, I worked for her for a long time. I mean, you know, Barry White, I was part of the whole Love Unlimited Orchestra. And, you know, I worked in that for a long time. You know, I haven’t been on tour with a lot of different people. I’ve been on tour a long time with different people.  

Right. You can be on many tours with a few of the same people. Right. You mentioned, you mentioned staying out of the hype, um, is that one of the secrets to touring? Well, to like not combusting or going broke? I mean, trust me a tour is a great way to make money, but it’s also a great way to spend it. So what are the secrets

If you’re caught up in the hype? You know what I mean? I, um, I try to do my thing. I tried to study and learn a lot of different things and then I try to stay out of harm’s way. And what I mean by that is you could see people doing things that, you know, are going to get them fired. So I sorta kind of stay out of the way, you know, like, okay, I see that I know where that’s going to lead because I’ve seen it so many times I’ll move, I’ll move on. I’ll go another direction. So yeah,  

You learn from people’s mistakes, just as much as you can learn from their successes. I learned that on tour as well.  

And then what are you going to, I mean, I, I learned, I made when I was very young and we were talking once Lionel Richie and myself, and he was telling me one of his secrets to success is not to be, not to be too familiar with everybody, you know? And I sort of kind of live by that. And you guys know that too. Everybody knows me, but you don’t know a whole lot about me. You know what I mean? I just try not to stay too familiar because it, it sort of keeps you out of harm’s way. You know, people have a lot to say about you, then it could, it could go either way, it could go negative or positive. Right. We’ll just sorta kind of stay out of the way.  

Well, speaking of knowing about you, I remember on tour that you were a collector of Air Force Ones, and I wanted to know, do you still have a love for the Air Force One? And how many do you have?  

No, I used to do that and I used to, like I said, I was caught up. 

If there’s something to get caught up in, I’d say it could be worse. Yeah.  

Well, you know, it was like one of those six now look at it. I was like, Oh, that’s a waste of money. But there’s like this kid that lives down in San Diego and he sells and collects like sneakers. So I ended up giving him a bunch of that stuff just so he could make some money. You know, he’s a little entrepreneur, I think it’s like 12 or 13 years old. His name is Eric, you know, and love this. Like, go make some money because a lot of that stuff I was buying and collecting back then and Ava I’m never get rewarded ****. I know there was a thing. And I was like, Oh, I got all of this stuff. So I stopped minimalizing my life. You know what I mean? And just getting, I have no clutter in my house, you know what I mean? It’s just, if I don’t use it, it’s gone. If I don’t wear it in a year, it’s gone. I have no problem taking it to the shelter and giving it to somebody that’s going to use it. You know what I mean? I don’t throw anything like that in the trash. I’m not going to try to go on eBay and put the stuff on sale. You know what I mean?  

Terry, you are so patched in to the questions that I wanted to ask you today because I would love to talk to you about money. Um, I remember being on tour and you being the voice of reason so often, uh, like, you know, you’re, you’re being smart out here on the road, save your money. You knew I was, uh, I think Ava and I were both in the same situation. We got rid of our, um, apartments when we went on tour. So we had almost zero expenses and you encouraged us both buy a house, get yourself some investment properties. Um, you were really were a voice of financial reason to me at a very early age. And I would love for you to just shed a little wisdom on that. Um, because most of my listeners are young artists and I simply don’t believe that we need to be starving. I believe we can be thriving and I believe we can live under roofs that we own. Um, and I know you believe that too. You could you talk a little bit about, uh, your thoughts about money, how you manage it and how you’ve grown your wealth.  

I think that everybody should think, think for the future, you know what I mean? Where are you going to be in 10 years? Where do you want to be in 10 years and establish yourself. Uh, when I say establish yourself, I mean, set up your future, set up your foundation, which I believe is the most important thing, is where you live. You know what I mean? And if you could get yourself in a position where you could own something, rather than paying rent, you’re in a better position. You know, I’ve got, you know, I mean, I’ve, you know, but I’ve got, you know, different income properties, but I always encourage people who live under my roofs, you know, to buy something. I will not hold somebody to a lease that I know I can hold them to if I wanted to. If they’re like, wow, I found this out like, Oh, cool, I’ll let you go do your thing. I’m happy for you. You know? And how, you know, find somebody else to occupy that space because it is a business. And for me, when you’re doing something like that, even if you dove into something like I dove into, like with real estate, you have to take it very seriously and not look at it. And you have to look at it as a business, you know, get all kinds of equity and capital and money and taxes. A lot of things come along with the home ownership thing. So, but you need to set up your life and you need to build your future and you shouldn’t be playing around with it because people who played around with it found out how serious it was. They when this whole COVID hit it’s like, now you can’t work. Now you getting kicked out of your apartments, you know, and there’s all of these other things come into play as like, wow, what am I going to do for money? You know, what is it? Unemployment checks. And I can imagine it’s not a good feeling. You know what I mean? And it’s not a good thing. So I just think that we all have to be conscious of what we’re going to do with our lives going forward.  

This is, this is perfect. I want to, I want to ask a question. I’m sorry to interrupt. I think one of the notions that I myself, I had this thought and I’m sure a lot of my peers in similar situations thought, well, if I have to focus on a building, I won’t be able to focus on my craft. Or if I buy a, if, if I make my home, my business or this income property, my business it’ll take me away from the thing that I really love. And I love that you’re the person saying this because you are a living breathing example that that doesn’t have to be the case. I mean, surely could you get distracted? Absolutely. There’s enough. There’s enough enough, you know, uh, things of being a homeowner to distract you for a very long time, but you have been more working, more touring, more learning, more building than anybody I know. And you’re still doing all those other things on the sides. It’s possible to do both without losing focus on one or the other.  

You set your foundation. 

POP OUT:

Okay my friends, DW here popping out with a quickness, because we’re getting a little technical here with some financial jargon. Talking about residual payment structures and so on and so on. And it dawned on me, that we have never really gone deep on money on the podcast. So, I am deciding to dedicate 4 of the 5 Mondays in March to money, March. Were we will get into all things Dancer contracts, choreographer contracts, money mindset and the difference between math and drama. So buckle up and get ready for that, but in the mean time lets jump back in with Ava and Terry. 

**

But go ahead. What was your question?  

Yeah. Um, so Ava and I, and a lot of dancers in our, our field. It’s, it’s not uncommon to work on a two day shoot for a commercial. And the, the amount you make for those two days of work is not, not a ton of money, but the residual income you make from that point that’s, that’s, that’s starting to look, that’s a real number, right? So you’re you play a, you’re a session player as well. Am I calling that the right thing?  

Yes, it, yeah. And I try to write it. Yeah. Session Artist.  

And how does that look for you? Do you feel like that’s a better use of your time and talent?  

Let me tell you, let me tell you something. Like I said, I’ve run everything through the union and I do a lot of, and have done a lot of recording sessions like throughout the year. So this was just a story. I’ll just throw it out there. My neighbor down the street picks up my mail when I’m on the road, things that are important, she FedEx them to me. Like I said, as part of the business, you have FedEx numbers and all these things. So things that get to you the next day, you have to have these things set up. She told me once, if you’re like, dude, I have never seen anybody get as many checks as you in my life. 

That residual income is real. 

You know, and I’m not saying that in a braggadocious kind of way or anything like that, it’s just, when you set yourself up a certain way, when you’re young, everything has to be processed through you because these companies don’t want to lose their livelihood to get sued or anything like that. So you just have to do it, you know, and it may seem like at the time, I, well, I’m spending money on this, but it pays off. It really does. It pays off. I get calls from people. Sometimes I do just the song you played in this, on this. I heard it in this new movie. And for me, since I’m in the union, it’s just a matter of calling SAG AFTRA or the musician union.And saying, I was in this movie and their attorneys go after the money, their incentive is they get paid. They get their little portion of whatever they collect from me. So, man, I found, I found tens of thousands of dollars  

Because you’re smart again because you treat it like a business and you know how to go after it and when to go after it and where to go to get it. And I think there’s not much help in like in a — man, My husband and I were just talking about this the other night, a lot of big labels put tons of money into copyright claims. You’re not allowed to use this song on Instagram. You’re not allowed to use that song in this. And there’s a lot of money tied up in copyright. And it’s only any good if somebody actually makes a claim, like it’s only, you’re only protected if you’re looking out for yourself. So it’s, as you, as much as it is about having a union for protection, it doesn’t mean that the ball is not, is totally not in your court. You do still have responsibility to keep an eye in an ear out for your work that might be out in the world.  

And a lot of times people won’t tell you, they use it. You just have to sorta kind of stumble upon it. The union doesn’t go out and try to track that stuff for you. You know what I mean? So a lot of times you know, you rely on your friends and loved ones and people, you know, that you’ve made contacts with. And sometimes it could be a music exec somewhere in, Hey, you know, and they will help you out. I heard this and that, you know, and they will turn your onto where your stuff is being played or used without your consent. That’s huge. Yeah. So that’s sorta kind of one of those things you have to stay on top of you. Can’t just slide and go to the club.  

So, um, I remember Ava and I got involved more heavily with SAG-AFTRA around the same time. And for me, that was after the future sex left show tour, I was a union member before the tour and the tour was over, lasted over a year. I didn’t do any union gigs during that time. And I lost my membership. I had to rejoin after the fact. And I remember being pissed about having to rejoin because that, you know, as I mentioned before, the, the, um, to become a member is not cheap. And so I’m doing it twice. I was frustrated. So I decided with my arms folded that I was going to go into that union building and find out what they’re all about. So I went to one of these, you know, one of their member — member, only meetings. And I just fell in love with so many of the people that work there. I started seeing the member, or I started seeing the union as a membership. And that’s, and that’s the truth. The union is made up of its members. It’s only as good as we are.  

Real people, yes!  

So it became less a them versus us and more of a we. And that really changed the scope for me, um, changed my relationship and it helped me do more for the union and in return, I’m getting so much out of it. Yeah. It’s awesome.  

Yeah. I’ve got these numbers down. I know who to call now. Question my phone. Yes. Yes. 

I’ve got numbers like that too. So yes. Yeah, yeah. And they’re really helpful, man. They’ll stick there. They’ll stick their neck out for you and they will follow through. They won’t just say, okay. Yeah, we’ll get to that. Then you have to call them two weeks later. No, they’re calling you back the next day.  

I will say I’ve had both. I’ve had, I’ve had both experiences where if you stay on, then they stay on. If you stay on and drop off the face of the earth and stop returning your emails then,  

But the people you have that you know, now that you could contact, they get right back with you.  

Oh, for sure. After those relationships have been made 100%,  

The know when Dana’s calling it’s business,  

Um, okay. Terry, this is brilliant. Thank you so much for offering, you know, my husband calls you “The Real Deal Terry Santiel” Yeah.  

That came from Marty. 

Daniel’s still, he might, he might hate me for saying this. He still credits you for introducing him to the single product that brought, I don’t, I don’t know if I can say the most comfort or joy in his life, but, and by the way, my husband is not a person who prioritizes comfort. He’s fine with not being comfortable, but you introduced him to this little mechanical, uh, tweezer thing, like hair, a hair, trimmer.

Yes the nose trimmer! Let me tell you about those nose trimmers. I’ve seen people, man. And it’s like, if you don’t keep those nose hairs trimmed,

Its all you’re going to stare at 

They catch things and it’s, and it’s crazy because if you’re having a conversation with somebody that got something in their nose your focus is not on the conversation.  

Its snot 

Should I say something? Should I not? Is it going to move? You’re distracted.  

It’s a crazy, it’s a crazy thing, you know? And then, and then that could be sensitive. You know what I mean? It’s the type of person you would say that to. How are they? There’s all kinds of things that led me to think about another crazy story. I was in a, I was presenting some songs to a music exec once this was many years ago. And I’m not going to say any names, we’re going to start with not saying any names. So I’m in the office, they’re playing the song. It’s a woman. Right. And she’s in a very high power position. We’re in her little small office in this building. I’m being so political.  

I see, I see where this, and I don’t like it. 

She farted, but she..

I did not, I did not expect that.

But it wasn’t silent giant. You know, it was one of those. It wasn’t like I would rather, she did a regular fart.  

Silent, giant hahaha  

So the rooms filled up amazing air. Right.  

How do you know this person? Is it only the two of you? How do you know it was her?  

Well for us in this office. There’s so now in my head, I’m going okay. Is she checking me to see what type of person I am? Am I going to say anything  

Its a part of the audition.  

Was it an accident? And maybe I should. So all of this is going through my head. So I’m just, Oh my gosh, I’m stuck. You know, I don’t know. Okay. Well, how do you deal with this? 

What did you do? 

What I ended up doing was saying something about it. So, you know, when the song finished playing, I was like, okay, are we address the elephant in the room? Those are the words. And that’s it.  

Incredible 

Well, that’s a great, that’s a good one. The elephant in the room.  

I didn’t know what to do. I mean, I really didn’t know. And by me saying something was probably the worst thing because she took it really personally and she acted like nothing was wrong and nothing happened. And that’s how that ended. It couldn’t be any worse.  

Terry that is not the story I was expecting This Terry, this might be the first official fart story on the podcast.  

My, well, it happened,  

You know what I like, you know, what I like though about that is that you gave the opportunity for her to ignore it. You said, are we going to address the elephant in the room? Instead of did you fart? Like you gave a little grace, you give a little grace. And, uh, and then she took it and ran.  

And that was how that ended. And I was on the project, you know, and it was a pretty big project. It was a movie thing. So,

Oh God, I’d still say you’re winning. So it’s okay. You’re winning. It’s a great story to have.  

Um, it’s it. That is a great story. And I’m this close to letting us end on on that story. Okay. I do have one more question. You you’ve been around for a long time. You’ve done a lot of incredible things. You’ve, you’ve not only built a foundation, but uh, a fully sustaining thing. It’s not just the foundation. It’s, uh, it’s the whole body. It’s all of it. And I’m wondering if there’s anything that you haven’t done that you want to do, like a, a project that you’re looking forward to, or a prediction for music that might happen in the future.  

Um, you know, I’m open for anything that may come my way. You know what I mean? As far as helping other people out or doing things like that, I’m at the point now where I want to pay forward or can pay it forward, you know, and I’m into talking to people and just, if I can sweat a little bit of knowledge or insight on, on something for somebody, those are the things that are important, you know? Um, yeah. You know, I have money coming in all the time, so that’s not an issue. So you don’t have to about. How you’re gonna, yeah. You don’t have to worry about the hustle. So you just, you help you help everybody until the next thing comes along. And then you go move on that. I’m never going to stop touring and making money or doing anything like that. I’m going to do this till I’m 90. That’s my retirement. Yeah. Yeah. Well, I could be, I could be Uncle T. You know what I mean? I can be the old, you know, I don’t care about that.  

When you look when you’re 90, you’re probably going to look in your sixties, come on. Like, you know, I could get away with a whole lot.  

Yeah, yeah. You too. Look at you, man. You look like you’re still 20 years old.  

It’s true. You do. And you got a baby.  Terry did you know this? 

Say that again. 

Did you know that? Ava has a little one. 

Yes I did. Congratulations. Ava, thank you for that. Somebody cause you guys have like three, you guys had babies at the same time. Tammy had a baby. Nancy has a little one. 

And AJ. 

And AJ! You guys like look at you guys, all moms and you know what the best now the beauty of your life starts because now you have another. And that’s the other thing. Cause I, I grew up doing the same thing. I had to raise a son through all of these other things that I was doing. So now you have to balance all of it together. You’ve got to balance your career, your life, marriages, all of these things are all factored into life, but you all have to move forward together.  

Terry, do you have a guiding principle in terms of balance? Is there, is there a compass that keeps you, you know?  

Yeah. Keep an open mind. You know what I mean? And don’t get caught up in your own personal ego. Cause a lot of people get caught up in their own personal ego and, and everything goes crazy at that point because people get stubborn and stuck in their, in their reality that may not even be a reality, but yeah. Yes.  

That’s huge. And that’s helpful. I will remember that as I am in the market for maybe a goldfish, uh,  Not, not quite,  Not quite to the human being point yet. My husband and I are talking about getting a Roomba, one of those, uh, vacuums that lives it own life. Yeah. We’re thinking about it or thinking about it. But I know  

I used to have, um, a person to come clean the household once, once a week, but I don’t even do that anymore. Since this whole COVID date. I’m like, huh, I can do this **** myself. So I’ve got all of this time.  

I Got it. 

Yeah. And it’s unfortunate for them cause they’re not making as much money, but I still paid for that one day as much as for two weeks, you know what I mean?  

It’s safer, safer for you.  

I don’t want, you know, cause I don’t want people in the house. It’s crazy, but it’s just this is spotless now.

I was just going to say you, you keep a clean house. You keep a clean nose clean. Clean Life. Clean life. He’s clean. He’s clean. Well, Terry, I cannot thank you enough for joining us today.  

I don’t even want to get off the phone.  

Well, we do have, I mean, we might call this episode rap, but I have a special question that I need to ask you. I ask all of my questions. I ask all of my quests. I ask this question to all of my guests. Um, and this might, this might be a whole another conversation. So I will put a pin in this one. Although I would love for you to be able to tell the listeners where to find you, if they’re interested in finding more of your work or in talking to you or in, uh, renting a property from you possibly. So what’s, what’s the best way for people to find you.  

You could just, you can email me. How about that? That’s the easiest and it’s um, email address is my name Terrell —  T-E-R-R-A-L with, four Zs — Z-Z-Z- Z @aol.com. (terralzzzz@aol.com) And it will come through 

Can we find you on instagram? 

Yeah. I do have an IG. You know what? I’ve got it. I’ve got to be quite honest about it. I got bored with it. You know what I mean? And I haven’t really posted or done too much on that. I’ll look at it from time to time Facebook. I will never go on, I do have Facebook account and you know, but it’s, everything’s at my name, but it’s @TerrySantiel everything’s @TerrySantiel and it’s a last name is spelled S-A- N- T -I- E- L. And Terry is with a Y — T -E -R- R- Y.  

I’ll be sure to put that in the show notes to the episode as well. So everybody knows where to find  

Yeah. Twitter, uh, Twitter, Facebook and Instagram are all the same.  

Yeah. Okay. Awesome. Well, thank you Terry. I couldn’t thank you enough. I adore you. This was the best, so much fun. My cheeks hurt  

For your listeners. If you go on tour with anybody, don’t get caught up in the celebrity a hundred percent.  

How do they do that? Terry tell them how to do it or how to not tell them how to do that.  

I guess that’s on each individual. You know what I mean? Because everybody’s paths is going to be a little bit different in their connections with the different things that occur. But you just have to, I guess the way to do that is just to understand that you are not the artists.  

Hmm. Yeah. I, I think one of the other like Ava, I’ll, I’ll speak for our relationship from my behalf of our relationship, but that, that was one tremendously grounding thing for me was having a real relationship with a person that wasn’t about visibility or, uh, a red rope anywhere or a fancy outfit like that, that friendship kept me very in touch with myself, my, my actions, my words, um, and it was fruitful and it was real and it was beautiful. And so having a real relationship on the road, other than just a relationship with the crowd or a really relationship with the club or a relationship with the money, that was huge for me. And the thing, this, this wasn’t until 2020, but on the 2020 tour, Terry, you remember I had, I did my daily videos. I had, I had a personal project that I was as accountable for as I was for my gig. And that was also tremendously helpful.  

I remember being in Scotland and watching you dance with the guys,  

A Scottish bagpipe guy that was a good video. I like that one. 

I may have been holding the camera  

You Probably where I’m going to find that I’ll put that in the show notes as well. Yeah, that was a good one. That that’s, that’s huge though. Like stay, don’t get caught up in the hype and there are a thousand different ways to do that. Um, it’s actually quite simple actually, because there’s one way to get caught up in the hype, but there’s many ways to not. Have a project, find a friend, you know, read, invest in the future, make decisions from the future, with the future in mind, not from the present moment and the present moment, always, almost always once the immediate gratification of like go to the club, get a drink, have the expensive mood, uh, have you.  

And I’m not saying, but don’t not do those things. You just, 

Everything in moderation.

Yeah. Doing the moderation that’s you know what I mean? It’s like, ah, I don’t really need to be there tonight. I shouldn’t be doing right. And you know what, let me just say this to me. I don’t, I’m always, I got like me and they used to say like with me one night, how I ended up getting in to that whole real estate thing is I saw one of those infomercials on TV and I was like, Oh, you can make money off of other people’s money. And I was like, well, I don’t need other people’s money to make money. How do you do that? And I tried it, I flipped the property. And I think I made like my first one maybe $40,000. I was like, Oh, that was easy. That was fun. And that only took a couple of months to make 40 grand. So then I did another one and another one and I ended up, um, you know, in the course of a year, you know, I did well.  

I mean, I love you so much.  

I could have been at a club and miss that information. That’s my point. So anyway. Okay. That’s okay. Sorry. I know we’ve got to get off, so  

We’re doing it. I appreciate you. I just think the world of you. Thank you, Terry.  

Thank you. Love you too. 

Love you so much. Bye bye.  

Okay, so that was  “the real deal” Terry Santiel. Terry’s right.  

That was so much fun. It was wonderful reconnecting with him.  

I just can’t get over the fact that the same guy that gave us real estate advice was telling us fart stories  

Pretty incredible.

So good. Um, what were your biggest takeaways?  

Oh, my biggest takeaway is that he is literally a part of history. He is history. He is a living legend, and I know we tend to use that word loosely, but he really is. He has stood the test of time. Um, he’s, we’ve got so much to glean from him. I just really enjoyed this little sit down here.  

I couldn’t agree more. He he’s, he is himself and his work have been hugely prominent in the past, in the present. And from the sounds of it, he’s really investing in the future. He’s figuring it out, I adore. I’m very happy to be sharing that episode with you all. Um, I hope that you enjoyed hearing from Terry as much as we enjoy talking to him, I wish you could have seen all the faces, just smiles.  

And I think we said we surmised this episode with Terry as clean it up, read up and keep an open mind.  

Clean it up, read up, keep keeping up. That’s it. Yup. That’s it. Those simple things. And you too will still be producing top tier content when you’re, how old is Terry? Do we even know? 

I didn’t ask, you know what? 

This might be a moment I’m going to go ahead and I’m going to check the Googles.  

Okay. So Terry’s around 72. We just took 15 minutes to do a math break around 72.

We had to research. 

Yep. That’s true. That’s true. And we want to save you time so we didn’t share with you how long it took us to do that math. So that puts him in, in around the same ballpark is Miss Toni Basil. Yes. Um, 

I mean they are a fountain of youth. 

It’s true. That that’s really important to notice because I don’t like, and, and, and the thing that unifies them, is this ever learning yes this ever practicing and I do think it’s an open open-mindedness open-mindedness yeah. All right. I’m open. That’s it. I’m open. I’m going into the world open. I’m staying forever young. Um, and I, I hope that you all are forever inspired by that. It was so much fun. Ava. Thank you so much for joining me. 

Thank you for having me! This was fun.  

My pleasure. We’ll do it again. Sometime love you to bits.

Me, again, wondering if you ever noticed that one more time. Almost never means one more time. Well, here on the podcast, one more thing actually means two more things. Number one thing. If you’re digging the pod, if these words are moving you, please don’t forget to download, subscribe and leave a rating or review because your words move me to number two thing. I make more than weekly podcasts. So please visit thedanawilson.com for links to free workshops. And so, so much more. All right, that’s it now for real talk to you soon. Bye. 

Ep. #47 Lady Boss: Diana Matos

Words That Move Me with Dana Wilson
Ep. #47 Lady Boss: Diana Matos
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What happens when the commercial industry doesn’t make you happy anymore… Reinvention, that’s what!  My guest this week is a pro at exactly that.   Diana Matos bridges the space between street and commercial dance.  She dives into the importance of using her creative voice, and the challenges of having a company with members all over the world.  We also go deep on the difference between SELFISH and… SOMETHING ELSE, so do a spinal roll down and a few jumping jacks to get yourself warm, and LET’S GO!

Show Notes:

Quick Links:

Diana Matos: https://www.instagram.com/dianamatos/

Motus the Company: https://www.motusthecompany.com/

Fenty Show: https://www.amazon.com/Savage-Fenty-Show-Vol/dp/B08JQNCY8R

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, my friend. And welcome to the podcast. Welcome. Welcome. If you are a first time listener and welcome back. If you are a returning mover and shaker, I am so glad that you are here today. I am thrilled to share this interview with you. I think it is simply solid gold and a very fun listen. But before we get into it, I want to draw your attention to a couple things, because I am seeing some new daily doers out there. I want to make sure that you guys know, I offer some support on my website in the form of an interactive PDF that can help you with your daily projects. If doing daily is a new concept to you, go back and listen to episode one and two. But if you are a daily doer, I do so strongly encourage you. Go visit theDanawilson.com Take a look at the store in there. I have a downloadable PDF that helps you organize your project and really make the most of this daily creative challenge. So want to make sure that I say that before I forget. Um, also before I forget last week’s episode was so much fun. I did my first ever live Q and a via zoom. And so many of my listeners were there with me asking questions, interacting. It was just so much fun. Um, go back and listen to that. If you have a chance, if you dig it, if you’re loving it, please do download these episodes and leave a review. If you’re moved, if it was helpful, give us a rating, leave a review. It makes it so much easier for other people to find the podcast. And that is definitely important to me. So thank you in advance for doing that. 

Okay. Let’s get into it this week. As my win, I am celebrating the reconnection to old friends. I probably am not alone in that during the lockdown I have indeed locked in. I’ve gotten I’m pretty self focused, and I think this is a very important win today because in this interview with our guests this week, the lovely Diana Matos, we talk a lot about being self-focused or selfish and the difference between the two. So my win. This is that I, I reached back out to a network of friends that have supported me for a really, really long time, but also to new friends, people that I’ve met during the course of the quarantine during the course of this time, since having a podcast. Um, and I definitely am feeling connected. I am feeling supported. And of course I’m feeling so grateful to have you and this forum to share. So yes, my win is my connection to my friends. And I would love to encourage you if you haven’t in a while to reconnect to yours. All right, now you go, what is going well?  

Awesome. Congratulations. I’m so glad you’re winning. Keep on crushing it. All right. My friends, I don’t want to spend too much time. Preambling here pre rambling here. I want to get straight into this interview. My guest this week on the episode is the one, the only Diana Matos in my eyes, an untouchable dancer, um, an incredible presence and incredible friend and an incredible role model. I’m so excited to share what she shared sharing on sharing. Um, and I can’t wait to hear what you think about it. Please. Don’t hesitate to reach out to us @wordsthatmovemepodcast on Instagram. She is @DianaMatos on Instagram. D I A N A M A T O S. If you do not already know her, or aren’t already familiar with her work, please do go get an eye full. All right. And with that, let’s get into it. Please enjoy this conversation with the fabulous Diana Matos.  

Dana: All right. Holy smokes. Let’s do this Diana Matos, everybody. Welcome to the podcast. Thank you so much for being here. 

Diana: Thank you so much. It’s a pleasure. It’s an honor. You are an inspiration to me and to everyone around me so down always. 

Oh my gosh. Uh, likewise and I’m, I’m honored, lucky, count myself extremely special to have been able to share the stage with you before we’ve gigged a little bit, nowhere near as much as I would like actually. Um, you are now a person that you have your own company. You’re still crushing it in the industry. Most recently performed in Rhianna’s Fenty fashion show, which I do want to talk about. I want to talk about all the things, but before we dig into it’s, uh, it’s commonplace here on the podcast that all of my guests introduce themselves. So tell us anything you would like us to know about you.  

Diana: Hi, my name is Diana Filipa Pereira Morais de Matos Koumaev originally from Lisbon Portugal, I have lived there till I’m was 21, uh, danced trained, um, moved to London 2011, started working commercially and 2014 moved to LA. Um, yeah, I’ve been working since then, uh, hugely in the industry, but also very important to me that I stay true to myself, to my voice, to how my body moves what feel as good and organic to me and trying to build from there, especially right now at this stage of my life.  

Okay. So let’s talk stages then if your, if your dance life was a book, what would the chapters be? What do you chapter it out by like Portugal, London, LA, or is there like training, touring, stage? Like how does that get compartmentalized in your brain? How do you think about your dance life?  

I think to me, it definitely, I definitely com uh, compartmentalize it, uh, it being Portugal, it’d be in London and it being an LA. Um, also because to me it felt like a restart every single time professionally and personally, I have to reinvent myself, I have to drop everything financially, everything. It just, it’s always like a big step where I really, I go through a really rough time and then things finally start happening. Um, and especially within that time, there’s crazy amounts of growth personally and professionally. Um, so I would say that’s the way I sort of, you know, separated looking back. Um, I guess I was a little bit lost in Portugal. I learned a lot very limited, but at the same time, I found a way to sort of teach myself and reinvent myself because it wasn’t a lot back then. And, you know, there was no social media, there was YouTube and it’s a really, really small, town. So I had to work with what I had. I had to sort of re reinvent myself, which those are tools that till this day I use, um, me moving to London, it’s me, you know, finally breaking through. I barely spoke English at that point. So it’s also me understanding, you know, the language and how to talk to other people, how to, how to network, how to audition, how to even submit for an agency, all those things. Um, and then eventually coming to LA where I felt like it was sort of like my last attempt to have a career. I really thought I was maybe only coming for like a year or something. And then maybe going back to Europe and truly that’s when my career exploded. Yeah, exactly. You know? Um, so yeah, that’s, that’s, I would stage it.  

I love that. I, and I think that a lot of the people listening can relate to this feeling of starting new and being leveled, being baseline, trying to navigate, trying to transition and really trying to skill up as fast as possible and by any means possible. So this like this hungry student in you has been there for every single chapter and, and even as currently, and now you are attracting hungry students, um, with your company, talk a little bit about motus, what’s the mission, um, to tell me everything,  

Um, motus, it’s something that I’ve always wanted to create, right? Because as much as I believe in training and, and, and being in the room with as many choreographers as I could, and to, to sponge as much knowledge as I could through my journey, um, huge, uh, on, on understanding where my voice is as an artist, right. And I’ve always felt that I had that and very much so because of one, my life journey into my culture, um, which is half Portuguese, half African from Mozambique. So, um, motus has always been something in the back of my mind where I wanted to create a group of people that I’m able to, to utilize my voice into create this voice in the industry. Right. Um, not only that within the, the, the, my experience as a professional dancer, I’ve understood that we sort of have two options, which is to be an artist behind, uh, to be a dancer behind an artist, or to be a teacher slash choreographer, where you travel the world or you do conventions or right.  And those are like the two big options that you have to me is start after, you know, after a, while it started feeling a little bit like, Oh, this, this is all I have. Um, as an artist, if I don’t necessarily want to dance behind an artist anymore. And if, either I don’t want to teach, uh, or if I, choreographing is not my thing, where do I stand? You know? Um, so I think the industry sort of lacks specially for commercials commercials slash street styles, there’s a huge gap when it comes to, if I just want to be an artist as a dancer, where do I fit in? So I think motus, motus, motus’ goal is to create a company where artists can come and can sort of create a career off of it, where they travel. You’re getting paid, they’re dancing, they’re exploring their artistry, but not necessarily either in the commercial world or they don’t have to, you know, there’s a lot of people that are not teachers and they end up being teachers because that’s really the only option, which is not a good thing, you know? Um, so I think motus down the line, the big, big picture is to create, to have a company commercial slash, uh, streets out a street styles company that, um, that we can, can give a voice and give a space to all these dancers and artists.  

Cool. I, 45 follow-up questions. I’m going to start with this one. Um, so does the company, or do you envision that the company performed together? I know at this point it’s a training based company and the people that become members, the people that get involved, get their butt kicked. I know that this training goes above and beyond what somebody might expect to find in an in-person masterclass. Um, but tell, tell me about how, like, how is this next level training and do you visualize in-person performances with a company in the future?  

Definitely visualize performance companies. I think when motus started with me with COVID in quarantine and lockdown happening and me, um, understanding, okay, truly this is a time for me to, for me to do something that I’ve always wanted to do. I was never really able to, cause I was just overwhelmed with, you know, job here, rehearsal there. Um, so it’s time to do this, but now I’m limited with the circumstances that I can do it. So it has to be online based. So it has to be as for now and is until I’m able to train these dancers to be able to, uh, create whatever I can with no limitations, I have to train them. So right now in this first stage is very much so a program, an online program, um, where not only you train with me heavily, Um, two times a week, 

Oh, I’ve seen the videos, it’s heavy training. I like I sweat and I’m sore as I watch. It’s incredible just to watch incredible, by the way, do you take drop-ins because I have got to do these moves. I need a full 45 minute warmup and then I need to do the moves.  

Absolutely. You’re allowed to actually, that would be a great segment to this. If you would come in and film like your whole experience. Good idea. Love it. You’re  

So down. So now coming soon, coming soon. 

Um, so you’re not only trying to heavily with me, but also, um, you ha we have a grounding, uh, class 30 minutes before mine to prep and to sort of, uh, condition your body for all this training. And then on Sundays you have a different style, every single Sunday different style. And that goes from foundations, from like Afro, from, um, whacking, voguing house, popping, locking, like all of it and stuff that actually we don’t have access to often. And, and, and with the variety that, you know, also at the same time that we can have people from Switzerland to, to South Africa, we also have teachers from everywhere in the world. Um, so that’s huge,  

Massive. I love that silver lining of this moment. It’s remarkable. And what’s odd. I mean, it’s not odd at all. It’s been there for years. I mean, zoom has been there for years, but we only see what’s right in front of us and now we’re looking bigger. We’re zooming out and it thrills me to no end. Um, and so it’s, let me just  

Let me just add that. It’s actually really good in the sense that it created this, this almost like this relationship between me and the members and the sense that, you know, if it’s a regular class, you come in, there’s 60, 70, a hundred people who teach, groups, thank you for coming. The zoom It’s so personal. I’m looking at Dance, I’m looking at you dancing individually. Like I’m stopping you and saying, you see how you did that leg. You see how you did that weight. Wasn’t right. It’s such a personal relationship so much more than a regular class.  

I agree. I know there are several people that disagree that think that the screen, the layer between is a disconnect. I couldn’t disagree more. And because you and I are people who, whose work does show up on screen a lot, actually understanding how you look on a screen is an important element that you might not achieve in a, in an in-person class. There is a difference to those dynamics to the way that your shapes and your lines look. So, although it might be technically easier to correct someone in three dimensions, like in person, hands on corrections, you might not have seen the thing that you want to correct in person because the dance on camera element, at least to me, is hugely important. And so appetizing, I love working in this medium. 

Its so detailed. 

I love it so much. So let’s talk about the beginning of modus. I would love to hear what was the most challenging thing about making it?  

I would say one, understand how to keep people engaged. A lot of these people, we have people from South Africa to Australia, to New Zealand, to Europe, to London, right? Um, there’s people taking class at 5:00 AM that just barely woke up in their little living room or their rented room, you know? Um, so how to keep people, cause also we’re challenging people so much to after three, four or five weeks, you feel drained almost right. So to me was how to give a lot and how to really push these people with information, with the level, with the how to keep them motivated, uh, to want to keep cook, to come back and to continue this so we can actually get to the end goal. Um, it was that it was how to structure it, how to, how to finesse having that many people. And how do I give attention?  Suddenly I have 45 little squares, what I have to have individual feedback. So how long do I determine that feedback? You know, there’s so many little levels, um, training who to choose to, to, to invite for these guests teachers for every Sunday. And then it has to be sort of, if I give a little footwork this Sunday, then that next Sunday, maybe you should be a popping or then it should be, uh, maybe it should be a salsa, like how to completely shift every single Sunday to keep them almost like to have their bodies, uh, be pulled so many directions. And that, that creates, um, a body development and a body flexibility that that’s what we’re trying to achieve. Right? So as a mentor, director, however you want to call it that’s those are like my biggest challenges till this day. Honestly.  

What you mentioned earlier about there being kind of a divide in terms of once you, once you reached the level of being a professional dancer, you have a few more commonly traveled paths. There’s the backup dancers slash commercials, TVs, film type, where you’re a contributing part of a big, big picture, or there’s the, you are the traveling teacher, choreographer person where there’s this kind of celebrity it factor, but you’re, you’re teaching your moves. And then there’s the kind of less glorified version of a teacher, which is the person in there doing the daily grind. These are our dance studio owners. These are our teachers who are putting together programs, making them attainable, making them feasible, doing the structure, like financing it, deciding budgets, like all of that big stuff. I want to put my focus there because those, those people get so overlooked. And I want to emphasize and highlight that that is a creative mega challenge to, to, to actually build a program is tremendously creative. To strategize and finance. You have to get creative. So I, I just want to do my part in kind of dismantling the stigma that the people behind JT or the creatives or the people, you know, the, the headliners on your convention are wildly creative. I think the people on the ground building these programs and getting them out into the world and changing lives one little dancling at a time, those are the creative heroes. And, and I think I’m just smitten by that.  

No, absolutely. And that’s so funny because to me at first, when I thought about the concept, I was like, okay, I’m going to have to teach, you know, four times a week. And I have to create something new every week. There’s a lot of creative choreography or, uh, as a teacher, uh, pressure, right. That I thought that that was going to be my biggest challenge and truly is not, is, is how to manage it all, how even I finish class and how do I have to come back and manage all this stuff that I’ve truly never done in my life. Um, you know, and, and then finding an assistant, find the, how to delegate. It’s a whole process.

Building the team. I’m with you, my friend, this is, this is my first time managing a team in my life and I’m learning so much all the time. So what would you say in a, maybe we stick on that subject on the subject of managing a team. What’s the most valuable lesson you’ve learned?  

And I think this might be my come from a perspective, from a personal perspective, but think how to always put myself in these people’s shoes and how to not let either my, my day, my emotions, what I’m going through really give to that. I’m very, I’m very passionate. And that comes with a level of perfectionism, a level of expectation that is quite high that I expect not only for myself, but I can handle that, but to other people. And then it’s to really understand that I, it’s hard for me to think that someone is good unless they’re at my level, which is not right for me to do. You know, so understanding that  

I call this, um, comparing somebody’s chapter three to your chapter 30, or comparing your chapter three to somebody else’s chapter 30.  

Yup. That’s exactly what it is. So, yeah, it was really hard for me to like step aside from me and myself and everything. And, and, and to understand that someone is as valuable and as competent to, to do that job, uh, perhaps just differently. That was a huge lesson  

Compassion. Right? Ooh, that is so important. It’s so important. Okay. Is there a lesson since you started the company that you, I mean, you probably expected to level up on managerial skills and to level up on the technical side of things and to level up an organization, but is there, is there a lesson that you’ve learned that you did not expect you would learn?  

I would say, I would say vulnerability because a lot of people, you know, I’m suddenly starting a company and all these people see me as a mentor and you call it director because you have to call yourself and then there’s a whole marketing team behind saying, Oh no, you’re this. And no, you’re that. And, um, at the same time that I own one and want to own this, I want to be, I want to pave my way. I want to climb the letter respectfully. I don’t want, I’m not trying to rush into any sort of name. Um, but at the same time I have to, in order to, to make people feel like I got this together right. And jump on my boat, but I got this boat together. But at the same time to see the, the, these members every day and to have vulnerable moments in the sense where I forgot my step, I forgot my counts. Or there’s days. There was one day my dog passed away right before class. I got it like out of texts, like two minutes before class. And I was just in tears. And how do I zoom in with 40 people around the world saying good morning. And I’m in, you know, so, so, so to find that vulnerability and to, to, to make people feel like they can count on me, even when I’m on I’m at my lowest. So am I, I’m at my most vulnerable self, you know, that to me was a huge lesson to be okay with that. For me to be okay. Cause I’ve always tough, tough to, I got this together. Always. I have to be smiley and ready to go professional. Right. And sometimes that just doesn’t happen. That’s just life. Um, so I think that was a lesson that I was ready for.  

Thats huge. I, one of the things that I’m working to embrace, especially I’m giving a Supreme opportunity to practice it during the lockdown is to embrace the full human spectrum of emotion. And to understand that even at my best, I can’t make you think that I am the best,  No matter what I bring to you, you might still think I’m full of shit. Or you might still think I’m lame or I could be, you could call me president of dance and somebody might be like, yeah, she’s all right.  

Its so subjective, yes.  

So if it’s up to them, what they think and what they experienced, it’s up to me, what I think and what I experienced. And if I’m here for all of it, then buckle up because we’re going on a ride. Like you never know what you’re going to get. You never know. I might be in tears. I might be in tears.  

Thats truly. Yeah. That’s truly the journey. Yeah. It’s just, it’s just being down, being okay with whatever it comes. That, that that’s. Yeah. That’s a beautiful lesson.  

All right. So let’s talk about the journey now and let’s talk about what’s next. What are you most excited about right now?  

I think commercial jobs is don’t fulfill me the same way anymore. Um, just where I’m at in my life. And I think now is to really, I think my whole life was to check, check, check what I’m supposed to do to either being deemed as successful or, or, or great or undeniable, however you want to say it. Right. Um, and I think now life has showed me or has been showing me that things have to come from me first. And it took me a really long time to understand that to be, to be very honest. Um, so I think now I’m relearning myself and understanding like what makes me happy with, uh, within what I do will make me happy. What will would, this would this spark? My, my, my, my creative juices where what I’m interested in, like all these things, even quarantine finding out hobbies, I’ve never had time or mental space for hobbies like, Oh, that right.  So I think that’s the future for me, motus is, is something that I’m super passionate about. And I truly want that to be my, my, my legacy also, I feel like it’s, it’s a side of me. I’ve been somewhat, very selfish my whole career. Me, me, me. I go here to get this for I perform here so I can have this to say that I had that it’s very me. Right. Even though I’m offering my talent to this artist, that whatever. Um, but I think with motus, which was huge is that I’m not only of course helping me and creating this huge thing, but I’m also helping me helping others. Like it’s a whole different level, a whole different level.  

Dana: Alright. I just had to pop out right here because I want to shine a light on this, on this idea. D said, I’ve been selfish even though I’m offering my talent to someone else it’s still for me, is this something I can really relate to after 15 years, I guess, 16 years now of gigging in LA for Target or Amazon or Microsoft or Southwest airlines or any of the pop stars and TV shows and movies that I have, um, sold my time and talents to, and now I’m creating the podcast for free. Now I’m doing coaching programs. Now I’m finding ways to share what I’ve learned and empower. I’m really becoming less self-focused in that. But to be honest, I work on myself and my project and I’m thinking almost exclusively about them for at least eight hours a day or more. So how is that not still selfish. I really wanted to get to the bottom of this kind of discrepancy here that I’m going through internally. Um, and I wanted to go a little deeper. I want to get all the way through it. So yes, I did the thing where I Googled the word selfish. And here is what I found with the Miriam Webster definition. Selfish means concerned excessively or exclusively with oneself seeking or concentrating on one’s own advantage, pleasure, or wellbeing without regard for others. I’ll say that one more time. And I’ll say it a little bit quicker and I’ll say it in pig latin. I’m kidding. I won’t say it in pig latin. Selfish means concerned exclusively or excessively with oneself seeking or concentrating on one’s own advantage, pleasure or wellbeing without regard for others. Okay. Now hear me out. Some of that actually sounds kind of all right, to me, seeking or concentrating on pleasure, wellbeing, and advantage. That’s actually kind of, kind of rock solid. It’s the disregard for others and the excessive or exclusive that rubs me the wrong way. Now what Diana is saying here. And what I want to underline is that there is a way to put yourself first so that you better, your ability to service others. There is a way to concentrate on one’s own advantage, pleasure, or wellbeing, air quotes with regard for others. And to me, that looks a little bit like saying yes, and. My good old fashioned favorite improv principle. Yes, I can do well for myself. And you can do well too. Yes, I can go far in my career and we can go further, farther, further. What do you say further, further, further? I think together. Yes, I can have a successful career and I can tell you everything about it. Yes. That might help you. Yes. I want to help you. This can be, Yes, And this can be Me, and you. So to everyone out there listening who wants to change the world and who wants to do better for themselves, I would say start by taking care of yourself and end with sharing what you’ve learned. I know that that’s not the end of it, but I think that’s a pretty good place to start. And that’s where I will leave it for now, because I’m excited to get back into it with D. 

You, you mentioned success, and I think you might’ve just answered it, but I would love to, like, if we could wrap this up with a bow on it, what is success to you?  

Success is true fulfillment. True. And what is fulfillment though? Right. 

You know I was about to ask, I wasn’t going to let you off that easy  

Nothing. It’s so crazy. Cause nothing is black and white and that’s why it’s so hard to define anything.  

That’s why you have to answer with gray. Right?  

I would say success to me is understanding what will make me truly happy. What will make me feel fulfilled and made me make me go to sleep at night in peace and wake up excited for another day. I think that’s the best way I can explain it. I like that success is good.  

Going to sleep at peace and waking up excited. I love that answer. Um, to me and I’ve been working on this definition to me, success is simply doing what I said I would do.  

I can’t beat you. 

I say, well, girl, I’ve been at the table for like nine months. Now, since March 6th, I’ve been in here. Like, what do I think about things? What do I have to say? I’m going to put a microphone in front of my face. Every, every Wednesday. It better be good. So that really that to me. And then on the flip side of that coin, of course is the, the opposite question is what is failure? And to me, it’s not doing the thing that I said I would do. Even if it’s as simple as taking out the trash or calling you when I, if I said I would, you know, um, I really am excited about accountability.

What is the things they used to told yourself that, okay, I’m going to do this, this and this. I’m not necessarily. Cause you know, we go through journeys is not necessarily what pleases you. So even though you said that you were going to do it and you end up not doing how many times have you not done it and realize, Oh, that was actually great.  

Well, I’ll back up a little bit and say that, first of all, I don’t prioritize. I don’t always prioritize pleasure or things that please me or things that will make me happy. Um, I mentioned already embracing and honoring the full spectrum of human emotion. Even if it’s devastation, embarrassment, humiliation, um, disappointment, or a feeling that I’ve let somebody else down like, Ooh, yikes. I don’t like those. Wouldn’t deliberately show up on my list of things to do. But, but my pursuit of success is not. Is not a pursuit of happiness. It’s a pursuit of a full life.  

Dana: Oh yes. My friends were going in. We are definitely getting into the depths here. Now this news about my priorities, not being the pursuit of happiness might seem like a shock to you because I am a joy machine. My default mood is sunshine and glitter and moonbeams, but I think that in our human lives, like the full scope of them, we will probably experience a real natural distribution of emotions, half positive, half negative, half good, half bad, some really bad, some really good most of them falling somewhere in between. I don’t personally chase happiness because I believe that out there, wherever it’s led me, that, that pursuit, I know that out there, even if I, even if I catch it, life will be 50/50. I think there is a full episode here. And I do really want to dig into this idea of 50/50, but I’m going to put it in the parking lot for now and jump back in with D because I actually really, really loved her ideas about success. And we’re going to dig into those a little deeper  

To sleep at peace and waking up jazz. Yep. That’s it? That paints a pretty serious, like a pretty pretty specific fixture. And it’s simple as well. Yes, but also not easy, simple, not easy going to sleep at peace by itself. I mean, how many things are there in the world for us to get restless and wrecked up about right now? Countless impossible. I mean, come on. But really I do believe that the facts of the world are actually quite neutral. Once we apply that it should be some other way and we’re wrestling and we’re like on the mat, sweaty, you know, with all this effort, that’s not going to sleep at peace, going to sleep tonight, knowing that  A is A, B is B, C is C. I can apply whatever thought I want to that thinking that is going to keep me up for several more hours. 

It is what it is. 

This is the fact I have another favorite saying is simply to let the easy be easy and let the hard be hard. Some shit will keep you up at night. Let that keep you up. That’s hard. Let that be hard, but there’s other stuff that doesn’t need to be that hard. And you can just put that to sleep when you hit the pillow. Good night. 

Good night. Dana you’re my life coach. 

Absolutely. Let’s go. Um, all right. I love talking to you and I could talk to you all day. Um, but I digress. I’ll let you back out into all your fabulousness. It’s an honor. 

Again. Thank you so much.  All right, my friend. 

And I hope that you got a lot out of this episode. I know that I absolutely did. Um, and I hope you do continue digging into the wondrous work of Diana Matos. Um, I hope that you take a Me, and approach to your life and your career, and she is such a good example of that. All right, now, go out into the world, focus on yourself, share it with others. And of course keep it Funky while you do it. Have a great rest of your day. Everybody. I will talk to you soon

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 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. #35 Special Guests and Special Stories (Audition August Episode 4)

Words That Move Me with Dana Wilson
Ep. #35 Special Guests and Special Stories (Audition August Episode 4)
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To round out #AuditionAugust I sat down and answered some listeners burning questions about auditions. I also asked some of my favorite movers and shakers to talk about their favorite audition experiences!  Are you ready to be auditioning? Are you ready to be WORKING? After listening to this episode… I hope so!

Show Notes

Quick Links:

Audition August Registration: https://www.thedanawilson.com/workshops 

Hannah Douglass: https://www.instagram.com/hannahdlaine

Kim: https://www.instagram.com/kimgingras/

Ava: https://www.instagram.com/avaflav1/

Dexter: https://www.instagram.com/dextercarr/

Transcript:

Intro: This is words that move me. The podcast were 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 back to words that move me. I am Dana and Oh, how about also welcome if you’ve never been here. Welcome. Welcome. I am so jazzed to have you listening today. Um, I hope this podcast finds you well. I hope it finds you happy and healthy and if happy, fails, I hope it finds you human and healthy and you know what? I’m here for all life. Actually, if you’re not even feeling human today, if you are feeling more like plant matter or a geode, I will accept all of it. Welcome. Welcome as you are. I am as always thrilled about this episode, because it is a little bit different from your average. Um, in general, I like to think that they are all different than your average podcast, but this words that move me up episode is truly, truly different. Um, simply in format. Today is our fourth and final installation of Audition August half of this episode is going to be dedicated to questions and answers. Those questions were submitted by my personal clients. And from you listeners via Instagram questions about auditions specifically, the other half of the episode is going to be super special, firsthand audition stories from a handful of super special and very talented guests, that also happened to be friends. Ava Bernstein Mitchell, AKA Ava Flav, Kim Gingras, Hannah Douglas and Dexter Carr. I mean, wow, this is quite an episode and I want to get into it, but you know how we do here.  We begin with wins. 

Oh guys, I’m celebrating a special win. I am celebrating that words that move me. Podcasts has found itself in Apple’s top 100 performing arts podcasts yet again this week, actually last week. But this week, by the time you’re hearing this, I guess at spot number 83, now I am not privy to the witchcraft and wizardry that determines the ranking of podcasts on Apple. But I am certain that I could not, would not have achieved that very coveted 83rd slot without all of you. So thank you so much. I’m so glad that you’re here. I’m glad to have you, and to those of you that have been giving feedback via social media and on the website. I’m so grateful for that always and now, regardless of what Apple thinks of my podcasts, I’m getting some awesome feedback and some critical feedback too. I appreciate all of it. Thank you so much. All right. If you are digging the podcast, I should say some good next steps for you might be to share it with a friend, leave a review or a rating, and of course, download it and make sure that you’re able to have it with you whenever you find yourself in podcast, ready time, be it with or without your wifi. Okay. Now the important part, what is your win this week? What’s going well in your world.  

Congratulations. Happy, win to you. Please keep winning. 

All right. Let’s dig in to these Q’s and A’s, I got some really, really good questions from you guys about auditions, so thoughtful, um, so thought provoking and I’m actually really, really excited to begin. Let us begin. Oh, by the way, I should say that these questions were submitted via Google forms. So I’m not actually sure who asked them there were submitted anonymously and I will answer them anonymously right from my mouth. Here’s where I’d like to begin, listener asks 

“What would you say to someone who was training in dance took a few years off to focus on an alternative career, but has started retraining during quarantine and would love nothing more than to dive back into the audition slash dance world.”

Alright to you dancer in her early thirties, I would say go for it. I would also say listen to last week’s episode where I talk to Meisha Goetz and Tim O’Brien from Clear Talent Group. They talk a lot about the lay of the land that we’re looking at now heading into, um, the post COVID work era and our industry is slowly starting to turn on kind of like a dimmer switch, less like a regular on off switch work is extremely slow right now, which means it is extremely competitive. It might be a tough time to catch your footing, but it will be a fruitful time eventually. Um, and from my personal point of view, most of the audition breakdowns that I’ve been getting, especially lately are looking for real people. The majority of the work that’s happening right now is not, you know, in person award shows, it’s not tours. Some of it is music videos, but most of this type of dancing is, um, TV, episodic, film, and commercial. Those are looking for usually real people, not backup dancer types. So for you, I would really encourage, um, to get in there, get your materials in order, headshots, photos and really good video links. Um, if you have a relationship with an agent already awesome, if not keep your eye out on the casting networks to be self submitting. This is the time for video submissions. It is a great day to be self submitting today and every day. 

All right, next up, “I have heard a lot of stories about people sneaking into auditions, just out of curiosity, not like I would ever try it or anything.” 

This person’s cheeky. “How are some people just able to sneak into private auditions and what would happen if they got all the way to the end, asking for a friend angel emoji.” I love this question. I love it so much. And I am going to leave it to my dear friend, Ava Bernstein Mitchell, to answer this question with her special story coming at ya in just a few moving right along. Ooh, we have a poll “technique versus style.  Which one is more important to you at an audition? Of course it depends on the project, but for you personally, meaning me Dana director, choreographer, or person behind the table, which one do I side with? Or which one do you side with?” This is a great question. In fact, I Dana the person on the other side of the microphone am going to be bringing you an episode entirely dedicated to this conversation technique versus style in a knockdown drag out battle who would win? Well, dear writer, dear listener. I think you’re already onto the answer to this question, which is it’s different for every project. I know certain choreographers prioritize and champion style. I know certain others that prioritize and champion cleanliness, um, this, this ability to replicate, duplicate and do exactly as I say and exactly as I do. I personally, Dana am a fan of personal you and your style. I really love to see individuality. It’s something I champion with my work and it’s something I really look for in my team. So that is my answer. Bring on your style. All right. 

Ooh, here’s another good one. “How important are looks AKA hair, makeup, clothes, et cetera. When you are at an audition?” I will answer again for myself, not nearly as important as your, your talent is numero UNO, but oftentimes especially because there are many, many humans and usually not a lot of time, your hair, your makeup or your clothing can become a quick and easy identifier a way for us to remember you. So although your talent is the most important thing you can bring to an audition, your hair, your makeup and your wardrobe are really, really easy way to become memorable. Hair, makeup wardrobe. Yes, important, but only fractionally compared to how important your talent is.  

Okay.  Ah, this is great. “If an audition asks for all black attire, what would you wear to stand out?” Oh dear writer slash listener. Please do go listen to episode 32, where I talk at length about exactly this. Okay. Next step. Next step. “How much research should you do on a project before an audition?” Oh my gosh. This is the fun part for me. I love research. I love digging. I love learning. I love trial and error. This is just a process that I so get into my recommendation is as much as possible before you audition for a project, you should. Absolutely. If, if nothing else have researched the choreographer, if there is one attached or the project itself, um, this is something that I could spend hours doing. But if you are limited, I’d say you get the tip of the iceberg in 15 to 20 minutes, but this is like bare, bare minimum. The more you can dig in, the more prepared you will be. Even if nothing else, you might simply enter the room differently, feeling prepared, thinking that you had done your homework. There is really nothing like the feeling of walking into the room, knowing that you didn’t do your homework. I am all for anything you can do to avoid that feeling. Okay moving on. “Are agencies, signing new talent via online submissions?” Yes, yes, absolutely. Yes. Off the top of my head. I know that at least Go2Talent agency is signing new talent. Okay. Next up. Ooh, this one’s a doozy. It’s a, it’s a bundle.  

Okay. Listener asks “In response to the Instagram posts going around saying that Instagram is your new real slash resume. Has Instagram really become the dancers new reel?” Okay. I’m going to give you guys a little bit of context. I pulled up the, um, posts that has been circulating around Instagram. I’m going to read it to you now. It says this
“To all of my dancers. Please, please show your versatility on your IgE page because when you’re sleeping, having your coffee… I am quietly trying to submit you for a gig. Yes. I’m sharing your profile privately. And when I have to literally search your page and scroll all the way down to show the client, some sort of versatility, it makes it hard to push for you. Please spread the selfies in between and add some content that will get you booked.” All right. So that’s the post that this writer is referring to. Now let’s listen to that question. One more time. Has Instagram become the new dancers reel? So that I would say yes and no. I don’t think anything will ever replace a good, reel, reels show many, many different projects, preferably your best work with one click with one view, no time scrolling in between, but in some ways Instagram can do one better because where a reel  stops, right, Where it ends. Instagram does keep going. You can have an endless feed. I mean, maybe not actually endless, but close to it. You decide the same listener asks. Do you need to have separate IG accounts for personal versus professional to that? I would say no, probably not. I would actually say you don’t even need an Instagram account. I can say that because I know plenty of dancers that are plenty working that don’t have an IG account. Is it helpful to have one? Yes. Is it more common to have one probably. But do you need? No. I would definitely recommend anybody with questions about the use of social media. Go back and listen to episode 10. It’s called your social media storefront and a really, really dig in to my relationship and several different types of relationships you can have with social media.  

Okay. Here’s another good one. “If you’re new and don’t have high quality content, is that still good enough to post or should you wait until you have the good content?” If social media is the new audition, then it doesn’t serve you much good to wait until you have good content so that you can get booked so that you can have good content. It’s this which came first, the chicken or the egg conversation. To this listener I would say it is not out of your reach to create good looking content. If you have a phone in your pocket and something to prop it up against, you have the sunlight, you have your body, you have your talent, get your talent out there. Just hit record and share. B minus work is still above average. It’s a great place to start.  

Alright. One more question on this subject in this post “They say to show versatility on your page. What does that mean?” I really love this question and I’m going to answer it like this. If you’re a person that wants to be doing work, like what you see on TV, then post yourself dancing styles, similar to what you see on TV, put out into the world, the work that you want to be doing to that I would also like to add. It’s not always about being versatile. Sometimes it kills to be a specialist. If that’s you, if you specialize at one thing, show me that one thing. Show me you are the greatest at that one thing, if you’re a person that desires doing a lot of different types of work, then yeah. Show that you’re able to do different types of work. And that doesn’t just mean dance. Go take a look at the special skills section on your resume. If you don’t have a special skills section on your resume start considering what sets you aside, bring that, bring those special skills, bring those talents, bring those interests to your social media as well, because it isn’t just about how well you dance. It is about who you are. People want to work with people who do good work and people really, really want to work with good people. All right. I hope those Qs and As Aid, some of your Qs, and I hope that you are ready with a pen and paper because you have a lot to learn from these special stories coming up. On your mark, get set, grow. Oh yeah. I said,  grow.

Kim Gingras: Bonjur! My name is Kim Gingras And I like to share this one audition. I will never forget. So we’re in 2011 and it had only been a few months since my move to Los Angeles. When a friend told me about this upcoming audition for Nicole Scherzinger from the pussycat dolls, which was very exciting because I knew their music well, I loved her style. I love the whole empowerment female in heels, a type of dancing. But I was a little worried because I never received a memo from my agency. So since communication is key, I reached out to my agent to clarify what the audition was about, why I hadn’t gotten the memo, if I could possibly go. And they nicely explained that it didn’t fit the specs that they were looking for. So an audition always comes with an audition breakdown and I didn’t fit the characteristics. Fair. That’s totally fair, but I wasn’t ready to walk away from that opportunity. I just knew it. I felt that in my gut, this was something I needed to show up to. So I found out who the choreographer was for the job, which was the amazing Jaquel Knight. And I had a connection with him through years back in 2008, when we were both in the cast of the Monsters of Hip Hop showcase. And I decided to reach out to him and he is so sweet and so kind and openly welcomed me to the audition. He’s like, yeah, just show up at this time. No problem. I got you. And he sure did. So I showed up over there and I mean, it was such an amazing experience. This audition lasted hours. It was dancing after dancing and so much sweating and people were getting cut. We had to stay longer. And Nicole showed up at some point. Then we all had to dance by ourselves, the entire song for her to watch. I mean, it just went on and on. I feel like we ended around like midnight or something. It was just so exciting. And I booked the job and not only did I book this right there, music video, but it turned into my first appearance on the Ellen DeGeneres show, American Idol. So you think you can dance, my first European tour and then nine more years of friendship and opportunities when Nick and the team, like what, I mean, she’s just the gift that keeps on giving. We’ve gone to Vietnam, Malaysia, Turkey, Thailand, Indonesia, together. And I’ve gotten, you know, amazing lifetime friendships through her and the team. So the moral of the story here is you miss 100% of the shots you don’t take. Of course I had to quote Wayne Gretzky cause I’m Canadian. But in all seriousness, I know we’ve all felt this fear take over us in specific situations where in reality, we had that little voice inside telling us this is for you. Go for it. So let’s be a little more daring. Let’s listen to that little voice inside. Let’s take chances. We owe it to ourselves.  

Dexter Carr: Hey, what’s going on? Y’all my name is Dexter Carr. I am a choreographer dancer in Los Angeles, California, and this is my crazy audition story. So when I had just moved to Los Angeles, I was getting a lot of open calls from my agency. I was getting calls that had like literally 300 people in a room, all trying to audition for like three spots. So I was going because you know, that’s what you’re supposed to do. That’s what you’re supposed to do. You pound the pavement, you hustle, you move, you move, you move. So I went, one audition in particular was for an artist that was very, uh, eclectic and liked a lot of drama and like, you know, things and extra and lace and all the things, all the, all the, all the things. And uh, if you know anything about me that I have that side, but it’s not, it’s not something that I’m really, you know, like that’s not my go to, and especially not at that age, you know, moving here like six, seven years ago.  

So I’m walking into this thing, thinking that, like I got to really come up with something. I got to pull something. I got to really like try to, you know, and that’s the energy in the room. Cause I already knew what the energy and the room was about to give. Right? So I come in there with like a little rip tank tops of ripped jeans and some boots and a bandana tied around my head. I’m like, yeah, this is it. This is edgy. This is the edgiest you’re going to get. I walked up to the parking lot, which is where all of the dancers were waiting to go inside. And the first thing I saw, we, God, I’m laughing. Cause I’m, haven’t told the story in so long. The first thing I saw was somebody with, um, wings, wings on like the size of Victoria’s secret angel wings.  Like, you know what I mean? Huge wings. And then somebody else had their face painted one color half and then there are other, and like people got like weaves for this that were like down to the floor. And I was like, Oh wait, wait, wait, I missed the memo. I thought I was really doing it. I thought I was really going to be able to, you know, you know, rub elbows with these people. But no, no, no. They have surpassed me and we haven’t even gotten in the room yet. We haven’t even learned one step yet cut to, we all get in the room and you know, the choreographers is letting us know what the job is, how many spots there are and what he’s looking for. And basically what he said is that he wants a star. He wants somebody that comes in here and grabs the attention. Now, mind you, like I said, I’m in all black and some boots. So I don’t, I don’t have a leg up. I don’t have a leg up on the competition with this. When it was time for my group to audition, I was of course, in a group with the person, with the wings. And when I tell y’all they finished the choreography, which you know, choreography happened, boom, I’m set. I’m good. I’m clean. I’m probably not doing a lot. I’m probably not making a lot of choices. It’s probably not doing anything. You know, that’s like, wow, bam. But I’m getting through the choreography right. Time to freestyle. The person with the wings takes the wings, walks to the center of the room as if it is a runway flaps the wings in front pushes them back and struts all the way down to the table and literally stares at the people at the table. Now these wings are so large that it does hit you or move you or give you a gust of wind that if you’re not expected, may topple you over. Which is what happened to me. I literally like was not expecting these wings to come at me. And I looked up and I saw them and I fell over needless to say, no one got kept other than him. So moral of the story is if they say edgy, go, go for the gold go. Like no, no fear go for it. Y’all yeah. Thanks for listening to my crazy audition story.  

Hannah Douglass: My name is Hannah Douglas and this is my audition story. So I have plenty of audition stories, but the most memorable for me is the very first audition. I was fresh off of Edge scholarship. I was 18 years old and it was for the Celine Dion world tour, which is so major. It was Nick and RJ. It was everybody who was, anybody was there at the time. And I was nice and green. And I remember loving the choreo thinking. I was killing the choreo in my little scholie corner with my friends and, you know, going over it over and over and over, and then going in a group with a bunch of OGs and then just like fully losing it and completely blanking. I basically stood there. It was a full tragedy and I just freaked out and it was, it was terrible. So I got chopped ASAP, obviously. Left and just couldn’t believe it.  And then I remember the next day going into Edge and seeing Bill and bill was so excited, Bill Prudich, he’s the director of edge, the edge scholarship program. And he was like, you know, guru dance guru and cared so much about our journey. So I was, you know, kind of embarrassed to see him. Cause I knew I was terrible, but he was like, how was your first audition? And I just broke down crying. I lost it. I just lost it. And he was like, okay, so you should probably move home because these are your options. You either cry and break down right now because you got told no once or you get it together and you move forward. And I will never forget that moment in my life because the idea of moving home was just not an option for me. I mean, I love my home, but I just, I was so determined to just do better.  And Bill saying that reacting that way was, you know, the option was to move home. Just really rocked me to my core. And I had an audition four days later, I think for Seal, for Dancing with the Stars. And I went in hearing Bill’s voice in my head saying, you know, move home or just figure it out basically. And I booked it and it was simply because of that mindset shift, which I’ve carried with me literally the last 14 years of my career. You know, you either choose to be rocked by who you’re surrounded by and you know, the, the caliber of the job in your mind, or you just do what you love to do to the best of your ability. You’re not going to be right for everything, but you can shift your mindset to the point that you offer the best that you have in that moment.  And because of Bill’s wording to me that day, I will never forget that feeling of being hold. Like basically you just figure it out, you know, or you, or you leave because that’s the alternative to just break down every time you turn you’ll you’re told no, or just do your best. So, you know, that week of auditions really shaped the rest of my life because I had one of the worst auditions I’ve ever had in my life. And then just four days later, the best auditions I’ve ever had in my life. And it was just because of a mindset shift. So that is what I try to carry with me forever. Still, you know, 14 years later is how mental this game is and that’s what gets you through. And so, yeah, I’m forever grateful to Bill and forever apologetic to Nick and RJ for that tragic audition. Um, but also grateful for the lessons I learned. So that’s my story.  

Ava Bernstein Mitchell: What’s up? This is Ava Bernstein Mitchell, and this is my most memorable audition story. I want to take you back to 2006 when I auditioned for Justin Timberlake. So let me preface the story with, at this time in my life, dancing for Justin Timberlake was my dream job. It was on the top of my wishlist. It was, it was it for me. And also I had met Marty at a hip hop intensive workshop. I would say, I don’t exactly know how much before, but it could have been a year. It could have been a few months, but I had met Marty and he said this to me and I’ll never forget after class. He was like, ‘yo, you’re dope. We’re going to work together someday.’ And I’ll never forget it. So I carry that into 2006, when it was all the buzz around town that Justin Timberlake was coming back. He had been gone for four years. So everybody knew this audition was coming up. But the thing about this audition was it was a picture submit only, which means Marty or whoever his team was, were picking pictures of the people who could attend the audition. First round goes around, I’m waiting. People are like, Oh yeah, I got called. Did you get called? You know, you know, everybody talks, I wasn’t called in. So I call my agent. I was like, Hey, was my picture chosen? You know, I really want to be at this audition. She’s like, sorry. No. And I was like, Oh, okay. So I let a few days go by and you know, still everybody’s talking about it, call again. I’m like, Hey, just checking to see if you know, my picture was picked and I really want to be at this audition. She’s like, no, I’m sorry.  You know, just, it just wasn’t on the lineup. So again, I waited a little bit longer and then I’m like, I need to be at this audition. So I called my agent and she says again, no, I’m sorry. It’s just, the people have chosen. They’re actually doing a sign in. It’s a whole thing. And I’m really usually a rule follower as what I do. And I respect the construct, uh, that is audition process and whatnot, I just try to be respectful of it. So, but I said to her, I I’m going to go. And she said, well, if you do go, don’t tell them we sent you. And I said, okay. So that was that. So day of  the audition comes a crash, the forbidden crash of the audition. And I was glad I did. It was all the hype was all the rage. I just remember there being a line outside then getting in and seeing all the familiar faces, your peers, your friends. We had a great time. I specifically remember though from this audition, cause I do have a bad memory sometimes, but this image is imprinted in my mind is that I remember auditioning and Justin sitting next to Marty and I’m right in front of him and his piercing blue eyes are just looking dead at me. Like I can’t get out and he’s just watching me and I’m thinking like, Oh my gosh, I really just have to, like, I just have to do me. I just have to go off. You know? And sometimes that can be very nerve wracking, but I honestly think, I just felt so deeply that this was my job that I was supposed to be there. That I really just enjoyed this moment. And I kind of remember what I was wearing. I was so basic. I had on some like loose jeans that were like a tie at the ankle, uh, with elastic at the ankle.  And I had a gray tee shirt on it. Might’ve been a ACDC gray T-shirt like, I don’t even know. I don’t know. It seemed like a good choice at the time. You know, I wasn’t like sparkly and glitzy and glamorous. It was Justin Timberlake. Let’s be honest. So I think it worked anyways fast forward to, I don’t even know, maybe it was a few weeks later. Maybe it was a few days later. I get the email that I’ve booked this job, which entailed at the, originally it was for a music video. Then it was for, you know, the VMAs then it was for tour. But I think at that time we did know that we were being booked for the tour if I remember correctly. But when I say it was the greatest feeling, but I shared this story because for two reasons specifically why this is a very significant story. is that Un-officially I was the only one from this audition that booked this tour.  And I say that meaning anyone else who was involved was either assisting him or part of a previous tour or chosen ahead of time. You know, that is what I mean by that. And I was the only person who one was not invited to, who didn’t have a relationship with Marty at that audition who booked it. And I’m very proud of that. And secondly, sometimes you just got to break the rules. Sometimes the rules are meant to be broken, but you have to use discernment. And you also have to know when that time is because you don’t want to just be out there running them up. But in this particular situation, I knew that was job. My spirit told me I just had to go for it and I’d have no other way. So cheers to being a rule breaker and cheers to going after your dreams.  

Dana: All right, everybody, I hope you enjoyed those stories. I hope you learned a lot from this episode and I hope that you head into this new and slightly different audition season, audition life feeling informed and inspired. Thank you so much for listening as always keep it funky. I’ll talk to you later. 

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, we have a way to become a words that move me. So kickball, changeover to patreon.com/wtmmpodcast to learn more and all right, everybody now I’m really done. Thanks so much for listening. I’ll talk to you soon.