Ep. #20 The Past, Present, and Future of LIVE Shows with Iggy Rosenberg

Ep. #20 The Past, Present, and Future of LIVE Shows with Iggy Rosenberg

 
 
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My guest, Iggy Rosenberg, has worked his way from NightClubs in Buenos Aires, to Crew Chief on the biggest concert tours of our time.  Then he flexed his creative muscles as a Lighting Designer in the concert and corporate worlds and now he is the Director of Business Development at Lightswitch a mega visual design firm.  That is more than 27 years of work on LIVE SHOWS.   In this episode, we talk about how Tour life has prepared us for Quarantine,  and how Zoom is to Dance as Kindle is to a books.

Show Notes

Quick Links:

 Iggy Rosenberg

Lightswitch

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 and welcome to episode 20. Thank you so much for being here. How are you feeling today? I am feeling appreciated. Yeah. Appreciated. I’ve been seeing new daily doers doing incredible things and I see some day oners that have been listening to the podcast since the very beginning that are well into their hundreds of daily doing, doing daily. I am so proud of you all and um, go back and listen to episode one if you have no clue what I’m talking about right now. Great. Also, just more broadly, thank you all for your messages, support, encouragement. I’m getting a lot of feedback via email and direct messages and tags on IG, so thank you for all of that love. I’m glad that you’re digging the pod. And if you are new here, welcome. I know that you’re going to find some grade a information and inspiration here, especially in this episode. I am jazzed about it, super confident that you’re going to dig this and I’m excited to get into it.

But first let’s talk wins. My win this week is that I’ve been wearing these um, blue blocker, like blue light blocking glasses and loving the way my eyeballs feel. Yes, that’s the thing that I consider is eyeball feel. Um, right out of the gate. This is definitely not a paid endorsement. I have no relationship with the makers of these glasses. Um, but I’m finding them super helpful and I thought that that would be a good one to share because light plays a huge part in this episode. Wink, wink, teaser, teaser. Um, so back to these weird blue blocker glasses. I want to first preface this by saying they’re not FDA regulated because they are not medicine. And there is honestly a lot of debate around whether or not they’re helpful or just hype. But the glasses I bought were only 17 bucks. So I figured I would just see for myself, see what I did there. See anyways, so I’ve been wearing them for about four days and um, honestly I’ve noticed some improvement by the end of each night. My eyes aren’t stinging, my head isn’t pounding and I’m getting to sleep super fast. Granted that could be for 100 other reasons. It very well could be a placebo effect, but for less than $20 I will take the sugar pill. If I think it’s working and it’s not causing me any harm, then who cares? So I have added these amazing to me glasses to our words that move me Amazon shopping list where you can find all of the other gadgets and gizmos and good reads that I mentioned here on the podcast and that Amazon shopping list can be found on the show notes to this episode, episode 20 on my website, theDanawilson.com So enjoy that. Oh, also a note, a word to the wise. I guess if you are editing photos or videos or working on anything where color is important, obviously make sure you check your work without the glasses on because they do change the way your screen looks pretty substantially. Okay, great. Lot of talk about glasses. Now you go, what’s your win? What’s going well in your world?  

Killer. All right, congrats. Keep crushing it. Okay. This week my guest is  Iggy Rosenberg, to put it very, very briefly. Iggy is illuminating. He got his start working in nightclubs in Buenos Aires. He’s from Argentina and has a great accent, unrelated. Then he worked as a roadie on big, big concert tours. Then he became a lighting designer and now he is the director of business at a major visual design firm called Lightswitch. Iggy has worked in just about every layer of live shows that there is and in this episode we peel back the layers and take a look at almost all of them. Without any further ado, here is my conversation with Iggy Rosenberg. 

Thank you so much for being here on the podcast today. Welcome and really quickly introduce yourself.  

Iggy: So my name is Iggy Rosenberg. I’m a lighting and production designer. I come from, I was born and raised in Argentina. I’m going to say this and I moved here in 2004, which seems incredible, uh, toured, for many, many years. Did a lot of rock and roll stuff, been around the world a few times. I’ve seen some really, really cool stuff. And then, uh, and then I made a break out of touring into the corporate world and I joined a design firm called, Lightswitch and last year I got promoted to director of business development. So I still design, uh, I still design a lot, I’ll never stop designing, but I’m, uh, I’m in charge of also finding clients and keeping clients and I’m finding new opportunities.  

Incredible. Okay. So your experience and training and skill set goes like many, many layers deep, um, all sides of the entertainment business. I guess. And I’m so curious about all of it. Maybe let’s start with touring. How would you introduce, or how would you explain the role of a crew chief to somebody that, and that’s what, that’s what you were on the road. How would you explain that role to somebody who knows nothing about being on tour?  

You know, you, you go, I think like any other job, you go through the levels, um, and you learn their systems and you learn how to build things. And then you go on the road and you’re the number five guy in a four man crew and you go up the positions and you keep learning. Yeah. Tours are an interesting beast and I think a lot of people maybe don’t realize that the actual touring party isn’t that big. Right? It takes a lot of people to build this. And the only way you can do this, especially with local labor, is to delegate. So you have a person that’s in charge of, like in my case, the lighting crew. And then we usually have like four or five people that work directly with me that they’re on the tour with us. Um, so we usually have someone that’s called it the Dimmer Tech.  He’s in charge of all the power distribution, all the cables. Uh, we’ll usually have a couple of guys that specialize in moving lights and repairing them and hanging them. But you have to keep that crew working with their local labor. So all I do is I will bounce between them to make sure they have everything they need and trying to stay ahead a couple steps ahead of what their next job is. Um, and then communicate with the production side, you know, with the stage manager, with the local store, with the production manager. So you’re kind of in between, between production and, and the sort of logistical side. The on the day I’m the worker bees running around building the shell.  

A lot more communication than I expected from that answer to be honest. Okay. So, um, I loaded out a couple of times. Um, yeah. Oh my gosh. Yeah, the choreographer for the tour that I was on insisted because I was a rookie. It was my first world tour with, um, JT. It was the future sex love show tour and the choreographer, Marty Kudelka, who I just had on the podcast said like, before this tour is over, you must, must load out. I had made friends with a couple of the carps by that point. So, uh, we did it. My, my best friend and I, Ava Bernstein on that tour, we load it out and it was a fully like four hour, the dirtiest my hands have ever been in my life at the end of that load out a beer and pizza had never tasted so good. It was, it was really hard work. So how much would you say of your time was split between the really hands on grunt work and then the communication? Like the delegation?  

Uh, you know, there’s a, I like to be active. Uh, I was always a climber, so I was, I would go up and climb on the rigs. There is a moment, you know, I know nowadays, especially now that I’m a designer, I, I’m not really allowed to push stuff around, um, for insurance purposes. Uh, but I tell people I’ve, you seen me with a harness, like something’s gone terribly wrong. Like if I’m climbing somewhere, like, like I always had like one truss to build or two, but I couldn’t spend too much time in that because the more time I spent heads down looking at what I’m doing, I can’t look at the team. So you, I had something I would help, I would jump in wherever else needed help. Um, but most of it was you just, it was a giant spiral. You just keep going between the teams making sure.  And a big thing is you’re just looking at the very big picture, right? Because the guys have their small picture and then the local stations have even smaller because they don’t know the tour. They just, that’s the first time they’ve seen it, that they, so you give them smaller bits to work on and then I have the bigger picture and then, you know, the stage manager has even bigger picture. So you kind of have to stay a few steps away from doing the groundwork. Uh, I do. And this is different shows and different tours at different mentalities where I came from, the crew chief, uh, would load and certify the trucks at the end, make sure that they were safe and they were loaded and you make the packs and you make sure because you have to load them in a way that makes sense on the way in. Um, so you, I would load all the trucks, uh, you know, most of the times or have someone help me with, you know, we could do multiple at a time, but that was the biggest sort of thing was dumping in the morning, making sure everything went to the right places, um, during the day, making sure that you, so you load in thinking about the load out. You can’t bury yourself cause then you’re, you know, you screw yourself in the end.  

Cool. I love this. Um, Oh it’s making me miss tour life. I think it’s very odd, very ironic that tour life is kind of a perfect training for quarantine life. I say that it’s, I say that as ironic because obviously on tour you are almost constantly surrounded by other people. But being on the road taught me how to communicate from great distances. Right? Like I was keeping in touch with my fiance, now my husband, with my family, you know, you get real good at FaceTime and Skype. My last tour was before zoom was cool, but you get good at communicating with people that are far away. You get good at communicating in general. But also how to live with less. Like you have two suitcases and, and you don’t have the things that you quote need like my blue bottle coffee or my trader Joe’s weird items.  Like you, you become far away from the things that you’re used to. And that is a reminder of how we can be resourceful and how we can live with less, which I think is a beautiful gift of this time. Um, but it also teaches you how to be adaptable and makes you cherish home, which is, which is something that we’re all, um, maybe getting a little sick of right now. But other than other than this like big picture muscle that you got really strong at, what are the other essential skills and mindsets that you took away from tour life?  

You know, there’s well, in general tour life beyond my role and I’ve always been a big proponent of this and I’ve always talked to my clients about this and until this day, I’m a big believer that particularly the live entertainment industry, unlike any other industry in the world where you can call someone that in any other job is your direct competitor. Like, like I’ve had production managers had to go to their kids’ weddings and they’ve called another production manager to come fill in for a week. And I said, calling the CEO of your competitor company to let come fill in and know that in a week like you’re going to come back and the guy’s going to go, well there’s your show back again. And you know that it’s okay. We’re all friends. It’s a community that really lives and breathes upon the relationships and the friendships that you generate. We’re very lucky to consider, you know, our clients, our friends, we treat them with the same level of respect. And sometimes maybe you say the things that we tell friends and, but that is, that is a big sense of community because you are, you know, somebody told me once we had a wardrobe girl that was, it was her first tour. She came from TV and she’s like, you guys are always so angry. I’m like, well, will you see us doing a load? And I’m like, you have to understand there’s, there’s, there’s 90 people that Oh one their stuff to be in the same place at the same time. Yeah. It gets kind of tense, but after we’re done it’s like, Oh, let’s go have lunch, let’s go have lunch. And everybody’s fine. Like there is no animosity. I mean it does happen of course, but, but that sense of, of, of cooperation and community is like the best thing that comes out of that. And then probably the ability to panic last.  

Ah, yes. 

After, after you see enough things go wrong. Yeah. I tell people that because I used to be, I used to be a very angry roadie in the beginning of my career and then nothing happened. It just stopped. It was a very odd, like, there wasn’t like an enlightened, like nothing, you know? No, no sun beam came down and like shone on me. Uh, but now one of my things I say is like, you know, if the stage is on fire, yelling at the fire isn’t going to make it go away. Like you either let it burn or you go get the fire extinguisher. So you learn how not to panic. And nowadays it’s like, yeah, fuck it, let’s fix it or not fix it. But let’s, you know, everybody’s stopped yelling and running around. It’s okay.  

 It’s okay. Yes. That, that’s the other, um, quarantine prep. That life on tour has taught me when you’re working on really tight timelines and relatively high stakes circumstances, right? Like, you know, the doors are gonna open at seven o’clock and 70,000 people are going to come in here expecting to see this show and X isn’t working. Right. So we, we’ve gotten really good at responding to things.  

Yeah. Like we’ve, we’ve had, uh, I had, I remember one of my first doors, uh, I don’t know why don’t exact, I don’t remember the whole thing. It was a while ago. Well we ended up with a bunch of smoke machine liquid on the stage. So the stage was I got a bit of a ice rink. It was either really cold or something. But yeah, I mean the dancers were like, we can’t do this anymore. So we had to go and spray Coke. And again, between numbers, like while the artist was speaking in the front, there was a bunch of guys behind like spraying Coke on the floor cause cause this is where like, you know, it’s, it’s impossible. It affects everyone.  

That’s a really good example of responding to emergencies with creativity. And like I, the Coke, Coca Cola is an interesting tool. I’ve used it in classrooms as well as onstage. Um, I remember a show with JT that we did the Stade De France. Um, it was an, it’s an outdoor venue. It’s a soccer stadium and it was raining that day, which made for a really like Epic performance of Cry Me A River. Um, but it also was really, really dangerous. And I remember right before the show when it was just like misting our wardrobe, head of wardrobe started off sticking sandpaper on the bottom of our shoes, like double stick sandpaper. And I was like, I’ve never seen nor would I have ever thought of that. It was a great solution. So again, tour life, preparing you for real life, let’s get creative, let’s solve problems.  

Tour life is ripe with opportunities to problem solve in a world where you’re doing the same show over and over, like sometimes hundreds of times. I’m continually continuously, continually, you know what constantly impressed at the number of things, even the number of new things that can go wrong. Another thing that’s unique to touring life as Iggy mentioned is that although it is a very competitive industry, there are so few people that get to do it and get to doing it really, really well. That when it comes to finding a substitute or a fill in of some sort, it’s not uncommon to ask your competitor to do that for you. Just imagine that for a second. So wild. It’s so wild to me. And that’s just the beginning of the, that is tour life. Iggy and I exchanged wild tour stories for quite a while, but you simply have to hear about who’s tour shut down a military airport. Want to take a guess if you guys correctly, I want to know that you guessed correctly. So send me a direct message, let me know words that move me podcast on Instagram. Okay, back we go.  

I toured with Paul McCartney for a couple of years. I couldn’t really understand the apeal of the Beatles and stuff. I just, it wasn’t my generation. I wasn’t exposed to it until I did my tour and I was like, I get it. Like I get the a hundred thousand people in a stadium, you know, and it was just one of those monster shows where you get charted everywhere. It was amazing. Uh, but we, we saw some weird stuff in the tour and one of them we do literally, they shut down an airport because the radar, it was a military airport and their radar, every time they swung around would turn off and on all the video walls. And the promoter called the airport and the military captain or whatever, the guy in terms of the military airport went like, well, you know, we’ll turn it off if that’s the case. And it was, and we’re like, well, you know, it’s an airport, but we’ll have to figure out what to do with it. He goes, well, I don’t know. We’ll just, we’ll just turn it off. We’ll turn both of them off. Nuts! 

That’s nuts. Holy smokes.  

Its Paul Macartney, he gets away with it. You like, people will do whatever he needs to, you know.  

Wow. The, the power, the power. Um, okay. So on the road as crew chief, uh, you got to know the artists. You got to know big audiences. You, you got to see shows like on the ground, and then you became a designer, sort of transitioned into the, the artistic side. Um, and you must have been up to your ears and software and tech and all sorts of things. I don’t even know come along with that profession. Um, could you actually explain the role and importance of a lighting designer for a live show?  

Yeah. And it depends a bit. I mean, now the things are a bit more combined. Back then there was a very big distinction between rock and roll and corporate and TV. Now, you know, everything has a camera. We all carry a camera with us. So, so we kind of have to light for everything. Like the essence of design is a, it’s the most elegant solution to a problem. So the thing is you’d have to reframe what your problems are. And for me there’s always three. There’s an artistic problem of how do we make this look good? How do we make the artists look good? How, or my now we do a little corporate, you know, how do we keep the brand and the theme of the show, there’s been, you know, the producers design a show and we have to keep that going. Um, how do we make them look good on camera, on to a live audience?  How are they comfortable on stage? There is a monetary problem, there’s always a budget. And how do we get the show with this amount of money? And that’s what a lot of our relationships with vendors come into play. Um, and then there’s a physical problem, which is I can design the biggest show in the world, all the money in the world. And if it doesn’t fit in the building or the building can hold the weight, then we go back to square one. So you have to balance all those, those three things. Um, some were in there and it’s not a problem, but it’s a thing you have to, there’s always also cooperation with other departments. You know, you have to talk to the video crew and make sure that, you know, our color temperature works with our cameras and talk to the sonic guy to know that he didn’t put a bunch of lights in front of a drape that’s gonna catch on fire.  Like a lot of times the older guys have to, they have a much more physics approach to things, to the situation. So kind of with the software tells them the speakers have to go, they have to go an something in front of like the, like the lights up the guys, but we have to move around, you know, you move two inches that way and I moved two inches this way and maybe we can make it work. So yeah, it’s a lot of balancing but, but I think those are the three main areas that we tend to juggle. So heat and as an audience member at a show, you might have no idea that all of that had to be considered. 

Oh, what else do you wish that people knew about what you do?  

Yeah, yeah. I can probably tell you, you know, like without lighting, it’s just, it’s just radio. But, uh, no, I think there is, and then maybe depends on where you come from. Is, is that whatever we do is for their enjoyment. Uh, I’m a big believer, I started in nightclubs in Argentina. I’m a big believer that people should attend an event and not go see one. So I tend to like the audience a lot more cause I want them to be a part of like, I think especially corporate after you’re there for 12 hours looking at a guy on stage, you want your environmental react to it. Um, but at the end goal is to help our clients tell their story and help the audience enjoy what they’re seeing.  

You talked a little bit about lighting for everything, um, in regards to TV or live or like a big stage show. Um, and then you referenced that being, because everybody now has a camera in their pocket. So has that made your job like exponentially difficult because things need to look good from all angles for all lenses? Like how do you even approach that task?  

Maybe not exponentially. It’s just added another layer that we need to balance. Um, there’s always been, and this is very probably very, very, you know, on the nose because you do work with, you know, you work in the dance community and there’s always been this little rift right between the techs and the dancers and, um, Oh, you know, we liked dancers so they look good for example, but we also have to make sure that they can see and they know what’s happening on stage. And then we’ve had many arguments many times of like, I can’t see the Mark and If l light the mark, you look terrible and you know, and then, and then we, then we have that second layer of what the audience sees. And then, and then we had to add, like there’s always cameras and I imagine, but it was never a thing. But now that since they’re there and they’re all HD and the screens are incredible, well, we’re going to like, so I like, usually I light my artists,  like they’re televised. Um, these iphones. They’re, they’re very forgiving, but we just don’t know. We don’t know if the CEO is up there doing his big speech, if he’s going to go backstage and watch it on a calibrated screen with a camera, the right angle, or if there’s an assistant that’s going to shoot the video that she showed in her iPhone, that from down here up his nose, you know, so it has to look good for everyone and people take these, they’re their memories. You know, nowadays, I mean, I don’t know if anyone goes back to look at it. I was scrolling through my photos and I was like, I can’t believe I still have these videos. I’ve never seen them. Um, but people have the intentions of good. I mean it’s, it’s part of our skillset to do it, so we should do it. 

Incredible. Great answer. Thank you. I’m fascinated at the difference. You’ve highlighted a few between corporate versus concert events. Um, what are, what are some standouts? Like what are, as far as your angle of getting a job done 

All right. Now this might come as a shock you, but I don’t spend much time at big corporate events. Even before the covid shut down. I was super interested to hear how, wow my wrist makes a snapping sound every time I twist it like this. The things you learn when you’re doing a podcast. Anyways, I was very interested to hear about how many factors a lighting designer has to take into consideration when they’re working for a big corporation. The audience, especially for example, a tour can blast an audience with light and lasers and strobes for an hour and a half and that’s fine. More or less, I mean, unless you’re pregnant or have other health conditions, but imagine being faced with that with like concert tour level lighting for eight hours a day for five days of a big conference or something. Oh wait, that’s basically Coachella. Okay, well imagine going to a yogurt land conference because if I went to a corporate event, it would be a yogurt land conference, but imagine a big yogurt studio event that was lit entirely red gross. Or imagine going to a big tech firms, new product reveal or a car reveal or something that’s lit. The way the play place at McDonald’s is lit. Very confusing, very not hot. So much respect to the lighting designers out there. Really consider that everything you see has been considered by someone else if they’re doing it right. That is okay. So now Iggy finds himself firmly on the business side of a business that is not so firm at all at the moment. Let’s hear Iggy’s take on the current state of live and in person events. From the business point of view.  

Three months ago, we, my schedule was so packed that I was going to be home for, I think it was something like five days and a couple of months. Uh, and, and in 48 hours living 40 hours, we went from that to not having anything for six months. Um, so that was, I mean, besides the, the, the whipsaw that we got from that, um, you know, we, what we see, we, we were very lucky that we managed to transfer a couple of shows to virtual shows. So we, we broadcast them. So we kind of, in a week we had to turn the thing that was designed for a live audience into something that was designed to be shot with zoom. And it was, it was that probably the one of the first, um, in this new era of, of zoom broadcast events. Um, and it was a show for Hyundai  uh, for a car reveal.  Um, since then, yeah, that’s gonna be the next few months is going to be film green-screen corporate shows. Um, you know, a lot of our vendors have built entire streaming studios in their, in their warehouses. There’s been a lot of sudden appreciation for a set of the technology that I think even us, we just didn’t have like bandwidth and how do we get all this stuff into a computer and, and how do people see it and then like who can see it properly? How does the audio work and stuff a week go through scale that, you know, where the money, you know, as much bigger than, than, and the pressure is much larger. Mmm. You know, we still, we, we get pinged a few times a week about doing virtual events and we try to navigate our clients through it. Um, you know, and, and a lot of it has, the sense of cooperation between parties has been huge because everybody’s suffering at the same time. This isn’t like the TV guys suddenly have no work and we’re doing great. Or in the recession back in 2008 where the touring market kind of kicked off a bit because people couldn’t travel there. People just didn’t have money there. So they couldn’t travel. So then we’ll go see shows or touring kind of became these mega shows that we have now incorporated disappeared cause nobody had money. Uh, now just nobody has anything. Nobody can leave their house, nobody can get together. Nobody has money. So it’s, it’s stuff but, but you know, industries have to continue working. Um, people still have to sell things and people still develop products and um. It’s the right thing to do. We’ll continue to do virtual events and we think that in the future we’re going to have some sort of hybrid thing where there’s going to be 10 people in a room with everyone brought guests and there’s going to be 50 people in a room and there’s going to be a hundred. And it will slowly tip her up to like, I don’t think it will be in, in a month. They’re going to go, ah, everybody in that stadium, let’s go. Like it’s just not going to happen.  

All right. I had to jump out here because Iggy mentioned something very interesting that I hadn’t really considered before this moment during the recession in 2008 I was coming off of my first tour with JT and I started working almost immediately for Cirque de Solei and some of you are going to hate me for saying this, but I’m saying this because it’s an interesting observation. I think it’s worth shining some light on, sorry, I can’t help myself. These puns. Anyways, I didn’t own a home at the time. I didn’t even have rent. I’d gotten rid of my apartment right before we started touring and then Cirque housed me in Montreal for a short period and then for another short stint in Vegas. And as a humble dancer and dance teacher, my humble bank account was more or less immune to the wiggles and wobbles of the needle in terms of America’s economy. That’s how it was at the time anyways. Okay. I’m totally speculating here and you could probably shoot a million holes in my theory and please bring it, but my guess is that tour’s did relatively well in 2008 because a people couldn’t afford to travel, so they were willing to save up and shell out for the big shows that traveled to them, especially the shows that scooped them up into another world, a world where they felt sexy and cool and rich and free from all of their worries and stuff. It’s not uncommon actually. I think people use entertainment, music, movies, concerts, comedy shows, other shows, wink, wink to buffer negative emotions. Yeah. That was me raising my hand. The office was my drug of choice several years ago. Man, those belly laughs and even tears really helped me ignore many of the negative emotions that I really should have been processing. So raise your hand if you’re spending more than average or more than a healthy amount of time buffering with Netflix these days. Yeah, entertainment, whatever the platform, whatever the mode of distribution will always survive. We’re like a cockroach. Okay, let’s file that under similes I will never use again. Okay. Back on track. Back to my theory. Part B of this is that I’ve noticed that most parents will make big, big sacrifices in order to preserve the quality of life for their children. So as a dance teacher whose bread and butter came from teaching kids between seven and 17 again, yes, I did see a bit of a change during 2008 but I was far from out of a job. People worked really, really hard to keep their kids in dance class to keep their kids around dance and art and entertainment because those are the things that bring us joy. Those are the things that enhance our quality of life. Our covid crisis circumstances are quite different in the sense that travel, AKA touring and training and entertainment industries like movies and amusement parks are among the hardest hit. But the silver lining and you know that I have a silver lining, is that entertainment is as good as immortal. As long as there are people, there will be stories to tell and as long as there are stories to tell, there will be dance and theater and jokes and film and so on and so on. Okay. So that is my theory. Like it or not. Let’s jump back in now and talk about the future of entertainment and stories, specifically books.  

What I’m experiencing in dance in my work as a choreographer and as a teacher is affected in several different ways right now obviously, no, I’m not going on a tour at the moment. Um, and I’m also not going to any auditions at the moment and there aren’t, I know of a few, but there aren’t as many commercial opportunities. Um, I have heard of a few really interesting commercial shoots where production is, is delivering equipment to the homes of the talent and then the talent will shoot it themselves on whatever the camera, probably an iPhone or something, um, that they were sent. And then somebody from production will pick it back up when they’re done, sanitize it and get the data off of it and make, make a thing. So  

Brilliant idea. Yeah, I’ve never heard of that.  

I think there will be a lot of creative ways and like you mentioned a lot of ways that we get to work together to try to solve this problem and it’s all of our first time we are leveled and humbled by this unprecedented thing. But, um, the other area that I wanted to take a look at is this teaching for, for me and training for most professionals and for aspiring professionals is getting a huge punch in the face right now because most dance classes are not one-on-one. Most dance classes happen in person and in huge groups. So what we’re seeing, especially I think zoom is probably right, the most utilized zoom and Instagram live, um, for training right now for dancers. But, uh, on both of those audio lag and video quality are huge issues. I have basically no way of knowing that they see the right time. And timing is, is, is a big part of what we do. I won’t say that it, I won’t say that it’s everything, but it’s a big deal. Um, have you seen or do you have a futures glance at solutions to those types of problems?  

No, it’s funny cause we, we talked about this and especially, you know, I still have a couple of dance classes was very obviously off sync I’m not obviously not a dancer. So if I can tell, you know, like it’s pretty obvious that it’s going to be pretty awkward for people to take that class if that happens. You know, we sync stuff constantly, uh, through video. Um, I think that this keeps growing. There will be a point and this may exist and I may just not be aware of it. Then maybe there must be a way that you can on the front side, sync up the sound. 

Even when you are live, like at a concert stadium, what your eyes see is definitely different than what your ears hear, especially if you’re in the nosebleeds. So in a way, this isn’t a problem that’s exclusive to zoom 

Sound sound guys have to take into consideration delay and fades or, yeah, constantly. I think that the problem where the internet comes in is that everybody has a different, it’s not a controlled environment as much as concerts. I’m not controlled, but everybody has different internet providers and speeds and qualities. Yeah. Well I’ve thought about it lately. I think that that’s going to become a thing. And again, it may exist. I may just not,  

Speaking of it may exist. My husband and I watched minority report last night, which came out in 2008 but it takes place. The story takes place in 2050, something like 20, 50 something. So the, the distant but not unimaginable future. Um, and my husband and I like to joke, it had been a while since we’d seen it. It was not our first time watching it, but it had been awhile. We now are calling it acrylic report because all of the tech in that movie is made from Plexiglas. Um, and like not even that great looking, just like everything is acrylic hysterical. But, but there were some things that I think they really got right. For example, there’s this, like your irises get scanned and people are tracking your location and using your eye scan to target advertisements to you in a way that’s already happening. Right? Like my phone knows where I am and they know what I’m looking at and that information is being used to sell me things. Um, but one of the things that happened in this movie that, that particularly caught my eye, and I’m wondering if it is happening already, probably is, is this idea of nightclubs with individual pods where humans go in and have a virtual experience, whether it’s acting out some fantasy, be it awful or pleasurable, um, or something like I just want to go into a room and feel flattered for a second. I want people to tell me nice things about myself or I want to be the pop star for a change or, right. Um, now it doesn’t seem like that is all too far off. Do you know of things like that already happening? 

Right. So speaking of the business, um, you mentioned that your firm Lightswitch is really committed to coming out of this. And by this I mean, um, Corona times, uh, coming out of it better than you went in. So you might not come out of it with more money, but you’ll come out of it with more skills. Um, how is your company and then how are you focused on that?  

Well, you know, we were, we were kind of in a bit of a transition. We have, uh, we’ve, we’ve all used the same lighting system for, for a while now, uh, in the company, the new system, the new console came out, uh, right before this happened. Um, so I, you know, I just, I spent the last couple of weeks, you know, getting trained on it because I, you know, unfortunately I don’t have one, but, but there’s an offline version of pages in the computer. So I’ve been learning how to use it. Um, and a lot of it has been just talking to one another and Hey, what are you doing and how are things, and I met these, not necessarily a skillset of something technical, but keeping everybody grounded and, and you know, connected. And so a lot of, you know, happy hours and emails and keeping people at bridge and help with people with, you know, a lot of our, a lot of our people have, um, small companies, um, and they’ve been trying to get the loans that we have from the giant chain amongst lighting designers of, of, of, you know, my bank did this and my bank did that. And how did we get this protection loan? Um, I’ve been reading, I mean, I used to read a lot as a kid and then I stopped when I discovered the internet ruined me, but I moved a boomer myself. I didn’t know that I could, I could stay up late and watch TV so they didn’t have a problem. Uh, but I mean, I’ve been reading for graciously since this started. Um, which is good. I have a ton of books that I’ve always like half read, so I’ve been finishing them off. Um, yeah. Yeah, I mean, it’s just a lot out. There’s, there’s only so much we can do training wise, you know, online without the gear. But, you know, we’ve, I’ve been talking to a lot of manufacturers about, you know, stuff that they’re doing, um, helping them with their marketing. And a lot of them I’ve trained, I’ve changed their marketing from just advertisements and selling to, to teaching up and coming designers how to do stuff. So we’ve, we’ve done a couple of those and we’re going to continue doing them. Um, yeah, I mean, maybe we just come out of better people. 

Um, I’m so glad that you brought up books. Uh, I was having a conversation with my husband before this interview and, um, he’s an engineer and an artist and many, many things. And, uh, one of his first projects, one of the things that made him, uh, famous is a book scanning machine. And this was years and years and years ago when, uh, digitization of books was really a hot topic for intellectual property reasons. And, um, he brought up a really great point, which was right now we’re digitizing our live product, which is my dancing, my classes and those things are becoming digital. So when people ask me, do you think this is going to kill classes? Do you think this is going to kill concerts? Like if people can have it in their living room at any time on demand, um, are they going to stop going to classes once classes are a thing again? Are they going to stop going to concerts once concerts are a thing again? And my answer to that, at least for now, yeah, is people still have books, right? People still touch books. People still read books. Yes, they became digital. Yes, that happened. But most of the people that I know and talk to still prefer the real thing. Um, they’re shareable. They are notated like you can write in numbers, there’s art to it and you can, and you can give them to one another. You can transfer them. You can like smell them.  

Don’t get me wrong. I do have a Kindle and I read them. I can though, which came out of touring because when I started we didn’t have Kindles and I would have a suitcase full of books and books are heavy. Yeah. So, so we do have Kindles. Yeah. Books are great. It’s good to have. I love that. Horrible chill. Yeah. I think it’s, I think it’s a helpful analogy to think of for, for those of us that are looking at this with a, this doom and gloom a thought that, that this means the end of a certain thing. It definitely, definitely means a change. Yeah. We’re adaptable. I mean, if anything, humans are incredibly adaptable. Right. Um, and we like connection. You know, we’re not, we’re never not going to go and try and share a concert of music and our favorite band and the mindset that comes with it. Um, which is not the same if you’re going to living them by yourself. I mean, it happened. It may have to happen. Um, there, there may be a good side to this and how we reach people, how to communicate with people, but I think people will always want to go to a concert or a show and, and talk to other people in the hog and, and express their uniqueness and how they dress and that kind of stuff.  

Yeah. Oh man, my dressing has gotten very unique for these last months. And by unique, I mean, Oh, I wear whatever in the heck I want and then I wear it for five days straight. Um, well thank you so much for sharing your insights, your expertise. I’m just, I’m floored and always very interested to talk to non dancers, but people that have had a similar experience, whether it’s on tour or in problem solving, which is what I believe this whole creative game is about. Very, very cool. Thank you very much, Iggy, for taking the time. Yeah, I’ll talk to you very soon, I hope. Bye.  

Thought you were done. No. Now I’m here to remind you that all of the important people, places and things mentioned in this episode can be found on my website, the Dana wilson.com/podcast finally, and most importantly now you have a way to become a words that move me member, so kick fall changeover to patrion.com/w T M M podcast to learn more and join. All right, everybody now I’m really, really done. Thanks so much for listening. I’ll talk to you soon. 

Ep #9. 3 Words That Changed My (Dance) Life with Jason Bonner

Ep #9. 3 Words That Changed My (Dance) Life with Jason Bonner

 
 
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Episode 9 will leave you feeling fine. Personal trainer to the stars, Jason Bonner is on the podcast to talk motivation and excellence.  These words will help you take your work to the next level whether you’re in the gym, in the studio, on screen, or on stage.  Warning, you may leave this episode feeling very VERY motivated to make things happen.

Show Notes:

Enter our instagram contest!

https://instagram.com/wordsthatmovemepodcast?igshid=ctagczvve4kf

Transcript:

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

Dana:  Hello, hello friends. Welcome to the podcast. We’ll come back if you’re a recurring listener and welcome, welcome for the first time. If this is your first time listening, I’m stoked to be talking to you today. I’m very excited about this episode, but before I get into that I want to talk about something else that I am very excited about and that is the Instagram contest that we are having right now. We definitely are wanting to spread the words that move me and make sure as many people find the podcast as possible. So to do that we’re having an Instagram contest and I would like for you to take a look at all the details @wordsthatmovemepodcast on Instagram. It’s in our story. It has a special little album there. I think I’m using the right words all of a sudden I am not the master of Instagram anymore. I’m learning and I’m right there with some of you as I learn. Anyways, I’m very excited about the contest in order to see all the terms and the ways that you can win and also the things that you might win. Make sure you follow us on Instagram. That’s going to be the best way.. Well it’s the only way to be a part of the contest. Um, and it’s the best way to make sure that you are playing by the rules. Although occasionally I do recommend breaking them. Okay. So in addition to the contest, I also want to clear up a few things. Cause the other day I ran into a human being, an actual human in the flesh and she was like, Oh my gosh, I’m doing the daily challenge and I absolutely love it. I was like, that’s great. What’s your handle? And she told me her name, she told me her handle and I didn’t recognize it. I was like, I don’t think I’ve seen your project out there. And then through a little bit more digging, we discovered that she had been hashtagging “daily doing” instead of hashtagging “doing daily” And honestly you guys, I think I’ve probably said it both ways from the start of the podcast until now and this is something that is definitely worth a little clarification and carving out a special place for this. I want to see your daily projects.  

So I have decided to create a special hashtag, a bucket that we can put all of those beautiful things and that is #doingdailyWTMM as in words that move me. So if you are a daily doer, which is confusing cause I do say that a lot. If you’re a daily doer then you are hashtag doing daily. Yes. It feels really good to have that cleared up. Excellent. If you have no idea what I’m talking about right now, that is probably because you haven’t listened to episode one or episode two where I pose the challenge to all of my listeners to take on a daily creative act every single day. For some amount of time, preferably an amount that’s slightly longer than what you feel comfortable taking on. I promised myself I would make a video every single day for 365 days and I did it plus some. It changed my life. And I know that a project like this can change yours. So jump on over to episode one and two after listening to this episode and happy making, I’m so excited for you and for the ways that this can change your life. Hats off to all of my daily doers. Keep the hashtag doing daily. This is how I remember it by the way, hashtag doing because the doing is the important part. #doingdailyWTMM now let’s get into it. 

I’m stoked about today’s episode because I got a chance to catch up with one of my favorite people, Jason Bonner. Jason and I met when I was a dancer on tour with Justin Timberlake in 2007. So this was the, um, future sex love show tour. I was 20 years old. I turned 21 while we were on the road. Um, so I’m this tiny young danceling and this man who at the time was Justin’s personal trainer became my trainer as well and a very, very dear friend.  He’s one of the relationships that I made on that tour that has stood the test of time and is still um, a great friend and inspiration to me up until today. So I got to catch up with Jason and I have to be totally honest with you. We talked for over two hours and a lot of that talking is actually just cackling like words and sounds that you would need subtitles to understand. So I did edit this episode down into some really good digestible chunks of information and inspiration and I really hope that you dig it. Okay. Before we get into the words with Jason, I want to explain the being that is Jason, I want you to imagine a life scale GI Joe, like actual man sized GI Joe and then turn that up to X. Like, he probably isn’t, but it feels like Jason is eight feet tall and his like the circumference of his bicep is probably the circumference of my thigh at its widest.  You will probably hear in this interview him slamming his hands on the table and the microphone responds to that a little bit. So I do apologize. This is my first phone interview ever and I’m still learning a lot about that technology. So bear with me on the learning curve. Also, did I mention I am coming to today from my hotel, actually my hotel closet in Las Vegas, Nevada, which is where I am working right now. So I apologize if the sound is different or if there’s an occasional passer-by in the hallway, a door slam, a weird pipe sound. My pipes are making weird gargly sounds. I can’t explain it, but I think we’re safe. I don’t see any water anywhere, so I think we’re safe. Anyways, all sound aside. I’m very, very excited to share this conversation with Jason Bonner. So let’s dig in.  

Dana: Jason Bonner! I am so excited about this call. Really, truly, utterly. I can’t even handle it. Um. All right, so, the podcast, because it’s young and I want to tell you a little bit about the podcast and our listeners. Its primarily about creative careers and making art in entertainment. So some of my guests might be confused as to why I am speaking to personal trainer to the stars and I would tell them that is because you are much, much more than a personal trainer to the stars. So number one, please introduce yourself, all of your interests and all of the many different hats that you wear. 

Jason: How are you doing Dana?  My name is Jason Bonner, whether it’s training, whether it’s life coaching, whatever it is that I’m doing, I really love helping people. And through my friends in industry, the people that know me, they call me like the Jack of all trades because I really can do whatevers thrown at me. So I do everything from training to styling to image to branding for an artist, this is actually what I do. I kind of wear many different hats. I’ve done everything from A&R record to written on records before, as a writer. In it past eight months or so. I’ve uh, I started a management company. I have a two artists that I manage and a songwriter. And I wrote a film, with one of my best friends. About something that happened in my life, true story. It’s a comedy. So we’re in the process of getting that done now, so excited about it. The movie is basically like a mixture of Friday and Ferris Buller’s Day off. That’s the best way I can describe it. 

Dana: I want to live at the center circle of that Venn diagram that is exquisite.

Jason: I am, I’m beyond excited about it because it was something I didn’t really think about getting into. Oh. So it just happened. Mmm. The working out  on is really the easiest part of it. That’s like the easiest thing to do. Um, I work with, uh, Josh Groban, the a Joe Jonas, Frank Ocean, hit boy, Bruno Mars producer Rob Knox. This new kid. Aaron Wright, he’s amazing You hear about him soon? I worked in Luke James. Mmm.  Another producer named Monsour Producer Harvey Mason Jr before? I’m actually working with Chris Stapleton right now. Amazing guy. Flat out. Amazing. Mmm. I take it very seriously because I was on my way to be a pro athlete. Before, I got hurt. So I’m very competitive when it comes to what I do when I work with somebody in that capacity. Whether it’s training, whether its, branding whether it’s you know, conditioning for shows or whatever we’re doing. I’m really serious about it. And part of it is, you know, when you’re working with artists and people you’re close to, you kind of have to read them and understand the mannerisms. So part of why it worked so well with the people that I work with is because I studied their habits, I studied everything about them. So like, like for example, um, I’ve been working with Justin Timberlake since, the year 2000 so I pretty much know like the back of my hand. Like I can walk into a room and tell him, “you need something to eat or you need to go to sleep? Mmm. Anything. Literally anything.” 

It’s true. Jason is a great study of subtlety and human behavior in general and I think he gets a lot of that intel from movement specifically like posture, someone’s walk , their body language, their performance at the gym or their performance on stage. He could almost always tell if something was off, like if something wasn’t quite right and some of the time he could tell exactly what it was, whether it was not enough rest or too much rest occasionally or homesickness, relationship drama, family drama and by family drama I of course mean tour, family drama because when you eat, sleep, breathe, work and play together, that’s exactly what you become. You are family. So Jason’s eye for detail and like Olympic level people watching skills are what taught me that you don’t need to perform all the time. In fact, being a good audience member, being watchful that can help you do your job even better than all of the, all of the uh, exporting, right. Do a little importing. Just sit and watch. When I was on the road and training with Jason, his type of watchful felt a little bit like, um, like a law enforcement officer or like the way that a teacher watches over their classroom taking a test and they’re like looking to see if somebody is cheating or passing notes or something or a little bit like a referee watching a game like very, very closely. But I really think there’s more compassion to Jason’s style of watching. And actually one of my favorite things about becoming a people watcher thanks to him is that it helps me feel more compassionate towards others. And I like that. Okay. So now we’re going to talk a little bit more about my first tour and Jason’s style of quote, compassion, which is a special brand of no BS. Tough love.  

Okay. So I want to really quickly go back to the year that we met, which was, um, I believe it was 2007. The future sex love show tour. And I was a dancer and I assisted the creative director and choreographer, Marty Kudelka on that tour. I was 20 years old and I was green. And I remember meeting you and you, you make quite an oppression, quite an impression on a young lady, um, because you are so certainly who you are. And I remember at that time, I’m still figuring out who I am and I, um, I had these ideas about what a personal trainer to the stars was and you certainly look like that. Like you look like that guy. But I remember being very taken aback by how generous you are in giving your attention, your time, your talent. And I was very interested in getting healthier, getting more fit.  And I remember you, I remember thinking that a personal trainer was a certain thing and that I would have a whistle in my ear at 6:30 in the morning and you’d be a drill sergeant and you’d be like, banging down my door, get me to the gym. And you really weren’t that. So I would like to hear a little bit about how you encourage people into their own greatness without being a drill Sergeant and a heavy hand, even though you look tough. Mmm. And it was your voice in my head when I was like, no, get to the gym, get to the gym. But you only showed up for me when I showed up for myself. And I would love to hear more about why it is that you, why you operate that way. 

Hey Listen! This is the only thing in life. Only thing in life, no matter how much money you have, no matter how much you think you have,  that nobody else can do for you, right? You have to do it yourself. Like there’s, there’s no way around it you have to do this for yourself? So it’s one of those things where it’s like, listen, I could yell at you, I can scream at you, I could get mad at you, whatever did you face, whatever. It’s not going to matter if in your head you don’t want to do it. So I don’t care who you are. I can look somebody in the face and tell them you’re not serious. And there’ll be like, why is it because I know people, okay, who have that look that they want to change their lives. You don’t want to change your life? I say, so don’t ask me again or waste my time. Ask me something that you’re not serious about. So for me it’s like I don’t have the patience to deal with, with BS. So it’s just like you don’t take yourself serious. So why should I? Again, because I was a, you know, I was working on trying to be a professional basketball player. My drive for myself was very high. Right. So I learned how to channel into me, erm, at an early age, so when everybody else would be partying or people would be asleep in the dorm, I was up at five in the morning running stairs, you know, getting ready for the season. Mmm. In college, the basketball season. So I kind of took, well not even taken, I, I’m actually wired to, to be self motivated. So if I see that somebody has something in them, I feel like if I have the tools to help them get to that space, have the obligation to give you, if I genuinely care about you as a friend or as a family member, I’m going to give you this information so you can be great.  Um, so saying all that to say, so like when I got called to work with Justin for the first time before I met you, I meet with them in the first thing I say to them, this is a true story. The first thing I say to him, I said listen, before we start this meeting, let me tell you who I am. I don’t care about being seen next to you on TV, film, magazines, tabloids, anything. The only thing I care about is if you take this serious. I say, because I am very competitive and if my name was attached to you, I’m going to make sure I pull whatever’s out of you. I’m going to pull it out of you to be great. I said because of what I think thats inside of you. You have the opportunity and hear me when I say this, the opportunity to be one of the best people in music history. If you take this serious, I said, you have to come to a world where you make it. You have to make a guy like me, like you. And he’s only there because he has to bring his girl that he come see you and he’s mad. That he’s there to watch you, So I say, so whenever we do in the gym, we’re at rehearsal, dance rehearsal. If it takes you a hundred times a thousand times to get a dance step, right? You want to do it a thousand times still you get it right. Thats it. Because you don’t have the luxury to mess it up and that’s it. And , I said, so when you see that guy, he’s looking at you like this <inaudible> you have to get that guy to move. And I told him, I said, you can get that guy to move. You get the world to move. You hear me when I say that? If you get that guy to move, you can get the world to move 

Um, did you write that down? Literally one of my all time favorite ways to lock in an incredible performance is to lock in on one person. The one person that’s not feeling. It’s a game. Of course, I don’t know actual voodoo or like mind trickery, but after hundreds and hundreds of shows, I became able to get at least a smile and a step touch out of even the most unenthusiastic concert goer or chaperones as I like to call them. They’re the ones giving off the, Oh no, no, no, no, no. Um, I’m not here for you. I’m here for my girlfriend or my daughter or my wife or whoever. Okay. Don’t get me wrong though. There is something very, very moving about a room full of screaming fans, but if you can make the not a fan move, Oh my gosh, it feels like winning the lottery. It is incredible. Although I have never actually won the lottery, so maybe that’s not the right analogy. Also, I’ve never actually bought a ticket. I’m getting off topic. Okay, we’re back. Okay. Let’s get back into working out with Jason and the three words that changed my dance life forever.  

I remember a lot of our workouts. I remember your pushup routine that I still do occasionally. I remember you bench pressing me as your weights. I remember, um, frog jumps. Is that what we call it? I don’t remember. I got so ridiculously sore that I couldn’t dance and I had to like dial it back. But this one moment it was not workout related. This one particular show during the 20/20 experience, um, I was, I think I was under the weather. I was either like physically sick or maybe homesick. I don’t, I don’t remember exactly what I was going through. But I came to you as I often did and I was like, yo, Jay help me get through this show. Like what is going to get me through the show tonight? I don’t, I don’t, I need fuel, I need juice. And you said “You only have three things that you need to worry about in this show. Three that is all, hips, lips and fingertips. And it sounds silly, but within that confined I found tremendous freedom. So by cutting my mind off from the things that were distracting me and focusing it on just three things. I was able to go so deep on hips, lips, and fingertips, and it was just so liberating. I think I delivered one of the best shows of my life that night. Um, what other wisdom might you have for people that are feeling less than.And that can help us focus into being more than. 

Well, my motto is I’ve been saying that since I was a kid. If you stay ready, you don’t have to get ready. Because you have to be prepared for whatever’s thrown at you in this entertainment business at all times. You know, you’re gonna have random sleep. You know, you’re gonna have random food. You know, you don’t know if the hotel beds going to be comfortable, well, you don’t know. Did she just prepare for anything? If your show was two hours long, then we’re training for three hours? The main thing is to get your mindset ready for anything. This is always my answer is always do you have to program your mind to already be ahead of whats about to happen to prepare yourself for anything. If you’re the sports team and the star players coasting everybody on the team is not going to give that kind of effort. You have to give the effort to set the example.

I think that’s an important note because not only for the leader or the the front man of the group, but for everybody in the group because you’re leading somebody, whether you know it or not, someone is looking to you for the tone, for the vibe, for the energy. It might be a fellow dancer on stage or it might be somebody in the audience. I think setting a bar, setting a high bar is so important. It’s why people are drawn to you. It’s why I was drawn to you. It’s why we’re still friends and I just, I can’t thank you enough for being so excellent.  

So being somebody that’s so, uh, face to face with popular culture all the time, do you have any recommendations for how to drown out the noise in terms of what people should be and how to reinforce all the lovely things that we are 

The biggest thing I would tell people is to understand your inner voice. And what I mean by that is the only person that knows what’s really going on in your head is you. And if you understand the field, or the business that you want to get into. Meaning, something tangible that can work in this space and you know your work and you really understand what it is then don’t listen to anybody but yourself. Your intuition is never ever wrong. It’s something that we are born with, that we have inside of us that connects us to everything that’s happening around us.  And if you really understand it and you really listen to it, you understand how much you’re in tune with the world and other people. But you have to be open to receive it. If you’re not open to receive it, then you’ll miss it. Listen to yourself. No. Then if you put a really, if you put your mind to something, you can do it with no problem. You just have to understand that it’s not going to be, nothing is a cake walk. There are very few people that are like  gifted to do certain things. It just give a born to do that thing and there’s nothing you can do about it. There’s just, there were born to do that thing. They were built for that thing. Body’s constructed for that thing. Their mindset, their feet, their hands, everything about it was built or that thing.  Most of the people have to work towards that thing. Even though you understand that you might have to work towards it. But some people are just gifted to do that thing. You know, it’s like by Kobe Bryant, his passing, he was built to play basketball. Everything about his body was built for that sport. It wasn’t built to play football. He was good for the sport of basketball. Michael Jordan, the same way. Certain people are just built for that sport. No. Um, and then you have an exception to the rule. Mmm. Like 

There’s always an exception

Ryan Williams who’s know, six, seven, six, eight 285 pounds. He looks like a defensive lineman and he jumps like he’s 160 pounds. It doesn’t make sense. So you have those anomalies every once in a while. But again, that’s just a gift that they’re born with. But most people, again, I understand it’s something you really have to study it.  If you want to, you know, learn how to be a great dancer, then you study with other great dancers. If you want to be a great artist, study with great artists, you have to be around people who are great, In order to observe, greatness, unless you’re just a freak of nature and you just born with that gift of whatever that thing is that you’re doing know. So like when my, my godson, who’s an artist, right? The only person who’s want to teach them showmanship is you like, you’re on what you’re already on. Are you already on my list of people who are going to be part of his team? Because because of what you are, he needs what you are. He needs you to teach him. That’d be a certain way on stage because he doesn’t know. Mm. Yeah. He can move. He has natural talent. He can dance, but he needs YOU.. 

Yeah, I am flattered and you know exactly where to find me.  

It is really, really cool to see how far time, talent and connections can take someone because over the years that I’ve known you, you’ve been so many different things to so many different people. I cannot wait to meet music producer Jason. I cannot wait to watch the movie that you wrote and produced and or directed. I cannot wait for the world to see these things. I’m just so happy to put you in touch with a part of my world. Introduce them to you because you’ve really helped mold me into what I am today. Thank you so much for doing this. 

You don’t have to thank me. You know i’d do anything in the world for you. I’m your family. You already know that, so thank you. I appreciate it. I’m glad I could help you. 

Oh by the way, I have on the podcast, I have a a sign off line. My sign off is “keep it funky.”

Oh, I like it keep it funky. 

Yeah. Okay. Keep it funky everybody. I’ll see you next week. 

Good. If You smell something, It’s just Dana. 

Ep. #7 Travel Hacks (Weekend Edition)

Ep. #7 Travel Hacks (Weekend Edition)

 
 
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Travel hack attack! Episode 7 is all about my tried and true tricks for travel.  It’s the what, the why and the HOW I pack, and the sweet secrets that can make a work weekend feel like a holiday!

SHOW NOTES

Quick Links:

Words That Move Me Amazon Shopping List: https://amzn.to/37BRUo6

Tsa Travel Checklist: https://www.tsa.gov/travel/travel-tips/travel-checklist

Sean Evans Hot Ones: https://www.youtube.com/user/FirstWeFeast

KT Tape Video Application for Knee Stabilization: youtube.com/watch?v=v2xYUxXrjxk(

Aesop Roll on fragrance: aesop.com/nz/p/fragrance/marrakech/marrakech-intense-parfum/

Theragun: https://www.theragun.com/us/en-us/percussive-therapy-devices/?gclid=Cj0KCQiA4NTxBRDxARIsAHyp6gChArAHN_xeRtKdGL93KTr0MuIZ9DWZjlI6VtTT9WEU8tqSZPQKz-0aAqZ3EALw_wcB

TSA Pre Check: www.tsa.gov › precheck

Global Entry: https://www.cbp.gov/travel/trusted-traveler-programs/global-entry

Clear: https://www.clearme.com/enroll/?p=GOOGBRAEX&utm_source=Google&utm_medium=CPC&gclid=Cj0KCQiA4NTxBRDxARIsAHyp6gAn6qWGeKqU1uMsDtqdO5lY8RyvU8Snj0j1d0_O84Jf_Zmg8_wYpyEaAvWJEALw_wcB&gclsrc=aw.ds

Transcript

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

Dana:

Hello and welcome back everybody. This is episode seven. Holy smokes. So much fun. Really digging the podcast, really digging, seeing what you guys are up to out there with your daily doing. Um, daily creativity is the name of the game. This episode, however, is going to focus on something that I get a lot of comments and questions about and that is travel. So moving but moving around the world, I get a lot of questions and comments from people asking for tips and tricks and how often I travel. Um, I would ballpark and say I travel, you know, probably get 20 to 40 ins and outs of airports every year, but that depends on my gigs. That depends on, um, if I’m on tour or working a really strong convention season or if I’m working on a film or something longterm, I’m probably not traveling quite as much, but ballpark 20 to 40 ins and outs of airports, that is a lot.  This podcast in particular is going to focus on a convention weekend type of travel. That’s a carry on. That’s a couple of days. That is intense. Yes, I will be talking about things that I love for sure, but I’m mostly going to talk about the way that I operate and why, but for those of you interested in hearing more about specific items that I talk about in this podcast, go to my show notes for this episode thedanawilson.com/podcasts and there you will find links to my Words that Move Me Amazon shopping list where you’ll find all of my favorite things and little comments about why I love them. Okay, so let’s get into it.  I like to travel light, but I really like to have all the things, so I wind up traveling kind of heavy. When I’m traveling for a convention weekend, I try to go carry on only, so that means I bring one roll aboard and one backpack. My roll aboard, by the way, is spray painted with my initials, REAL BIG because it’s one of those roller boards that looks like everybody else’s. So now mine has a gigantic D W on the front and on the back, which makes for very easy retrieval if it has to get checked. And I think it’s super chic and funky, which pretty much explains my fashion and my function. Now on a travel day, I try to wear my biggest items that makes more room in the bag and more warmth on the plane. I’m one of those types that gets cold on airplanes. If you see me at an airport, you will probably see me wearing fatigues, like my big army cargo pants. Wearing those through TSA practically guarantees a pat down, which I’m so not mad at. It’s kind of like a free shiatsu massage and no, I don’t ever get a private screening, but I’ve essentially another carry on worth of stuff in my pockets. What’s in my pockets? You might ask the essentials, you know, wallet, phone, AirPods, um, Burt’s Bees pomegranate chapstick. I love a pen or a pencil, my fire incident report all weather notebook and floss. I cannot think or speak or dance. If I have something in my teeth. It’s very important, always carry floss. And almost always pretty much always hand lotion because I’m really grumpy when I have dry skin and I prefer to not be grumpy. My favorite hand lotion by the way, does come in a travel size and it is called skin food by Weleda, which I think I’m saying that correctly. Not sure. Anyways, that’s what’s on me. Here’s what’s in my bag.  

In my suitcase for a convention weekend, I will need to have two dressy outfits. For me, it’s really the little things that make an outfit dressy and when traveling that is super convenient. For example, earrings, rings, scarves, lipstick, a headband, I recently got into headbands ever since I cut my hair. And as I say that out loud, I’m realizing those are almost exclusively lady type hacks. I would love to hear what my gentleman do for quick outfit upgrades. That doesn’t require a garment bag. Seriously though, I’m curious. Leave me a message on Instagram or the website because I would love to know. Okay, so that does it for the dressy outfits. Let’s talk sweaty dance times. Typically three classes a day for two days. I go through three shirts a day, so that’s six shirts and then just pants, you know, standard pants. I can move in, which unfortunately are usually kind of big, so you’d be surprised. The carry on gets full fast. Okay. Then I’m going to need a dance shoe and a dressy shoe. Dressy shoes for me are anything from a loafer to a combat boot. On a weekend I’ll probably wear my combat boots on a travel day and maybe I’ll pack a dressy flat. I’m typically not found wearing heels on convention weekends. It’s not because I don’t love them, it’s because they take up more room in a suitcase and because I don’t really love ‘em. I mean they’re okay. They really, they’re good looking. But I’m not really about being good looking on convention weekends. I’m about being high functioning. Okay. So let’s keep it pushing the socks get stuffed into the shoes and the shoes get stuffed into little plastic shower caps that they sometimes give you, um, for free at hotels. This is a hack by the way that I got.

Thanks to my mom. Shout out mom. Mom, you’re going to get a shout out on every episode. By the way, my mom was a flight attendant for many, many years. She started training with United airlines three days after she turned 20, which was in 1972 and then she retired in 2015 so math, that’s several trips she knows what she’s doing and she introduced me this little shower cap, shoe bag hack. Now I do want to say I try to not use all the plastics out there, but when I do, I re use them, as shoe bags. Almost always. Sometimes I use those weird grocery bags as shoe bags too. Anyways, the socks go in the shoes, the shoes go in the shower caps. Sports bras get tucked in between items and undies go in their very own mesh bag because God forbid I am living a movie and my zipper breaks open and my intimates go flying all over the airport.  It could happen but it won’t because mesh bags. 

All right, final note on what’s in the roll aboard. I just have to say, cause I know there’s a lot of conversation about this out there. Always be rolling. If you listened to episode two I mentioned always be rolling in terms of recording, like capturing with a camera. Always be rolling, but this applies here too. A fold is a waste of space, trust me, always be rolling. Okay. That’s what’s in my roll aboard. Let’s move on to the backpack. You can probably hear in my voice, I have feelings about backpacks. I could talk about backpacks for a very long time. I could probably start a spinoff podcast where I just talk about backpacks. I’m trying really hard to keep this not a backpack review. This is a travel podcast. Please. Dana, please don’t spend the whole episode talking about your backpack. I really could. We’re just going to talk about what’s in it. What is in my backpack is all of the stuff that I cannot live without, my computer, my favorite cameras, which are at the moment, a DJI pocket Osmo, which is essentially a steady cam that fits in your pocket, especially if you’re wearing fatigues, but don’t get me started on the lack of pocket in lady pants. It’s inexcusable and really frustrating. Why can’t we just have pockets that run the normal depth of a normal pocket or normal human hip? It’s ridiculous. Okay. Moving on my Canon VIXIA mini, which I also mentioned in episode two and my Insta 360 if you only have time to take one photo, it should be a 360 degree photo because it captures everything. It’s really the best. Okay, so I’ve got all my favorite cameras. Of course. Then I have to have all of their charging elements and batteries, card readers, adapters, et cetera. By the way. I have a lot of that now since I upgraded my computer, which was like 104 years old, so now I have the new MacBook pro and now I need a USBC adaptor for literally everything. Also frustrated. Wow. I’m getting really heated about my everyday carry. Oh! speaking of heated, also in my backpack. Baby Tabasco sauce, baby meaning travel sized, not baby meaning hot sauce for infants. Right now. My husband and I are very into hot sauce. Shout out Sean Evans on hot ones. Man, you are good. That show is so good. YouTube series. Check it out. Favorite episode, probably Paul Rudd with runner up Charlize Theron. Hope I’m saying that right. With second runner up. Probably Shaq. Maybe tied for, tied for second runner up with Gordon Ramsey. He was a hot mess. No pun intended. Okay. 

Other stuff that I have in my backpack staying focused here.  KT tape. Kinesiotherapy tape. Wow. I really cannot say enough about KT tape. There are days when it is the difference between dancing in pain, and dancing completely pain free. I’m really, really a big fan of KT tape. You do need to be sure that you’re taping correctly though. I’m going to link to my favorite knee taping method for knee stabilization. Uh, okay. So on the subject of pre-hab rehab and in general pain management, I travel with a 14 inch Tigertail which is a rolling massage stick. Um, I’m going to link to that in the Amazon cause it’s kind of hard to explain, as well as a travel sized foam roller. The one that I use is by a company called go fit and it looks like they don’t make the one that I have anymore. Mine is red and it’s hollow, which means I can actually put the tiger tail and anything else inside of it makes it much more travel. Um, and it’s, it’s small. It’s uh, 12 inches I think. So that one fits in my backpack. The other travel sized ones from go fit that I’m seeing online right now are not hollow. They have some sort of HDPE which is high density polyethylene, some kind of plastic on the inside so you can’t stuff them, which makes them w like basically useless as far as I’m concerned. Let’s see what else, what else? Um, Kay moving right ahead. What else? What else? Oh, my favorite role on fragrance because these weekends can really bring the funk out of you in more ways than one. My favorite role on fragrance is actually the only one that I’ve found that doesn’t leak when I travel. And that is Aesop’s Marrakech intense. Not cheap but lasts for ever and doesn’t leak. So come on. Win-win also smells fantastic.  

What else? We have, oh, a personal reading light because I have tried to get more in the habit of reading pages, not pixels on airplanes. And I don’t like to interrupt my, um, airplane neighbors with my bright, bright light. So I keep a personal reading light. Also, a lot of colored pens, uh, rarely use them, but I’ve got them. Also really old tea. I guess I’m a hoarder whenever I see interesting tea, I just grab it and put it in my backpack. I’ve got like four or five different tea bags in there, but they’re very thin and they’re individually wrapped and you never know. You can find hot water just about anywhere and then all of a sudden you’ve got a cup of tea. Okay. Also, Oh, in the same pocket that I keep my tea, I keep my glasses. They’re in their very own hard case because you know, accidents happen.  

Speaking of accidents happen. I also carry ibuprofen all the time. And um, for the emotional inflammation, a bar of dark chocolate almost always have dark chocolate on me. 85% or higher preferred. Um, I like things that tastes like asphalt it turns out. Trader Joe’s has a 100% dark chocolate bar called Montezuma’s absolute black. Um, it is exquisite. Really, really love it. A warning though, it is not for the faint of taste buds. Pretty heavy duty, that guy. So that pretty much covers the packing element. Now we’re at the airport. Let’s talk TSA for a second. Woahhoo. Favorite subject. Really quickly. I want to do a compare and contrast of TSA precheck versus clear versus priority boarding versus global entry. I’m excited about this.  

They don’t have clear at every airport, but when I lived in the Bay area, SFO and SJC San Jose both had it and Denver has it as well. That’s where I’m from. I’m in and out of there a lot. So I was a clear member for a couple of years. With clear and I don’t remember how much my membership was. Darn it. Darn it. Maybe a hundred bucks. ** (Edit note its $179 for 12 months) You go straight to the front of all lines. You just become the first person. You walk right up to the agent, you give him your phone and your ID and you’re through. Oh, but you do have to give them also your fingerprint and I don’t know what they’re doing with that information. Full disclosure. So that’s clear. 

TSA precheck. You would think that I actually liked the feeling of watching all my friends fly by in the TSA line while I wait for a long time in general boarding. I have never had TSA precheck and that shocks everyone because I travel so often. Here’s the thing, I tried to get it once I missed my appointment, complete fumble and I just never recovered. So TSA precheck, which is $85 for five years, means that you don’t have to take your shoes off. You don’t have to take out your liquids bag or your computer. Um, and you get to take the shorter line. Although I have noticed at least of late, there are so many people that are TSA precheck. I’ve found once or twice that the general boarding line is shorter, but most often they’re about the same. It’s just the TSA line moves away faster cause you don’t have to take your shoes off. You don’t have to take the stuff out of the bag, you don’t have to take your computer out. So on and so forth.  So that’s TSA precheck. 

All right, moving on to global entry. I’m not gonna lie, I didn’t know a lot about global entry, but I just signed up while I was preparing for this episode. Global entry means $100 for five years. It comes with TSA precheck and you get expedited entry at customs in foreign countries, which is definitely part of my plan in the next five years. Also, my capital one venture card covered this fee for me, so yahoo, free global upgrade. Super, super cool. I find this to be way better than simply paying to upgrade through your airline. In other words, if I buy a general faire when I check in, some airlines will let me upgrade for $70 or something like that and that means I get more leg room priority boarding and occasionally at TSA you’ll get your own premium boarding lane occasionally.  So first that’s expensive. Second, it’s not consistent. I really think this global entry thing is the jam. I’ll let you know. Stay tuned. 

All right, so now I’m up to the TSA podium. I have to say my TSA choreography is very refined. My shoes, the bins, the water bottles empty. I left all my knives at home. I am very well rehearsed. The hardest thing for me about the whole TSA system is being patient with people who aren’t as well rehearsed as I am or with the occasional grumpy TSA agent. And by occasional I mean frequent, but yo, I get it. We all have our days. My husband actually gave me the best tool for coping with my, um, we’ll call them mood swings as I go through TSA. It is truly the funnest game ever. So here’s the game. My toes inside my shoes will either Yahoo like cheer or boo people based on their etiquette going through TSA.  

Sometimes I do this with hairstyles as well. I’ll just like my, my little toes will give like jumping in and out of their seats like yahoo. Um, lots of vertical hops, hands in the air. My, my toes by the way, have hands now or they’ll give like big thumbs down to people with poor etiquette or people with crazy hair. So now you know what me and my feet are going through while I’m going through TSA and for all of you infrequent flyers out there that my toes might be booing at, please check out and I avoided doing this, but I’m glad that I did. Please check out tsa.gov/travel/traveled-tips/travel-checklist. Whoa, a lot of really good pointers about traveling and exactly what you’ll get stopped for and what will slow you down going through TSA. Okay, I know that was a lot. It’ll be in the show notes. Check it out. Also, do not forget to remove your theragun from the backpack. Did I tell you that I have a third gun in my backpack? I think I left that out. I travel with a theragun now. It was an awesome Christmas present. Shout out SIS. So I keep that their gun on me, not because I’m going to use on the airplane, but because the battery doesn’t come out and I don’t want that to be in my checked bag if I do actually have to check my roller board. So don’t forget to remove your theragun when you’re going through TSA. It is an electronic device larger than your cell phone and it also happens to have gun in the title. So TSA, a no-likey

Once we are past TSA, your travel experience all really depends on the airport and the terminal that you’re at. I want to quickly shout out lax terminal one for now having an urth cafe that’s urth with a U.  “U R T H” cafe at terminal one. best. coffee. EVER. It is really the only argument for flying Southwest out of lax instead of Burbank. Also shout out Burbank airport. You’re the best. I don’t want to get too graphic here with this next bit, but sometimes travel can really mess up my digestion and by that I mean put my digestion on hold and I know I’m not alone. I’ve commiserated over this with so many people. Um, I have found that fasting on a travel day or at very least not eating airport food has really, really helped the way that I feel and the way that I flow on travel days. Okay. Speaking of flow, let’s get into my weekend survival flow.  

My biggest rule on these convention weekends is that I drink a ton of water. I travel with a 25 ounce fluorescent orange vacuum, insulated swell water bottle. Number one, it’s fluorescent so that I don’t lose it. This is my seventh reusable water bottle and , again, really trying to do my part to save the good old planet. I love my reusable water bottle. I love it so much because it’s bright, reusable and I don’t lose it. Number two, because on weekends I prefer to drink warm water for my voice and I don’t know something about it just feels better than cold water. Um, I do try to drink like four of those per day, if not more. So keeping the body hydrated, very, very important. I also hydrate my face. I travel with face masks. They are one of the like simplest and lightest traveled treasures that I could imagine. If you really want to take your spa game to the next level, keep your face masks in the little mini fridge or put them on ice. Oh, so good. I’m going to link to my favorite face mask, um, on the Amazon shopping list. It’s by KORRES and it’s like Greek yogurt face mask or something. First of all, I don’t think you’re allowed to eat this face mask, but I bet you could if you had to. You just might get sick and it would mess up your travel day fast. So forget about that. 

Also, hugely essential to my weekend survival. I’ve started traveling with an electric heating blanket, a very small one. It’s like maybe a little bit longer than a foot, maybe it’s a foot and a half. Um, and I use it to stay warm in between classes. I don’t teach straight through during the day.  

Uh, and the warm up, cold down, warm up, cold down can really take a toll on the body after a while. So I love using this heating pad to stay warm in between classes and at the judges’ table for those long judging shifts. Good for the hips, good for the low back. Good for the neck. Oh, so good. Okay. I did mention the theragun a second ago. This one’s self-explanatory and such a game changer. Love it. Um, let’s see what else. Ah, here’s another one. I am not afraid to ask front desk staff for a room on a floor with the ice machine and a room with a bath tub. If they need some coaxing. My sports medicine doctor has given me permission to use him as scapegoat. And I tell the front desk, I’ve got patellar tendonitis, which is true and I have to ice frequently and take Epsom baths. Ah, that reminds me. I travel with reusable silicone food storage bags. One of them comes in the suitcase full of Epsom salt so I get a couple couple of good bats out of it and one of them comes empty. And I use that to fill up with ice because if you know hotel rooms and ice machines, you know that those little baggies they give you for the ice there are certainly not meant for icing body parts. Leakage. I’m going to link to my favorite reusable silicone food storage bags on the words that move me Amazon shopping lists because they don’t leak and they are great and colorful and also save the planet. Okay, so I ice, I Epsom, I thrive. On the subject of thriving. I have gotten in the habit of no booze on Saturday nights. Now, after a long day of classes and a long night of judging competition, I’m not gonna lie a glass of wine sounds pretty good, but I’ve noticed that it makes Sundays way more difficult. So instead of having that glass of wine, I have a face mask or a bath and wow, that is discipline, right? 

Okay. There you have it. My convention, weekend travel hacks, short and sweet. I hope that these hacks are helpful for you. Whether you travel for conventions or not, please be sure to check out the words that moved me shopping list on Amazon and of course, leave a comment and review. Share it with your friends. If this podcast is helpful, let’s make it easier for other people to find and let’s keep it funky. UH. It’s getting more natural now. The more I say it, have a great day everybody. I will talk to you next week. Bye.