The dance podcast where movers and shakers like you get the information and inspiration you need to navigate your creative career with clarity and confidence. Master mover, Dana Wilson, taps into 15 years of industry experience, and talks to some of the best in the entertainment biz, who have been there and done that so that you don’t have to… do it alone.
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. Welcome to words that move me. I’m Dana and I am so stoked that you are here. I’m stoked to be talking to you. Number one, because the subject matter of this episode is near and dear to my heart. I think it’s very important, very valuable, but number two, because right now I am talking to you from my homemade podcast booth, which I have appropriately named the pod. Um, my husband and I worked on it together. And I think it sounds really great. I dunno, you tell me, I would love to hear some feedback either over @wordsthatmovemepodcast on Instagram, or you are always welcome to leave a comment on theDanawilson.com/podcast Also, if you’re digging what you’re hearing, I’m not sure. I think, I think my listeners are pretty split 50, 50 half of you guys over listening on Spotify. And half of you are listening on Apple podcasts, but if it sounds great, if you’re digging what you’re hearing in terms of quality and content, please do leave a review and a rating. Download these episodes, keep them with you all the time. I do so appreciate it. Your reviews and your ratings help other people find the podcast more easily so it really is so, so helpful to me and to the community. Appreciate that. Um, okay. If you’re new, let me introduce the format of the show. I usually begin every episode with wins. I think it’s really important to celebrate what’s going well in all of our worlds, especially in times where it might seem like nothing is going well. It’s important to celebrate your wins no matter how big, no matter how small. So this week I will start by celebrating my larger than a bread box size win, which is my podcast studio. I’m so jazzed about it. It feels so good. So glad to not be crammed in my closet, ruffling against items and jackets and, you know, rubbing my shins up against this awkwardly sized step stool so that I can be at the right height to reach a microphone, the pits. Um, now I am not crammed in a closet. I am actually standing very comfortably in front of a closet and inside of this awesome booth that reminds me of my husband and all of his many talents. So that is my win today. Now it is your turn. What’s going well in your world.
Oh right. Congrats. Keep winning. I’m so proud of you. All right. Now in episode 36, the assistant, I talked about how to be and how to have a great assistant spoiler alert. There is really just one thing that you need to do on both sides. And that is have a great relationship. I actually do give some specific steps to achieving and maintaining that relationship and really all relationships truly in that episode. So if you haven’t heard it think about tuning back into episode 36. Um, in that episode, I also talk about a few of my assistant fails, like big ones, big, big learning opportunities that I share with you so that you don’t have to learn the hard way. This episode is a branch off of one of those stories. So last year in 2019, while I was working as an associate choreographer on, in the Heights, under our supervising choreographer, Christopher Scott, he mentioned to me one day, not in a good way, not in a bad way, but just as something that he noticed that I give very noticeable feedback sometimes verbally, sometimes non-verbally is it possible to do both simultaneously? It’s true. I’ve noticed this about myself even before he said the words, but once he said it, it was like somebody had just held a magnifying mirror right up in my face and my head is nodding blatantly. Um, yeah, I, I, I do think I kind of report the news constantly with my body non-verbally and with my voice, if any of you have taken class with me, you know, that to be true, I’m a pretty vocal class taker. It’s obvious when I’m loving it. Um, and it’s obvious when I have questions. I love asking questions during class. I do try to ask them at appropriate times, but when Chris gave me this feedback, I started to notice it more and more often. I nod a lot. I smile. I grin really, really big when I’m in favor of, or in agreement of what’s going on, or I hold really, really still, if I’m not in favor of, or don’t understand exactly what’s going on. So I started noticing, noticing this about myself and in other people a lot. And then I saw this brilliant human on Instagram. Her handle is at @hicaitlinreilly I think R E I L L Y. So that’s at H I C A I T L I N R E I L L Y. I found her thanks to my assistant and technical director, Malia Baker, Caitlin has this parody impression of the overactive listener. And I was like floored by it. I’m like, yes, this is a thing. And I have thoughts about this thing. I’ll be sure to tag Caitlin’s Instagram video in the quick links of the show notes of this episode. So if you’re interested in finding that, go to the show notes too, to check that out. So when I saw this very masterful piece of comedy, I knew that this is actually a pretty serious thing. And I have thoughts about it. Let’s dig in to being an active reactor and how to hold this space.
Alright, Most of the relationships in your life, like the ones you have with your parents, your friends, significant others, teachers and so on and so forth are not focused on objectivity. Those relationships, typically very openly without pause, either show agreement or disagreement or approval or disapproval likes or dislikes. When I say show, I actually should say demonstrate perhaps the demonstration of agreement or disagreement is verbal. “Oh my God. Yes. Oh totally. Oh my God. Yes.” Or, “Oh God. No. Oh my God. Why would you think that? I can’t believe he just said that.” Or perhaps it’s nonverbal the shaking of a head or the crossing of arms either way, be it verbal or nonverbal disagreement usually causes discomfort that we either avoid or embrace super shout out. By the way to episode 30 with Spenser Theberge and Jermaine Spivey, where we talked about how to disagree with people that you love. Oh my gosh. So good. Well, all that to say, I’m learning a lot about conflict. I’m learning a lot about how my dance training can help me to see opportunity in conflict. I’m learning a lot about how to manage unwanted feelings that crop up around conflict, like guilt, regret, feeling misunderstood, et cetera, and okay, sorry. I’ve gotten sidetracked. Most of the relationships in your life are not rooted in objectivity. Most of our training tells us that it is good to agree with people and to be agreeable, and that it’s bad to disagree or be in conflict as a result. So many of us are trained into this physicalizing and verbalizing of our agreement, our approval, our being pleased and our pleasantness. And this might not be a bad thing, but there are certainly times when it isn’t the best thing to do this episode zooms out to really observe the effects of that verbal nonverbal feedback and it considers the alternatives. One in particular being neutrality, the alternative to being an overactive listener is holding the space. You may have heard of this phrase, holding the space, um, because it’s actually become a bit of a popular saying, but what does it actually mean? One of my favorite podcasters, Dr. Katrina Ubell has a great episode about holding the space. It’s episode number 157 of her podcast, weight loss for busy physicians stay with me here, and it is called holding space for yourself while you lose weight. Okay. Again, stay with me here. Don’t get distracted. Doctor Ubell’s podcast is geared towards physicians and weight loss, but the concept of holding the space can be practiced by everyone and applied to darn near any conversation. Dr. Ubell, his episode is a fabulous place to continue learning about this concept. If it’s interesting to you, and if you want to hear more after this podcast, her podcast is also an exquisite resource If you’re interested in weight loss or finding freedom in your relationship with food, yes. Even if you are not a busy physician. I think of the phrase, holding the space as kind of a modern, more specific way of saying ‘being a shoulder to cry on,’ you’re allowing a safe and open space for somebody to discuss something difficult or painful. Sometimes involving tears holding the space is a specific practice, but it’s not by any means. One specific thing that has one specific definition. To explain holding the space. I’ll describe, um, kind of a hypothetical situation here. Imagine that a friend has just gone through something awful. Perhaps let’s say they’ve lost their job. And they open up to talk to you about it. Not holding the space in that situation might look something like you saying, “Oh my God. Yeah. You and like half the country, I completely understand Trust me. Like the exact same thing happened to me. And I’ve been unemployed for like all of quarantine and I totally blindsided me. I know how you feel. I mean, I feel awful. I am right there with you and here’s what you need to do. Let me just tell you, you need to stay positive, pull up your big girl pants and like, get your resume together. You should definitely go on unemployment like now and blabity, blabity, blah,” you, you get the picture. This person may be very well intentioned, but this is definitely not holding the space. When you’re holding this space, you’re listening more than you’re talking. You’re not distracted. You’re not giving advice. You’re not making it about you. You weren’t even trying to make the other person feel better. You’re simply honoring the, they are feeling right now by listening and staying present and gently holding space for them to be exactly as they are.
How does that sound to you? Does that sound like holding the space might be really challenging? Does that sound difficult to you? The process of keeping a neutral zone for your friend to sort of be not neutral in. Dr. Ubell describes holding the space, like holding a really big pillow, kind of with your arms out in front of you really gently, really light doesn’t require much effort. You know, kind of like the way you would hold a big empty box. It shouldn’t require much effort from the listening party, but here’s the real caveat. The real important part is that holding the space requires no effort from the other party. If you’re the person holding the space, the person in this space shouldn’t need to worry at all about holding you. In Dr. Ubell, his episode, she mentions another podcaster named Connor Beaton and his podcast called Man Talks Podcast. Connor describes holding the space as holding a metaphorical bucket for someone else to mentally and emotionally vomit into. Well, me and my seven year old humor really do find that quite appropriate. It doesn’t take much effort for me to hold this bucket for you. Go for it mentally and emotionally spew into this. High five If you just caught my Wayne’s world reference. Alright, So holding the space requires that you listen to hear people’s thoughts. It also requires that you manage your own thoughts and don’t make the moment about you so that the person in need of the bucket doesn’t need to hold the bucket for you. So that’s how you hold the space for others, but you can also hold space for yourself. This can be sticky because if holding the space is not making it about you, then how do you hold the space for you without making it about you, but it’s you, that’s in the space and you’re holding the space for you? It’s kind of a mind trick, but believe it or not, you can allow yourself the space to mentally and emotionally spew without telling yourself “Ew gross, dude, pull it together, Ugh, how could you let that happen? You’re so sloppy. Yuck.” So for me, holding the space for myself usually starts with a totally judgment free download a thought download, a thought dump or a kind of a free journaling. Usually I do this with pen to paper. Sometimes it’s fingers to keys, either way It’s a stream of consciousness writing without any judgment, whatever crops up comes out. Then I read what I’ve written and I hold the space for the person that wrote those words. I hold the space as if person who wrote those words was my best friend. I get curious. And I ask questions when it’s appropriate, I get compassionate, and I use kind language with myself. Now, whether you’re holding space for yourself or for someone else, holding space requires clean thinking. Now you’re gonna make judgments. You are a human being, and that is what we do, but it is possible that you can make judgments and set them free and get back to holding the bucket. You don’t need to use your hands to hold your judgments, use your hands to hold the bucket. It’s possible that you can make judgements and not voice them or show them physically. So now we’ve talked a little bit about holding the space for someone else and holding the space for yourself. I want to broach a new subject, holding creative space. In other words, holding space in a creative setting, be it a rehearsal, a brainstorm meeting, or even an interview. New ideas are presented as as little seeds, sprouts, tiny hatchlings, little fragile, but full of potential. Not fully formed yet, in those early stages. Ideas have no walls and they have no ceilings. And when you give a verbal yes or no, or even a nonverbal, “Oh my God, I love it.” Or “no, not quite working.” You wind up putting up walls and setting the ceiling for that tiny sapling of an idea. What happens if you just let that seed fall into the ground and hold the space while it sprouts? Yes. You can give it a little water by asking questions that reveal what it might become. Yes. You can ask it. How do I help you grow? But you don’t need to immediately claim what that seed will become. A big evergreen, a tomato plant, a basal plant. You guys all know I’m super fond of the basil. So here’s the other thing about showing your approval right away. And I’m speaking, especially to myself, as I say this, because I am actively working on this is when you respond with kind of an all in attitude at the suggestion of an idea, it can be kind of suspicious. Who in their right mind would fully agree and jump on board with something that’s not even be, that’s not even been fleshed out yet? That’s not even sprouted. You know, it, it can be a little bit concerning. In addition to that, one enthusiastic nod turns into another. That can limit the type of questions that get asked. If any, at all, speaking of nods of when somebody has presented a tiny hatchling or a thought, an idea, and you nod in approval, it’s very likely that you’re nodding in approval of what you see, not what the person has said. As the idea is new, It’s possible that they’re not even seeing it fully yet either. Now that can be risky because from that point on, you’re claiming that idea’s yours. Mine not theirs. Great not better. So how can you help hold the tiny seed, the little hatchling, the new idea and care for it as ours, not yours. How can you let it be best? Not just great, because let’s be honest. Some very early ideas are great, especially those first reaction, gut impulse, Holy cow, listen to this ideas. Yeah, they probably are great, but you might be keeping a great idea from being even better by putting your exclamation mark at the end of a sentence that could be an ellipsis. You know what I’m saying? What happens if you let it be open-ended. Now here’s the tricky part, when you’re in a creative, especially in a collaborative situation, you’re likely expected to not just hold the space, but to step into it and contribute. So one of the most important things you can do as a collaborator is check the temperature of when you should be holding space and when you should be jumping in, okay, these are the two questions I like to ask myself. The first question is, am I being asked for my opinion, if no, then keep holding the space. If yes, then go ahead and jump in. But immediately after deciding to step in to this conversation, I asked myself the second question, am I leaving room for other people’s opinions? See, even from the inside of the creative space, you can still hold space for other ideas. I like to think of this as like a swimming pool. It is definitely possible for more than one person to be in the pool. But if one person is splashing around like crazy person, then it makes it hard for other people to be seen and to be heard and to well swim. So let’s get out of that metaphor and let’s jump into another example to kind of illustrate the difference between leaving room for other opinions and not leaving room for other opinions. Let’s say that, um, collaborator A says, “Ooh, what do you think about breaking into a tap section right here?” They say, what do you think? So I’m taking that as an opportunity to share my opinion and opinion that doesn’t leave room for others might sound something like this, “sick that would be so dope. Yo, you have to get Chloe Arnold. Nobody is better than she is. It has to be Chloe. That’s it period the end.” or something like this, “maybe. Ooh, um, maybe, but they’d have to wear sneakers or something soft in their feet because otherwise we’d have to buy mics to capture the sound and then get hardwood flooring. And really that’s just a total mess. And like kind of out of our budget.” that’s an example of not leaving room for other opinions. Here’s what it would sound like if you were leaving room for other opinions, collaborator A says, “Hey, what do you think about breaking into a tap section right here?” A person who’s holding the space might say, “Ooh, I love that idea. Is there a world where it’s like kind of a golden age of film type song and dance soft shoe thing? Or I don’t know what other styles call to you?” or we could take the yes and approach one of my favorites. And if you’re not familiar with the concept of yes, and you might journey back in time to episode number 15, where my seaweed sisters and I talk a bit about our creative process and how we have kept holding the space for each other for over six years. Alright. So a Yes. And approach to an answer to this question. What do you think about breaking into a tap section? Might look something like this. “Ah, I can see that as being a super grounded and soulful moment. And could it be done with plastic cups on our feet instead of traditional tap shoes that might give it the quirk and the comedic element that is at the heart of this piece?” I’m saying yes. And I’m contributing an additional idea. I love asking questions. Like, is there a world where, or is it possible that we and I love playing? Yes. And. Can you see how holding the space even from inside the creative space, affords that creative idea to become ours? Not mine. It leaves no pun intended a room for the idea to grow into something. Instead of committing that idea to its current state, a tiny little seed. Now, trust me, it’s easier said than done. I think it’s pretty clear the value of holding space in a creative setting, not just from the outside, but from the inside as well. One last thing I’d like to include is that you should have a plan for what you might do and say, and think if creative space isn’t held for you. In that moment, hold it for yourself. Try not to get distracted, keep holding space for yourself, especially, but also for the room. Collaboration is really quite simple, but it’s not always easy. Trust me. It’s much easier said than done to hold the space in a creative setting. I am not a master of that, but I am committed to practicing it. And this is the great thing about holding space. You can practice literally any time, whether you’re in conversation with someone else or with yourself or in a room, creating a work. The other great thing is that the more you practice in one area, be it holding the space for yourself or someone else or in a collaboration. The better you get at all three, because they are more the same than they are different. Just like us I imagine.
And with that ladies and gentlemen, I will bid you adieu. Thank you so much to listening. Thank you for being open to holding the space and please, as this is a concept that I am absolutely working on myself. I would love to hear your feedback about this episode, about any tricks or trials that you’ve encountered in holding space, especially in creative collaborative circumstances. Again, please leave comments on Instagram over @wordsthatmovemepodcast or leave a comment on the website, theDanawilson.com/podcast And um, let’s see what else? Oh yeah. Don’t forget to keep it funky. I’ll 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 me member. So kickball, changeover, 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.
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, good people. And how are you? I’m Dana. And this is words that move me. Welcome back. If you are a regular and welcome, welcome If you’re new here, I am so stoked to be talking to you today. And as always, I am jazzed about this episode, but of course we’re not jumping right in. Oh no, that would be rude. It’s like dancing. Before you warm up, I’m going to give you this warm up. This is where I’d like to start today. Today, I’m starting with my win, which is very common practice here at the podcast. We always start with a win, but this win comes with a very deep and personal story. Six years ago, my two best friends, Megan Lawson, Jillian Myers, and myself created I’ll call it a whimsy. We created a whimsy that we now call the seaweed sisters. We are a dance… Well, you know what? I’ll take that back. We are a trio. We are a trio that dances. We are a trio that makes things. We are a trio that teaches. We are a trio that performs. And now I can say we are a trio that inspires. Here comes the, win just a few days ago, I got a FaceTime call from my sister. I’m always very excited when those happen. No offense, SIS, but I’m even more excited when I hit accept and it’s my niece taking up the full frame, not my sister. So my niece is seven. I believe. Well, seven and a little bit more than a half. I think she turns eight in January. She called me as if she was like producing a film. She said, Dana, do you have a minute to talk? I was like for you. Absolutely. And she goes, I have a question. I think you’re going to like it. I was like, okay, I can’t wait. And she goes, how did you do the seaweed sister’s video. The one in the pool. The first one, I was like A. I love that. You remember my group, the seaweed sister. She’s been watching these videos since she was born B. I’m so glad that she knows that the first one was the one that happened in the pool. Although on a technicality, we’ve done two that involved pools, but only one that involves a pool with water. I digress. Number three. I love that. She wants to know how I made it and that she thinks I can tell her the answer to that over a FaceTime call. This is great. I say, why, why do you ask? And she said, well, well, Charlotte and I, Charlotte is her sister, my niece, who’s younger, Charlotte and I are creating her words. Exactly Charlotte and I are creating the fishy sisters. And we would like to remake your seaweed sisters video. So I’m going to need to know how you did that. And I was like, amazing. This is great. Okay. Well, first you’re going to need, um, costumes. So we talked about what her costumes are going to be. She showed me all of her available leggings, which by the way, were many good job sis, that kid is stocked on the legging front. Um, she showed me the color options. I told her, she’s going to need to make a swim cap with a hot glued rhinestones on it. I told her she would need adult supervision for that. Um, she was very excited about the costuming. I asked her if she was prepared to do the moves, she was like, Oh yeah, the moves. I’m not so worried about the moves, but how did you actually make the movie? And I was like, well, that’s, you’re, you’re probably gonna need some help there with, with that as well. You’ll need a camera operator. And she says, what’s an operator. And I said, camera operators, the person that operates the camera, they control where it is and how it moves and whether or not it’s on and recording. And she goes, Oh, okay. That can be my mom. And I was like, nice. Okay. So we’ve got a camera operator. I can send your mom a shot list. And she says, what’s a shot. And I say, a shot list is basically a recipe for the movie. It tells you what you need and how much of it. And when to put it in. And she was like, okay, great. So you can send us the shot list in the mail and then I’ll do the costumes and we’ll do the dancing. And we will make the fishy sisters video. And I, this conversation, I don’t know how, but it wound up lasting, It was like 30 minute conversation. We got very specific about how she will be remaking the seaweed sisters as the fishy sisters. I’m counting this away in a, because I’m completely smitten that I have a niece that’s interested in making things and B because I know we forget it. Sometimes I have to say it here, Imitation is the sincerest form of flattery. And I couldn’t be more flattered that my own blood, the magical Emilia is going to be flattering the seaweed sisters by creating a remake of the seaweed sisters. First video. So thrilled, please do be on the lookout. I will gladly be sharing that on the socials over at words that move me podcasts. And on my personal probably I’m DanaDaners on the gram. All right. That’s my win. Had to get it out. Thank you for listening to that. Now, what is your win? What’s going well in your world in particular, who and what are you inspiring these days? Obviously I’m open to any answer. The answer to my question was a seven year old. I’m here for all of it.
All right. My friend, congrats and keep winning. I’m so proud of you and I know you can do it forever. Okay. Let’s get into this interview today. I’m so jazzed to be sharing this conversation with you guys. This was part of three interviews that I did in collaboration with my friends over at CLI studios. Over the summer, they had a 2020 dance experience. And during that 2020 experience words that move me and CLI teamed up to hold these three interviews. I talked to Heather Morris, Dexter Carr. And today I am sharing with you the conversation that I had with the one and only Joshua Smith. Josh is a person that I had been admiring from afar for quite a while, but he and I had never met before this day, before we actually sat down and had this conversation, I was a little nervous. I’ll be totally honest, but Josh was completely open, so friendly, so warm and so tremendously insightful. I was, I was wrapped. Top-to-bottom so engaged and so excited. So I hope you are too. I hope you get a lot out of this conversation. I know Josh has a lot to offer, um, tiny little backstory on Josh. He’s born in Durham, North Carolina. He moved to Atlanta when he was young. He has absolutely made his mark on the entertainment industry by performing with mega stars like Usher and Chris Brown. He actually won the 2019 soul train award for best dance performance in Chris Brown’s video, No Guidance. He is an outstanding teacher. He champions a healthy mindset. He champions hard work, and I am just so thrilled for you. Let’s not wait any longer. Enjoy this conversation with Josh Smith.
Dana: Hi everybody. I’m Dana.
Josh: I’m Josh.
Dana: And this is words that move me on CLI how lucky are we? We’re so lucky. And so are you, I might add I’m I know I’m saying that at the top of the interview, maybe I should have reserved that until the end, but, um, I think you’re in for a treat because I feel privileged to be sitting here talking to you today. Josh, I’m so excited. Um, I want to start with this. I know your other half Lindsay. She and I have had, I have had the honor and the pleasure of working with her before, but our professional paths have never crossed. So answer me this is the dance world big or is it very, very small? We like to say it’s such a small world, but I’m like, how has this never happened?
Josh: I think it is a small world. I think just, uh, it’s different avenues. You know what I’m saying? Cause I’ve definitely heard about you and definitely seeing you around for sure. And I think he just different pathway, you know, different artists. We are different. However, we go, so he never got to meet, but this is the perfect time. And we’re here.
Dana: It is. I’m so excited. I have a million D questions and they’re all right here and I should have written them maybe somewhere else, but that’s risky. So let’s start at the almost beginning. I won’t go into birth, but, um, I understand that growing up, you were very athletic soccer, football. Am I missing anything?
Josh: Baseball, basketball, you name it? I ran track for a little bit. I was on the step team. I was in band and I was a drum major.
Dana: Just a couple of extracurriculars. Thanks. Alright. So when I grew up, I, my only extracurricular was dance and I feel a little bit shortsighted in my experience of like team building and learning myself. And I, I really kind of have become sort of an indoor cat more or less. So I’m always really curious when I hear the discussion about dancers are athletes and dance is a sport. I’m curious about that, cause I, because I’m not an athlete I well, or am I, I don’t know. I’m asking you like, where do you stand on dance as a sport and dancers are athletes,
Josh: Dance is definitely a sport. And definitely because we have the same traits and characteristics between the two, you know, you have a coach, you have a choreographer, you know, you have people who are on a team, you know, whether it’s a camp or it’s a team. So where it’s togetherness as we both, we all have to go through these eight hours and there’s regular rehearsals or practice four hours. So the togetherness of it, it’s a team aspect. And then we do have to stretch and keep our body warm and all that we do high magnitude like moves and impact on our bodies is so much. And, uh, it very, very, very, very close. So I do consider dancers as athletes, for sure. Like it’s, it’s a, the same similarities, tough times, blood, sweat, tears, you know, and we, we run it together and that’s how you gotta do it. So if you think that way as a sports, which you are an athlete, then that’s what it is.
Dana: Don’t give me too much confidence. Now you might see me on a field of some sort like, no, I can do this. I’m an athlete. Trust me, tombe pas de bourses. Um, okay. So what is different? Could you put a finger on a difference between a dancer and an athlete or are we just straight up
Josh: You know, I guess it’s different because a basketball player and a football player, not the same, you know, and you’re an athlete, but it’s different magnitude and impact on your body. And I think with that being said, like soccer is more endurance than physical. You know, it is physical, but it’s more endurance, but football is very physical. And the thing about dancing is different genres are different, uh, style of dance for quiet. That b-boy is more physical. You know what I’m saying? And ballet is physical, but in a different way, it’s more a up core, so, and very on your legs. Well, so when you think about it in that way, in that aspect, you know, it’s different, but, um, there’s different way of going about it. Right?
Dana: Right. I like that. I think there’s so many different, you know, dances and artistic expression. It’s nuanced, it’s subjective. It’s not even from one style to the next is not the same. You’re reminding me of a mantra that I, that I harness with my fellow, my two best friends, Megan Lawson and Jillian Meyers, shout out the seaweed sisters. We have a saying, um, our saying is strength is not our strength, but in every sport strength, isn’t the value. Um, it’s focus, placement, endurance, all the things that you just mentioned. So that is cool. I like to now think of the seaweed sisters as athletes as well, even though, even though strength is not our strength, we have different strengths.
Josh: Shout out to y’all because y’all are amazing.
Dana: Thank you so much, man.
Josh: Lindsay was he was giving me a .. rundown, I knew you got, but she gave me a rundown on the seaweed sisters. And I didn’t know about that.
Dana: You got research, you had research before you came into the interview as well. No vice versa. Okay. Okay. Speaking of research, I learned that you want a soul train award in 2019 for No Guidance for Chris Brown. That’s a, that’s a very cool, very prestigious thing because soul train, obviously this is not something that people have decided is new and important, but been around for a very long time. Um, my question is broadly, what is your relationship with external validation? Because a lot of people seek the awards, the credits, the, you know, the relationships and having a credit like that, having an award like that is a pretty big deal. Was that ever a thing that drove you?
Josh: That’s a great question. Um, honestly how my mentality is, I think that, uh, I always looked at it like, yes, I want the awards and I want some know some feedback and people to see my name, but honestly not really, you know, I’m not that type of guy, but not really because even now within my stage of my career, which I’m honored and like so thankful and blessed to be in, you know, I’m not really in the forefront. I don’t, you don’t really see my face too much. I, I do teach when I want to teach. I’m not a teacher of saying that I just want to teach because I just want to get some money to go around the world and teach, see my name. I love teaching when it feels right for me and everything I teach is probably what I’m going through at that moment. So if I teach a ratchet piece, because I want to have fun and not really thinking about doing moves. And sometimes I might, this one, I felt, uh, empathy for so much and you know, vulnerability with this piece I just made and I wanted something way more relaxed to calm my mind down. Cause I didn’t want to have to fake on camera. I don’t like faking anything. So, you know, I, I, I take that with my own personality. I don’t like faking anything. So I don’t seek validation. I like, I go kind of street smarts and I’m really I’m. I was raised in the streets with it and have great family. So not in a bad way, but more so I had street smarts in the sense of, I liked to think. People will know you when they need to know you and the right people should know you. So my whole thing is maybe not millions of people know who I am, but the right people are knowing me because they keep asking me to come back around. And that’s what I want to get to outreach to. You know what I’m saying? They know the people who want to be inspired and thank God they’re inspired by me. I want it to bestow it to people. And everyone knows you can fall in between whenever you get there.
Dana: It’s beautiful. Put a Bow on it and ship it. That sort of speaks to the notion of quality over quantity and being driven by the substance or the process even of the work instead of the end result itself. Yeah.
Josh: Yeah. You can’t know a lot of people do the work and I want to say a lot, but I know people tend to work for the outcome. Oh, I know there’s going to be great. People are gonna love me. Oh my God. Like, I’m going to get this love, but it’s like, to me, I want you to love it. Not just because of me. I want you to love the work in its entirety. So then when you do realize its me like, wow, Josh, you did that. But I don’t really like shouting out to telling people, look at me, look what I did. Look what I choreographed. I did that. No, I want people to get their credit even assistants So whoever is involved is you’re right. You know what I’m saying? Just as my right.
Dana: That’s a really good segue. Something I hadn’t planned on talking about this really important to me is crediting your team. Um, I know that you kind of came up through ranks as being a dancer and an assistant. I would love to know what your experience was in getting credit for the work and how that’s affected the way you credit the people on your team.
Josh: Yes. Um, so, uh, when I started, no, I started with a crew when I moved to LA. I’m not originally from Atlanta. A lot of people think that it’s like a side note, but I’m from Durham, North Carolina research research right there. So Durham, North Carolina. And, um, I moved to Atlanta and I had a crew collision crew, Jeremy Strong, and a couple of people was in that and Cody was affiliated Cody Wiggins. And uh, you know, I had good people surrounding me the whole entire time. And loyalty is a big thing for me. Cause I will be loyal to you. And if my friends or whoever you work with, we know you can be a millionaire and I can still say no, if it doesn’t feel right, you know what I’m saying? So, and I got into the Jamaica Craft, my mentor, fix it, big homie friend, all that great stuff.
Dana: And so talented.
Josh: Like that’s like, you know, a big, big homie of mine. And uh, she taught me law too. You know, as much as she didn’t her career and what she’s continues to do, she, um, trusted me and she showed me the ropes. She showed me what it means to be really a dancer and be a dancer with power. She doesn’t, she told me, I had my manager, China who taught me to say the power of no. And, and saying that don’t look and seek people who will you think are already made it. And you’re getting to that place. When you get to that place, I have to leave my team behind to go meet this person. When all you should really do is bring this person with you to meet each other. So then for, because you know, for a fact, this person has made it already, but this person has rolled with me the whole time. So loyalty is a big thing with me. And then when my loyalty, Jamaica has taught me that and uh, she always held me down. She never did no weird, nothing crazy. Like when this job it’s a job, when she hit me and I said, add for advice. And she was very secretive. Cause he wasn’t like, she was not a person you can get around in Jamaica. Right. When I got around her, if she installed so much knowledge, you know their stuff so much ambition, you know? And like I had it already, but she just said, you know, you’re talented and never let anyone take that away from you. Like not even me, like go as far as you can inspire people as you can. She, the one who told me the right people would see you, even if it got to take four years, cause it’s four or five years ago, nobody really seen me. I was still, you know, I was dance for usher. I didn’t live in LA. I was still going, but no one really knew me, but that’s what I, like I say, no, it’s cool. The attention, not on me right now, but when it is, I’ll be ready.
Dana: I love that attitude. That’s awesome. Thank you for that insight. That’s super cool. Yeah. I, I like to think of the notion that it’s lonely at the top as kind of a lie I would like for it to be very, um, crowded and friendly at the top. I think that that is the top that I want to make.
Josh: I tell people all the time there is room at the table, man. But the good thing to know is, is when you get there, you earned it. But now it’s about holding it. Keep it don’t show it. Don’t talk to me. Why aren’t you? Yeah. You are under a lot of people earned this seat, but do they get to stay here? Longevity? A thing for me, I don’t want to be I’m young. I’m still 28 now. I mean, I said 28 I’m 27. I want to be 28 years here, but I’m 27. And like, um, I think that, I know I have a long way to go. We know people who I do look up to is Rich & Tones and Fatima and Jamaica and hi-hat, these are people who have longevity. These are people who, their generation, another generation and generation after that, they’re still here. You know what I’m saying? And that’s something that I wanted. So I don’t live for now all the time, which I have to do more, but I’m more so like I want my name to be great for years to come. So
Dana: I’m going to ask a question now, what’s your plan for that? How do you, how do you achieve that? Um,
Josh: I’ve been trying it so far, I don’t have the right answers for that, but being a good person, training really stunning and really knowing who and knowing that it’s time with this, but knowing who you are, you know, like I never tried to be perfect or within relationship within, you know, dance. I’m very, very open book. I’m very like, I like to base myself on with, you know, even my own demons or whatever it’s and find me. So if I know I can be the better version of myself and truly be the better version, don’t have to worry about Limelights or personas or you know, all that good stuff. I’ll be okay now eventually I will make it there. So I don’t know when I will make it there.
Dana: I believe that you will, by the way you’re talking right now and I want to be there at the end too, right? Yes. Longevity is so important to me. One of my mentors and inspirations is Toni Basil. She’s 76 years old and could roast me right now like me and my 30 something year 34, a few days ago, self,
Josh: Happy belated birthday!
Dana: Thank you. Thank you. Um, and, and I think part of Basil’s secret to success is persistence. Every single day, she dances, even when she doesn’t want to dance, she does. And I think that that’s something speaks to what you just mentioned about bringing all versions of yourself might not be perfect today. It might not be happy today. It might not be the coolest moves today, but continuing to show up is how you continue to show up. It’s simple as that. It’s nothing earth shattering, no simple, not easy though. Simple, not easy. Um, okay. I’d love to segue into like perception and persona public, um, public presence, maybe dare I say social presence. Um, one of the things that I really admire about you and the way you use your voice, not just in your choreography, but in the social platform is that you’re not afraid to talk about things that are important to you. Yes. The black lives matter movement is tremendously important to you and to so many people. Thank goodness. And we’ll find out we’ll find out yes. If this is something that can be important to everyone. Yes. But, um, I, in this process of learning the world that I live in and becoming really working to become more culturally sensitive when I watched dance, like when I consume dance and when I make it, and here’s what I’m learning that takes time. I mean, it’s very easy to scroll and watch a piece. Yes. But if you want to be sensitive, what you’re watching culturally, racially and otherwise, yes. You are asking, who is this person? Where is this person from? What is this person experience? Where is this person going? What, what does this mean? Like, what does that mean? What does it mean when this person kneels versus when this person kneels, what is the meaning of a movement? So then you have to like, you go, you wind up looking. So a scroll is now taking three and a half hours. I get why people don’t do that. It’s a lot. And, and it doesn’t even, you might not necessarily wind up at right or better, or, but, but it’s responsible and it’s an important time to be. And also we do have time arguably to be doing that. So my question is that was a very long winded way of asking your question, is what might people think about your work on a scroll and what might they learn by going deeper? Okay.
Josh: Okay. Well through dance or just on my page in general.
Dana: Oh man. Let’s talk about dance,
Josh: Dance. Okay. So hopefully when you see, when you scroll through my stuff quality. Cause I, I strive for that. You know, I I’ve danced as we all dance for years, but I’ve tried hard, I can say to not master, but in a sense perfect my style, you know, and I’m moving away that I will love for you to be like that. It’s nice that you know much about this guy, but he looks good.
Dana: Achieved, achieved party of one because when I watch, I’m like, nice. Really? Truly like that word probably happens a lot. Yeah.
Josh: I like that. Just be like, Oh, nice swell. Okay. Then after that, I will hope that you will feel to want to know even a little about me by, because I like to details. Like, even if it’s the slightest thing I like to, why do you, like you might see, you know, I realized that I’ve seen Josh’s clips that he wears all black a lot. Why is that?
Dana: Great example, great example.
Josh: It makes you dig in deeper and it makes you want to see more about me. Like, cause I am like, again, open book. I like wearing my beard, whether it’s clean or not. No, I had this beanie. Why did he have this been here?
Dana: I’ve I’ve heard the beanies of thing. Why, why do you have the beanie on all the tests?
Josh: It was when I was on tour with usher, uh, I was finding myself as a dancer. That’s when I really found just so you know, that’s when I really found myself, like right after that tour, um, as a mover, I had Kento, I had Yusuke. I had Antonio Hudnell, I had Marvelous. I had Quita, you know, Ashley Everett, you know? So it, it was like a lot of power Naeemah, you know what I mean? And um, we did yoga and all this things and it was like, it was just very togetherness. And um, I found my style and uh, I don’t want to drop the question. Tell me the question one more time. Sorry.
Dana: Um, Oh gosh, no, I lost the question. Specifically. The beanie, is there a story? Why is it the, what is it? Is it a signature? It’s a thing. Yeah,
Josh: It’s a signature for sure. And I found it on tour after tour and I was, I used to wear like a towel.. on my pocket. Every time I go on stage, because you know, when you go on carver, doesn’t really give you the freedom to be like, this is where whatever you think is fly. So Jamaica was like, you scanned kento. They had really a box of shades. Yeah, Like 30 pair of shades. And that box every night, they changed different shades. What they want to wear with that outfit. So she was like, Josh, if you want to wear a towel, whatever, whatever do your thing. Cause she told him about Swoop back in the day and he used to wear his gloves. You know what I mean? So like, it’s like, what is your sauce? When you step out to make you feel like that’s going to be the best you when you’re on stage. So I had a towel and then eventually I see Tone and Tone used to wear, his, his, uh, his hat regular though, you know, regular stuff. And he’d have his towel tied up tights on. Cause he came from the ballet. Right. He was very like protecting his body. I got to stay warm. So I was like, what’s my little niche. I like, and I don’t want to be a gimmick. But I just want my own little sauce, you know what I’m saying? It belong to me. So one day I had my beanie up in the house now I rolled it and I kept rolling it. And I wrote up high, like a little sailors hat. I was like, I’m not mad at it. So I did it a couple of people, a couple of years, people was like, why you got your hat like that? I’m like, Hmm. It didn’t eventually everyone caught on. And now it’s weird. I didn’t start it. But I see people now like there’s hats that made like this now, like, and people ask me, where do you get your hat from? I said, to be your supply store, a gas station really.. I just rolled it up certain way. And then rock it. So it’s been stuck ever since.
Dana: I love it. I love it. I think there’s something so unique about dancers and getting to feel this like very this like in your body difference, depending on what you’re wearing.
Josh: Oh, that’s a big thing. I mean, it’s a big thing right there. You can be in rehearsal for three months and then you go on stage. He was like, this is what I’m wearing. I lost all the feelings.
Dana: 20/20 Experience is a perfect example. I love a loose pant. I mean, borderline put me in a burlap sack. We’re good. I just space and air. And then all of a sudden I’m in a high waist, high crotch it, all of it. And it really, it changes. It changes things, um, in the way you feel. But it also changes the visual, like your center of gravity is now high, different shapes. Look good up here. Then the shapes that look it down here. So it’s a part of it and it flatters the outline, the silhouette. I love it. It’s great. Okay. So we’re back though. The tough, the more, not tougher question, because ask answering questions about your signature and your style is not easy and finding your signature and your style is not easy. I don’t mean to downplay that at all, but um, I’m wondering when people dig deep on you, what is it that you want them to find? What is it that they find now? And is that what you want them?
Josh: I want them to find that honestly, first off I’m a genuine person. You know, that’s what, that’s just what I tell. When I talk to people, when I dance, I’m very vulnerable and I want you to see that I’m a genuine person. And I see that. I take my craft very seriously. And to know that my whole goal is to inspire. My dad taught me back in the day. He always taught me this. I had a story and I won’t go too long in it, but pretty much saying your gift is not for you. You’re gifted for people. God gave you the gift to make people smile and make people happy. So no matter what, whenever you do in your career, if you keep that in mind, you can never lose. So that’s what I’ve tried to give up on my Instagram and my dancing. And when I talk to people, I give so much energy people. How can you give so much energy all the time? You always, so I say, because it’s not for me, you know what I mean? It’s for, it’s for the people who can’t do it for the people who want to do it for the people, even when I was in that stage in my life. And I wish I could be there. Cause you know, you tend to get to a place and you’re like, dang, I still need to get to this place. But it’s like, did you remember when you wanted to be in this place right now? So, you know, I kind of always go back to that and tell people, look at me in genuine light and know that I love what I do.
Dana: Ugh, thank you for sharing that story. That’s so important. And I’m glad that we had time. I think we have time for one more. Um, in, in my research, um, I discovered that you have a favorite quote. I am a masterpiece that is trying to master peace. Yes. Would you be so kind as to share with us anything you’ve learned in your quest for mastering peace?
Josh: Yes. I got it tatted on me, man.
Dana: Let’s hear it. Let’s see it.
Josh: Yeah. So it’s back here, you know, you really can’t see, I know you can’t see it too much, but I got that quote, my masterpiece, trying to masterpiece because you know, within our own right, we are artists. No, I am an artist. I am sensitive about my art and I love what I do, man. And like, I’m a massive piece that we all are in ourselves and God has given us the right to feel that, you know, no one can take that away from you. And like that goes to parenting. I had great parents who made me feel that love that no one else can take that from me and trying to match the peace because I am an Aries and I’m a fire sign and I can get, I am very passionate so I can get to a very high level of aggression, you know, because out of my passion, but knowing that I want to master peace, I want to be able to be levelheaded and, and, and think clearly and move with purpose. You know what I’m saying? Move with purpose, move with a divine plan, move knowing sometimes I’m not going to have the answer. That’s why I’m a masterpiece trying to masterpiece
Dana: Trying emphasis. And that’s a constant, right? Because the moment you’ve achieved it, something is gonna happen.
Josh: And that’s why I kind of remind myself, like I’m trying to masterpiece, you know what I mean? That’s the thing. That’s the biggest thing for me, because I don’t want to handle relationships or friends or, you know, business offer like, you know, anger or upset. Because back in the day I used to just get upset and I just cut people off. I don’t want to talk. I’m cool. Like, cause I’m not a loner, but I’m, I’m comfortable. So comfort with myself for being alone. I’m comfortable being alone. I went through enough in my life that I’m like, I respectfully bow out. We don’t have to be friends. We don’t have to be here. We don’t have to do work. I’m okay. I’ll make it. I’ll find a way to make it. So I don’t want to have to leach or you have to leach you off of me. We can stop it. Now. Now I’m saying, but now mastering the peace that knowing that relationships are good and talking through things is the best way to do it because communication is key
Dana: With, with a person. But also the self was so like, if you, it sounds like you were a person who’s okay with being with yourself. And if you can master like peace within, you’re more prepared to achieve it, receive it out there in the world from other relationships. Yes. That’s awesome. I think it’s the, I think it, it should be, could be everyone’s right?
Josh: Yes, man. Like, you know, I think everyone, we, if we move non selfishly, like, and just know that everyone can be great within your own, right. Doesn’t have to oversize and overstep. You don’t have to move that way. You know what I’m saying? And I know sometimes within not feel the industry, the, it can get very tricky, right. But everyone can move a certain way to get to a certain place, you know? And that’s why you got a room at the top. There’s always room.
Dana: We have to like change this, this imagery of it being a mountain with a peak and a flag. That’s one person’s flag to being like, Ooh, what if it was just an, also a mountain, but upside down,
Josh: Upside down,
Dana: Ascending is going to be way harder. Cause you’re in an inversion. But I, yeah, I think that that’s possible. There’s the saying I’m going to botch it. I’m not going to get it right. Um, but one, one matches flame does not take away the light from another, like this match being over here and bright and lit doesn’t mean that this one is going to be dim, light it up, let there be light illuminate. I think that’s another one that my husband has gifted me. Light is the best disinfectant. And I think that in this time we’re shedding light on a lot of things and
Josh: Which, which needs to happen. And these are steps they need to happen. Black lives does matter, you know? And like, I’m just going to put this out there. You know? No one wants to say that no other lives matter. We say that because like you said, you might not know the generational, like depression that we had over the years that I’ve experienced because I am from the South. So, you know, I’ve like no cultural and police brutality and all that stuff. Since I was like 13, you know what I mean? As a black man in the world. So no I had the police talk and even me now talking to my friends, knowing that they didn’t have the same talk that I would have grown up. So
Dana: The conversations is training and experience
Josh: The same experience. So just to say that we all have love for each other. We just want to come at peace with everybody in the world and live our life exactly how everyone knows can live that life.
Dana: Yes. Josh, thank you so much. I have nothing left to say, except for, thank you. Thank you for being here and being open, um, for somebody that I’ve honestly not before today, shared word in person words, right? I feel like we could do this for a very long time and I hope that we get to, I would love to spend more time with you and Lindsey. I’m such a fan of your moves. They’re so nice. And it’s really nice to get to know what’s what’s beneath them as well.
Josh: Well, it’s the kinjaz
Dana: Yeah. We’re going to throw it to the Kinjaz. There’s a cipher. Josh and I are going to go. You guys should go. I think it’s a very exciting time to have dance and have community and you can feel connected even at six feet distance. You can feel connected even on the other side of your computer screen. Um, and I’m excited actually now to be digging deeper because you mentioned people not knowing, not having known you before. And I love a deep dive. So where could I go to find more of you Josh
Josh: Thats the bad thing, I’m horrible at social media. I’m just now I’m about to get my YouTube started out.
Oh, okay. But we’ll be on the lookout
Josh: And we don’t look out my damn, uh, my Instagram Dasher underscore boys Smith. That’s pretty much on Twitter and everything else. Uh, watch out for any upcoming projects. I do have old clips that you could probably look at on YouTube, but ask me, y’all gotta go dig on that.
Dana: You’re going to dig on that. You know, I’m going to dig on that. Yeah.
Josh: Hey Dana, I appreciate you, man. Thank you so much.
Dana: She’s lovely talking to you and thank you CLI thank you everybody watching and listening. I had a ball. Let’s go cipher. Let’s do it. I wore the wrong shoes for sure. Definitely going to have a blister. If there’s a lot of dancing, I should have made my signature thing. Socks, really comfortable socks. That’s my signature. Move that way. I’ll always have them. Okay. Enough enough on me. Thank you so much, Josh. We’ll talk to you later!
Dana: All right. All right. I hope you got as much out of that conversation as I did. I absolutely loved hearing Josh talk about the relationship between being an athlete and being a dancer. I thought it was fascinating to hear him talk about his relationship to the public perception of him, his work and social media. I also loved hearing from Josh about the importance of activism in his life and using his voice and in supporting his community. To me, this is a hugely important part of our work as artists, as makers, and especially as teachers. So cheers to you, Josh, thank you so much for being such a great example for all of us and thank you all for listening. Enjoy the rest of your day afternoon, night, whatever it is. And of course keep it funky. I’ll 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 weight change over to patreon.com/WTMMpodcast to learn more. All right, everybody now I’m really done. Thanks so much for listening. I’ll talk to you soon.
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.
Ah yep. Today, no matter where you are, I am bringing you to the front yard of my friend and mentor and legendary choreographer, Marty Kudelka! Yes, we are going deep into the Valley where the sky is blue and the birds chirp and garbage trucks squeal like lot of squealing garbage trucks. Terrifying sounds. Thank God for editing. So Marty and I talk about specific people and performances during this episode and I want to say right now at the front of it that all of those people, places and performances are going to be linked in the show notes of this episode, episode 18 of my website. So if you’re interested in any of those people, places, things and shows, then head on over to theDanawilson.com/podcast and search for episode 18.
Oh also every podcast episode is available in video form on YouTube seven days after the podcast comes out here. So this episodes YouTube video will definitely include links to the memorable moments. Well at least the ones that were caught on tape. Um, so be sure to check that out as well. All right, before we talk to Marty, I want to talk to you. How are you feeling? After last week’s episode on processing emotions, I have been making it a habit to ask how are you feeling instead of how are you doing, how are you feeling gives you an opportunity to actually process and check in with your body and the feelings inside of it instead of just reporting the usual. I’m good. How are you? I personally, right now I’m feeling exhausted like a particular brand of exhausted, throbbing knee’s, kind of an achy back. That means I’ve been dancing and probably not using my abdominals as much as I should be, but Oh, speaking of dancing a lot, my win this week is actually a community win. Over the weekend, The seaweed sisters taught for the movement lifestyle’s 24 hour move-a-thon fundraiser, and as of this moment, as of the recording of this episode, the studio has raised over $63,000. Holy smokes, huge win, and if you’re listening to this podcast at the time of its release, then they’re still accepting donations. So if you can head over to ML’s GofundMe. All right, now it is your turn to share a win. What’s going well in your world? Hit me.
Awesome. I am glad that you’re winning. Congratulations. Now Marty and I cover a lot in this episode. Everything from working on the trolls movies and doing things that he never thought he’d do in a million years to several strolls down different memory lanes. Wait, is that a thing? Are they like memory street memory Avenue, memory circle. Anyways, we go there. So I hope you’re ready and I hope you enjoy this conversation with Marty Kudelka.
Dana: All right, Marty, Dog, Dog!
Marty: Dana Dane Dog!
Welcome to the podcas t, my friend. This is long overdue.
Marty: Absolutely. Thanks, Homie, thanks for having me.
I’m really stoked about this because A, uh, you’re my dear friend and also mentor, but B, you are probably the most mentioned person on the podcast, especially when I’m talking about career and, professional life because you have played such a key role in my professional life. So there’s that. Um, but before we get too deep, I would love for you very quickly to introduce yourself and tell us where you are right now.
What’s up? This is Marty Kudelka checking in team Roast, you know, we sizzle the most, you know how it be, I’ m in, the bird cage, my own little Disneyland here in Valley village, California. Talking to one of my favorite humans on earth, Dana, Dana dog, Wilson,
The crowd goes wild. “Ahhh”, so you, you did not mention in your bio that you are, uh, one of the greatest choreographers ever to have lived. And I think I found that out on the internet, so it must be true. Um, but you are also a creative director and a teacher. Oh, and I live on auto row, so we’re getting some automobile sounds today. Some people are not honoring the social distancing today I can tell cause it’s beautiful outside and there are way more car and motorcycle sounds than usual. Um, but back to you, uh, how long have you been choreographing for?
Um, before I knew what like choreography was even, I didn’t know what I was doing. I called it making up routines or putting routines together. I believe my first one was when I was 14 years old. I was in middle school and it was for a talent show and me and one other girl named Brandy Davis. I still, I still keep in touch with her too. And um, we dance to Rob Bass “It Takes Two” at our talent show and, and I’m sorry I wasn’t in middle school, I was a freshmen in high school, which was even more scary because literally I’m the young kid on the block, little white guy up on stage with hammer pants on like doing the running man for 400 8 counts. So that was my first time I ever put together something. And then I started kind of just teaching my friends right after that. Mmm. Kind of a trade off. Like they would get, keep me from getting beat up at school and I would teach them dance, kind of thing. And um, that was my first intro into choreography and teaching, if you will, because then I saw, well, I can like make some money or at least get ahead doing something that I like to do. Um, so that was my intro. It’s not your typical story, but that’s really, that’s, that’s to me, that’s when I started choreographing because even though I didn’t know what an eight count was or a bar of music was, I knew when the song changed, you should change your steps, you know, that was kind of common sense. So I was putting the stuff down yeah. Since I was 14 and now I’m a lot older than that
Truth. Yeah, true. Just a few years. Um, so there’s a classic case of learn by doing where you like didn’t go to school for this or you didn’t come up through a competition convention. Typical studio.
Um, there’s going to be a trash truck. Oh, sorry. Got it. That happens out here on the bird’s nest.
That’s a trash truck. That is a trash truck.
So I am lucky enough to have been part of your creative process a handful of times. And by handful, I mean a lot. Um, and, but for people who are listening, who might not have met you or worked for you or even taken your class, can you explain a little bit of your creative process from the moment you hear the song to then seeing it danced on other bodies or on a stage?
Yeah, I mean we, you know, you know firsthand we’d be here until next Thursday if I really answered that question in depth from A to Z. So I’ll try to make it like real somewhat quicker.
Give us the bullets.
Yeah. Um, I mean first comes, it depends, that’s a hard question because it’s so broad because it depends if it’s for one single number or if it’s for a, you know, club show where it’s 10 numbers or it’s for a tour that has, you know, a giant stage and production value, you know, so it, it depends. But say just for, as an example of music video, we’ll base it off that. So if I, once I get the song, the first thing I’m going to want to do is learn this song as well as I can and, and then create like the basic plan of what I’m going to do. Mmm. If it was for class, I would just start figuring out what I’m going to. Which part of the music you don’t want to dance too. And then kind of make a up plan comes from music video. Before I did anything, I would probably ask for the treatment. If There was a treatment at that point too, figuring out what the story is or if it’s just a performance video or just dancing or whatever. So that way I know I’m not doing extra stuff. Mmm. Work smarter, not harder. So those are two different versions. So going back, I’m going to keep flipping it now. Back to video or a class. Yeah. I would know what I’m going to dance to already. Then I’m going to stand up. I actually did this last night, Which is crazy. I didn’t think about that. Mmm. So I’m making something up. So I listened to the song and I already knew the song really well, but I haven’t heard it in about shoot over 15 years easily. But I put it my headphones in and started listening to it and like, okay, made a decision. This is the part I’m going to dance to. I already pretty much knew it got up, I started moving around until I have like a little at least a couple, a few eight counts. Then I’ll take a break, then I’ll listen to it again and listen to what I don’t have. Then stand up, try to fill in the gaps and they come slowly but surely like where I stand now morning with the routine I have like the first two eight counts. Then there’s like two, two and a half counts missing and then another eight count, three eight counts missing another four. Mmm. Once I do that, once I have enough then I like to call in the troops, which is you know the, YOU, the Ivan, the Nats, like call you guys in and start teaching it to you. I still haven’t seen it by this point by the way, but once I, call you guys in, and then, um, A. I’m getting to learn how to teach it. And B. I’m seeing it on another human and deciding whether I like it or not or what to change or what to add. Or you guys may give me an idea on how you finish and go into something. So it’s a big puzzle basically. You know, you never just do the puzzle like this. You know, sorry, I know it’s a podcast from up to down or you know what I mean? You have to fill out the frame and then you start making like parts over here and parts that you know are easier to do. And that’s the same thing with putting together a routine regardless whether it’s for a video or class
Dana: Solid. That’s a great answer. You set up the segue so beautifully. Thank you for that. Um, Marty basically wrote the book titled “work smarter not harder” and I want to go through that book now and name the chapters if we could. And you already, you, you, you set up a few of those. But I have to tell people on the outside right now that I sent Marty a little warmup text before we got on the phone today. I was like, Hey, these are some of the things I want to talk about. This is kind of the, the outline, you know, we’ll, we’ll keep it loose and we can flow, but I definitely want to do blah blah blah. I want to hear about bleh be ready to answer blah and dah dah. And you wrote me back, I’m going to pull up the text also at the end
And now that you just asked me the question I’m wishing I would have looked at it more
Um, at the, at the last thing I asked you is anything else you want to cover or specifically not talk about and your response was “anything you want and I barely read this BTW finger pointing up. I just like, I just like to freestyle these days.” So that’s, that’s pretty much where we’re at. We’re freestyling. Okay. So based on what you just said, a you make sure you have all the information and you are really good. You actually taught me this, uh, about how to identify the people that have the information just by watching. Very good at sitting back and watching like, Oh, that’s my guy for this. Oh, that’s the dude for this. Oh, here’s the one you want to have in the room for this. So you’re, you’re great at identifying the sources of information and then you’re a great listener. Actually, I kind of wanted to play a game later, but we’ll, well we’ll see if we get there. If you had to put a price on your most valuable asset, you, Marty Kudelka A. what would the price be? And B. what is that asset? I could even, I could even call it a part of your body. What is the most part of your body?
Uh, my ears.
Boom. I was going to say one, two, three and have us say it at the same time.
Oh yeah. That’s easy. Yeah. There’s no amount of money though. Yeah. Ears are like none other. It’s true. Justin’s ears are really good too. I can’t lie. That dude, you know he is a freak. That guy hears stuff and I mean he has to be good because of who he is at paying attention to his surroundings because you know with crazy fans or whatever, he’s got to stay aware so that that that’s helped him do that. But for some reason I always look the same way. I mean I just want to know what’s going on around me. Maybe cause I got in trouble when I was younger, you know, so I was always on the lookout but it helps in what we do specifically. Like that is a big thing of working smarter, not harder. Like if you pay attention like what.. the main.. I think it should be called “work smarter, not harder. Dot dot, dot. It’s just common sense” because it is, if you use common sense like it’s not that hard. What we do. It’s really, it’s really not. And it’s not, if you just pay attention, it’s not hard to figure out who is the person that needs that you go to for this or this or like you just said like it’s not that hard if you just pay attention. But a lot of times it’s dancers and even you know, choreographers and directors, we get so into what we’re doing that we don’t sit down for a second and pay attention. A lot of people these days want, they feel like the more that I do it, the better I’m going to get it. Like even Right. That’s the same principle as just seeing the layout of whatever you’re doing.
I love that. It’s an excellent lesson and we are all receiving a masterclass in it right now. Okay, so get the info. Be watchful, listen. Of course. And then the next one I think that you are really well prepped for and well set up with is this nature and then the skill and they are different. The nature and the nurture, um, of being a freestyler, I think that you are a freestyler like in your DNA, but then it’s also a muscle in you and in your process that has gotten really, really strong. Um, how, how do you think starting as a freestyler, uh, contributed to your workflow right now?
Freestyle helped me. I mean, it helped mold my style. That’s still how I started. Like last night when I started my routine, I didn’t say I’m to do a, Mmm, what is the first move that I do? I do like these jazz hands to my stomach, right. And my foot goes out and in
And does it look like this, ‘dah doom?’
A little bit. Yeah, yeah, yeah. You’re so good.
I wonder if you could talk it to me and I could do it. Okay.
Of course I could, I just talked about this on my IG live the other day, but I’ll, I taught you and I then at one point sitting down like four, I think it was four eight counts and y’all got up and did it. Perfect. We should do that again.
Yeah, let’s definitely do that again.
But when I, when I started this move, I didn’t get up, Off my couch and say, Oh I’m going to put some jazz hands to my stomach. Like I just, I knew where that were. The first count is seven, eight ‘and a’. And, all I knew is I’m starting on the ‘and a’ after the eight and then I just did that and it, it was like, Oh that feels cool. I know it looks cool cause I’ve done it before. So, okay. That’s my starting point. And then from there I just let my body go. But if I wouldn’t have, I had that training growing up and the freestyle aspect, like in the freestyle world, then I don’t know what I would be doing. Like I don’t know if people who aren’t, have never been in that freestyle world. I don’t know how they, if they go into a studio and just move through a bunch of moves, I have no idea what their creative process is because I’m not them. And I’ve never been rooms with people like that. I’ve always been around people who are similar and come from similar backgrounds, which is who I gravitate towards, dancers, you know what I mean? People who can boogie and also do choreography.
Um, sneak attack. This is me opening the door and coming out of my little closet and introducing myself to you for the first time as a person who when we met nothing terrified me more than freestyling and learning choreography, this might’ve been why we got along well, right? As somebody who leads with freestyle might really do well by enhancing their team, by adding a person who remembers all the moves that gets spit out and can keep them or teach them or whatever. But um, it took you and some hard slap in the faces. Slap slap in the faces. No, I have one face, uh, slaps in the face of learning that that weakness needed to get stronger for me. One of them actually happened at your house? Um, it was right after, maybe not right, maybe not the same day, but shortly after the big audition for the future sex love tour. And there were like 500 people. Was it an open call or was it just selective call but mad people?
No, it was, it was, there was like 250 people, but it was, I selected all of them and then a few people, like five people crashed.
Okay. So massive audition. And we filmed the end and either the next day, the day, I don’t remember, we were watching the footage at your house and we had an unexpected intruder. I don’t even think he rang the bell. He probably like bolted up. Yeah, he just walked in, shout out b-boy kmel, Um, but I remember he looked at your TV and he was like, what is this garbage? And I was like, um, excuse me, this is the best dancers in Los Angeles. And he was like, those people are garbage. And he walked up to the TV and he pointed at Nick Bass and he was like, he was like, my shoe has more talent than that guy. And then he pointed at Misha and he was like, “Please! He’s okay. But mostly he’s garbage.” And then he pointed at the next guy and it was like, I’m sorry, wait a second. These people are like ridiculously talented. How could you even say that you’re delusional? And he, that was a bad idea, Little Dana,
It was a really, really bad idea. I remember it like it was yesterday. And I remember looking at you like, here she goes, look out man. She just had no idea what she did.
So what I did was redirect his, uh, b-boy battle mentality from other people to me. And he basically went, okay, and who are you? And I was like, I’m Dana. And he was like, uh, exactly. Who are you? And I was like, I’m a dancer. And he was like, no, you’re not. And it was like, uh, yeah, I am. And he was like, why? Why have I never seen you out? I’ve never seen you at the club. And I was like, that’s because I’m 18 or I was 19 at the time.
Maybe I was like, I’m not allowed to go to clubs. And then he laughed so hard, he probably started crying. He was like, you are not a dancer, you are a robot. You are a machine that has been trained to remember other people’s moves. You think you love dance, you don’t love dance. If you did, it would come from you and it would come without somebody else’s telling you to do it. And I didn’t cry at the time. I think I got home and really processed what he had just said. But I did cry hard about that and the thought that there might be some truth to it. And um, that definitely motivated me to explore freestyle and dancing strictly for myself. Not for accolades or a job or an award or recognition in some other form, but just because it feels freaking good. Um, and especially being so focused on winning at the industry, which is what my primary goal was at the time. I really hadn’t been thinking about that a lot. So that conversation woke me up. And also most of your classes at the time, especially, this is back in 2005, ended with a freestyle circle. Like that’s, it was a part of class. Like that was, that’s what what we did. Um, I don’t remember where this conversation started, but Oh, the importance of freestyle and me telling you that until we met, it really wasn’t a part of my daily life
That day, meeting Kmel. You knew Kmel?
Oh, I knew, I absolutely knew of him and I’d watched him get down. I remember a specific Youtube video where he battles three different people at one time and roasts them all. Uh, I’ll try to find that out. We’ll try to share that. But that’s another thing when I talk about you in addition to you just being, um, my mentor and the person that I worked for most directly in my life. But you’re also the person that introduced me to the most influential figures of my life. One of them is Toni Basil. Um, Kmel is included on that list. Popin’ Pete is on that list. Really. I got so fortunate in my timing and placement in meeting you that I learned, you know, the studio that I came from, we offered hip hop once a week and it was for an hour and after you change out of your leotard and tights, that’s really like 45 minutes. Um, but I got to LA, fell in love with your style and fell in love with street styles. And then you introduced me to Toni Basil who taught me everything I know about locking. You introduced me to Pete, taught me everything I know about popping and you introduced me and gave me an appetite for freestyling, which is really compounded and made me the dancer that I am today.
Absolutely. It’s a huge part in what you do.
You be roasting fools now.
Um, I have good teachers. We’re gonna say,
Dana: I hope you are digging, getting to know this guy. Marty is clearly a very laid back dude who loves a good story. He is captain cool in conversation and of course in his moves and we talked for a while about his public persona, about him being very friendly but not necessarily very accessible. After all, he is extremely busy working at the top of his field and to add to that list, he’s also a family man and to add to that list, he’s also a super sports enthusiast. We’ll get into that later. Marty was never really one to engage much in the social media sphere until now. He’s been doing daily or at least almost daily IG lives and I do want you to hear about that. Let’s get back into it.
To be honest, the first one I ever did was, was was Lucy, my daughter at a clipper game like years ago. So I had done one before but I’d never done one by myself and Mo and strictly to talk about dance. So it started of course when this quarantine started and I think I started on day one and I missed a couple of days, but I’m trying to do it every day as of now. I never thought I would be doing this in a billion years and I’m really, really enjoying it. You know, we don’t just talk about dance on there. Like I had kmel, on the other day and we were just talking about real life stuff and stuff that we had done back for the day. In the end, people were loving it.
Yeah. Like a peek into your world, right? It’s like this is your house, this is the you, this is unfiltered. This is uncensored. And it’s,
Yeah, it’s, it is. It’s cool. It’s, it’s wild though. Um, I’ve been being brave and being, I haven’t seen a lot of other people doing this and cause whenever I’m on their Instagram, but I, I accept whoever, like if somebody requests me and I don’t know them, I’ll still pick up the request. And I’ve had some couple of funny experiences.
I can only imagine.
It’s been fun. I mean, it’s better than sitting I guess watching TV all day, you know what I mean? So, and another cool thing is I’ve connected with people that I haven’t talked to in like 1520 plus years.
I love this. Yes. It’s amazing the internet is being used for what it was intended to be used for connecting people and solving problems and getting information. Yeah, I’m all about it. Um, one of the things that came up when I popped on your, um, IG live the other day, which reminds me every, uh, Thursday after the podcast comes out, I do an IG live at five. So the podcasts come out, podcasts come out on Wednesday, and then I do a live on Thursday. What’d you doing on Thursday at, uh, at five,
Uh, going on with you, I guess.
Okay. So when I jumped on yours last time we started talking about team WOM. Now for those of you that missed the live team, WOM is a well oiled machine and it consists of Marty, myself, and a few other key players. Marty, can you talk about like what makes the dream team?
Well, my dream team as of now, and it’s been this way for a little bit is me, Dana, AJ, Ivan, and Natalie, um, that’s who I have an intensive called school that is an invite only type of intensive that Dana is a part of of course. And it’s us. Five is the core people. And even, you know, when working on a tour or you know, whatever the job may be, it’s always, it’s not always us five. I alternate as well, depending on what the gig is and what I feel is right for it. Um, we just had a job for Justin where me and Ivan and Aja were part of the production team and Dana was a dancer on it,
Although you, although you wouldn’t really know it, that was a cutting room floor of circumstances. It happened then
And after all that hair. Oh my gosh, so much fake hair. We’ll also, we’ll also be linking to that Video
But you, but you have a great story about it. Such a good story, but yeah, but, but that, that’s my dream team and they, everyone brings something different to that pot and we’re a very well rounded team. And if you look from me, the oldest going down to the youngest, which is it you?
No, I think it might be Ivo actually.
Oh it is Ivo.
Nat is older than me.
So then I will, you know, we cover a bunch of different generations and I feel like that’s something that you have to have it to stay connected and stay relevant in this business.
Good point. If anybody out there is seven years old, we’re looking to fill a slot. Marty and I have questions about tik tok.
We do actually we’d see what’s cool is there is like a un just like with team Roast cause team Roast really is just me, Eddie Morales, kmel, and Lil-C. That’s the original team Roast. But we have an extended family, which all you guys are in of course. I mean, you know, Legacy, Flea rock. We have like a big, you know, a big healthy team. Roast family. Same thing with team WOM. I do have a couple of like seven to eight year olds. I’m sure you do too. At your conventions. Who could help us out?
Oh my gosh. Marty. Easy, young ones are like so capable on the dance front and then also like punctual, respectful. They got a personality. They know how to respond to emails on time. I’m looking at my generation like, come on, y’all step up, let’s go, let’s go communicate. And I, yeah, there are a couple of young people in my life that are very impressive on that front.
On one of my lives the other day. This shout out to @Mattygoogs if you’re listening, he, uh, he’s a little assistant for us on monsters and he hit me up on my live with the question, like speaking professionally, just perfectly written up. I’ve really enjoyed learning from you and getting the chance to assist you in prior cities. But my question to you is, how can I get better assisting this and that? I really want to be able to cater to the T like,
So well-groomed, so well-groomed. Believable. Yeah.
Take note y’all.
Okay. Marty’s team is made up of people who are professional and still very personable. They can be casual because they’re so capable and those are the people that I want to have on my team. In this business, your team is your tribe and your team is super important. But that being said, you are the most important person on your team. So next we’re going to get into Marty’s personal codes of conduct and peek into his process for choreographing the trolls films.
Dana: Um, one of my favorites, sayings slash lessons that I ever learned from you is, um, early is on time, on time is late and late is you’re fired. We’re going to use that. We’re going to use the F word.
Yeah, you could, you could use a couple of different F words there.
Um, what other codes do you live by and do you run your professional world by?
Oh, that’s a good one. Um, this, I don’t know if this quite answers it, but this maybe in a roundabout way, I, and I just said this actually, I got a chance to teach for Rich and Tone They’re intensive, the Rich & Tone Experience . And I caught myself saying this there and I’m gonna kind of repeat it now. Like I, I lately and I haven’t always approached work like this, so even works, this is kind of, some people could say, well that’s contradicting where it’s smarter, not harder, but it’s not to me it’s making me work harder. I’ve been, I like to put pressure on myself, so that’s a, that’s a code that I’m living by these days, whether it be with work, even at, uh, you know, I don’t know at home life sometimes I like to almost procrastinate sometimes on purpose to build up, to have a lot to do. So then whenever it’s time to do it, I can just get it all done. You know what I mean? Like when it comes to work, like my example on the trolls movies, like when the scene comes to us, me and AJ watch a scene just to break down real quick, we see a scene, they tell us what happened in the story before, what happens in the story after. And then obviously we, we’re knowing what’s going on in the scene and then it’s up to me to choose where I want dance and build a scene through dance. So I can do whatever I want pretty much right there. Which is awesome. Crazy to think
That creative freedom is such a gift. That’s great.
It’s such a gift. So you know, obviously I’ve seen the scene a couple of times when we have an initial meeting, but then up until the day that we rehearsed, uh, I don’t watch it. I want to go in the day of, I want to watch it again, like an hour before and then I give. So by this time I have like 45 minutes to prepare something. I’m not going to prepare the whole thing, but to give myself a start and basically I’m putting myself in a corner because I know there’s only so many hours of rehearsal before the powers to be, are going to come in and watch and give us notes and then eventually film it for the movie, so it’s a lot of pressure. But to me, no pressure makes diamonds. Do you know what I mean? And like if you have, if you have no other choice, then you have no other choice.
You have to get it done. And, and up to this point, I’ve never had, knock on wood, I’ve never had not got it done. You know what I mean? Maybe I could have done it better. Sure. But we’re not, we’ll never going to know that and maybe I wouldn’t have maybe what I created because of that pressure is what it’s supposed to be. You know, I’ve already, I have already prepared by listening to the song by knowing what’s going on, you know, and I have seen it so it’s not blind. I’m not an idiot. But you know, it’s, it’s, I don’t, I feel like if I have from that time we have that meeting, if it’s a week before we’re going to do that rehearsal, or if I just only think about that scene, it’s gonna mess me up and the product will not be as good as if I did it the other way.
That’s so interesting. I wonder if part of your, um, cause you love sports. We haven’t talked about that much at all and I probably won’t talk about it much because I’m not a sports person. It’s like I just run out of information pretty quickly, so I’m like, Oh yeah, teams, huh, Ooh,
But I wonder if part of your thrill is like the clock’s running out. Absolutely. You love the thrill of, of, let’s see, I already ran out of sports words, but I wonder if that plays into this a little bit like
A hundred thousand percent. It’s the same thing whenever, whenever I came out here and was auditioning as a dancer, I used to go to auditions like it’s a game, but to me it was, I’m like, yo, I’m ready to roast these fools. Like this is not, they’re my opponents. Like I’m trying to get the job and you know, we can be cool before and after, but I’m going to try to destroy these dudes. Like, and I’m not going to cheer for them. Right. You know, and like do all that crap. Like that’s good in class and that’s good. You know, whatever. But at an addition, you know, I get it, keep the morale up or whatever, but I’m not clapping for you. Like I’m trying to get your job
Right. Imagine that. If you had like opposing sports teams, like cheering each class is incredible. I’ve never considered that metaphor or that perspective for another.
Well, when you were, when you, you were a competitive dancer, like at your, your studio, so when you went out there to compete, did you think that way or were you just like, Oh, I’m just, I just want to do my best or I just want to, or were you like, Oh, I hope we get first place.
I definitely wanted to win. Yeah, absolutely. Yeah. Yeah, yeah. I love this. The idea that you can audition as a, as a person on a team, you’re like, my team is gonna win and I don’t need to be your friend. Yeah. You’re, you’re your team. Um, that’s very cool. Thank you for sharing that.
Absolutely. I miss that, man. Shoot, the audition process!
Let’s go sometime as soon as auditions happen again.
I would love that. Do you know what the last audition I went to was a Michael Rooneyaudition.
Oh, I think I remember this!
I booked the job, believe it or not.
Yeah, of course you did before
It was for a TV show. As a pilot for some TV show, I forget the name of it. I don’t know if it ever came out, but it was like, you know, this big grand 40 person dance piece, whatever that I was in and like doing turns and stuff. It was pretty awesome.
Oh, I love it. So much
And I was so nervous every time on set because I’m surrounded by all these like technical divas and I’m like, I’m just trying to do a clean, double.
Incredible. So talk about that for a second. How did, because your style really does fuse some jazz elements. Marty, Marty Kudelka, combo I can think of has a swift inside pirouette in it.
I love a good inside pirouette.
Love a good inside pirouette. You’re, you’re also, uh, known for a Rond de jamb every now and then, big fan of, uh, I’m going to save your favorite step for a second. But how did you wind up interfacing with technical dancers growing up?
Um, when I started really teaching a lot at studios, I, I taught a lot. Like I have in my busiest time, I was doing like 25 classes a week for like four years. Four or five years in a row right before I moved to LA and, and that was like nine months out of the year. And um, but so I lived at the studio and I literally like, I mean I had an apartment but my apartment was walking distance to the studio. So I literally spent all my time except sleeping at the studio. So when I wasn’t, weren’t teaching, I would sometimes go in other people’s classes cause I knew it was common sense to me. Like I already knew that this is what I wanted to do and I knew that I would have to learn something at some point. And then we started at the same time we were doing gigs in Dallas and a lot of people who were choreographing those gigs were trained. So every time that I did a job, I would be just a dancer before I started choreographing some of them I was just a dancer in them and I would have to learn, like I learned how to do an axle because of a job I had to do.
And you have a mean axle by the way. I want the listeners to know that I am seeing it. It is strong. I’ve seen it.
It’s a good lasso. I know I can, that’s my go to lasso arm. Axel to the right, which came into handy actually at a Janet audition that I auditioned for on the day of the callbacks, Tina Landonput a freaking axle in there and I couldn’t believe it. And by the way, I’m doing a live with her at some point next week. And I’m going to bring this up to her and thank her because I don’t think I ever have, because literally for that moment I was prepared and, and I remember being in the studio, not the studio that we basically, we got kicked out of the studio and her and her squad like Kelly Konoand Nikki and uh, all her squad at the time, I think Gil? No, no, no. Gil Duldalaowas auditioning. Uh wow. She, yeah, Brian Friedmanwas auditioning like it was that time. Friedman was young young. Yeah, this is a 97. And I remember peeking in the blinds to see if I can peek on what they’re doing in there. And I, as I peek, I see them perfect timing as I look, they do an axle and I’m like, and I’m looking around at like, there was probably like 50 of us left and I knew there was going to be one more cut and I’m looking around at all the other hip hop dudes, you know, cause I’m putting myself in that category and I’m like, I know damn well none of these dudes know how to do this. Like there’s no way. So I’m like, yes. And sure enough a lot of them got cut and then there was only like 20 of us and that
And so that’s, that’s how you got your b-boy name.
B-boy Axel. It’s terrible. It’s pretty funny.
That’s a good story.
I forgot about it.
Dana: Okay. It was really, really cool for me to hear Marty stories about auditioning and his audition mentality. I think that with someone like Marty who’s been at the top of their field for so long, sometimes it’s easy to forget that he hasn’t always been there. He had to climb just like I did just like you do. And I know Marty pretty well, but this was the first time that I got to hear about his audition mentality. It was also cool to hear that even he gets nervous on set, although he certainly doesn’t show it. Next Marty and I get to reminiscing a standout gig and a career highlight for me a performance that you might not have even seen if you are new to the scene. Enjoy
Okay. I want to hear about one of your favorite creative processes. Like talk through
when your favorite, it could be a tour or it could be one specific like show or music video.
Um, let’s see. All right. You know, one that stands out, you a part of it of course was the 2013 video Vanguard awards performance for Justin. Um, so A. It was a big deal because it was a lot of time. Normally you only get to do, you know, like three minutes max. Um, no matter who you are. So we knew that this was going to be, they didn’t give us a time at first, but they knew, we knew it was going to be anywhere from like 12 to 20 minutes, somewhere around there. So actually, I actually, I think the reason that’s that number stood out to me, I believe the reason why is because I think they actually did say that they’ll give us 12 in the beginning. And I think our first music edit was like 21 minutes. So we were like, well, We’re gonna have to like, yeah, let it begin. And then it ended up being like 16 and some change, I believe. And so that was a good, happy medium. And I feel like we won that battle and it was like seven seconds longer than Michael Jackson performance, his video vangaurd award. So we felt like we won that battle. But that’s part of the creative process is having to have these talks like, which, by the way, where we talked preproduction for like two and a half months before and on all these calls where it’s all the MTV people, right? Sure. Uh, the, um, you know, the lighting people, the, all the production team, the management, the record label people, and then me, um, it was always just me and like you and AJ y’all didn’t, y’all weren’t part of these calls yet. Like, um, right. Like now I have AJ do more of the email stuff cause I just can’t stand it anymore. And um, I hate it. I really hate it. But anyways, um, but all these talks go in and Justin’s not even on the phone. So I’m basically having to like relay all this important information to him and then we talk about it, then I go back to them and then talk about it and negotiate more about that, like everything. So that’s a big part of the process. But then also he had the idea of, yeah, why don’t we bring N’Sync back together for a little thing? And, um, I thought it was a joke and I was like, no way, you’re not going to do that. And he’s like, why not? And I’m like, well, yeah, I’m asking you why not? Like, why don’t you, he’s like, well, I think I will. And then he did. And then we did, which created another thing. And, and by the way, this is all happening while we’re doing a tour with Jay Z called Legends of Summer That tour was, uh, like a two month tour and that was going on while we were planning this. So we were having to deal with, uh, another ongoing job as things change when the tour is going, but while doing this. So, most of it was like, I remember being in hotels having to be on these conference calls and then yada, yada, yada. But then another big part is now that we know NSYNC going to be there, you know, then it goes. And how much time did they get? What songs did they do? What choreography do they do, do they do choreography, these kinds of things. So then we started putting it together. At the same time, we’re, me and Justin are getting on the phone with Adam Blackstone, the musical directors to figure out how to cut down these, this music. So then, okay we got to take this out and it’s not just taking out a song. Cause then if it’s taken out a song, did that piece have choreography? Transitions? Its gotta make sense musically but also choreographically and direction wise. And then okay now we know that we’re going to go all over the arena was our idea. So then, and I forgot how that idea first came about but Justin just likes to always move. He doesn’t like to be stagnant. So we, I think it was maybe we, we saw the game plan and they said which stage do you want to use type of thing. And we said, uh, all of them and maybe can you build us a couple extra ones? And so then we have to figure out, it’s just a big math problem. Figure out, okay what goes where or does it make sense? Can he survive doing this? Cause if you really watch like that dude was all over that arena. So then once you kind of have that in place, then you have to go back. And there was a, the biggest discussion was we didn’t want to start inside the arena. We wanted to show him with us walking into the venue. But you’re in Brooklyn, New York, and that creates a bunch of permits and this and legal things and what you can and can’t do, where you can shoot, why you can’t do that. All these things. I’m sure you had to deal with this with In the Heights a billion, you know, so you, these are the talks that take the most time. So figuring out what’s possible. Eventually we figured, you know, then we, there was talks about getting off the subway that’s connected to that then, but then you have to go outside. So no, so we can shoot in the subway but we, and then we can jump inside but we can’t shoot the segway in between. That doesn’t make sense. So then we ended up having to shoot it inside to make it look like we kind of just came from outside. So there’s all these talks. Finally we get all that in place and then there’s, well, where are we going to rehearse? Because we have to keep this a secret because of the NSYNC thing. So nobody knew. None of the MTV, not Hamish the director. Nobody knew. Not even you guys as dancers knew. At First, I don’t think maybe you knew
I did know because insert my career highlight of a moment you asked me to rehearse them. Um, I am 33 now, which means at the height of NSYNC, I was also at the height of NSYNC. I was like a huge fan. I had everything they ever did recorded on a VHS and I would watch it, I would study it. I knew all the moves. And I remember one day after rehearsing with them, um, Joey asked if he could film me doing it and he would rehearse watching me. And then Lance was like, Oh yeah, me too. And then JC, of course, YO, JC works so hard. He was, he was like the ultimate most focused. And so, uh, I had the most surreal moment of my damn life when all of the NSYNC members were filming me doing their moves so that they could learn from watching me on video. I was like, you have no idea how backasswords this is because for my entire adolescence, it was the other way around. It was such a wild ride.
Yeah, I remember that day. I remember them all doing that.
Yeah. And we were in, okay. So back to your point about keeping this super under wraps where we had high school gymnasium or some rec center or some sort?
No, we were in the back of a theater.
Why were we in Florida?
We were in, we were in Miami because the legends of the summer tour, the last date was in Miami on a Saturday night. And then he actually had a concert in that theater that we performed in. We performed in the rehearsal space behind the theater, but he had a, uh, you know, he liked to do show after the show. He had a show after the show that Saturday night. And then we had a day off on this Sunday and Miami. And then we started rehearsals there. That’s why we had it in Miami because we were already gonna be there. Justin and I, and we could have a day off in Miami and then fly all you guys there and we start on that Monday in Miami. And because we rehearsed in LA, people would find out about the NSYNC thing. Like what studio could we go to that would, that could be kept secret. Somebody’s gonna talk. Right. You know what I mean? So we in New York, same thing like especially everyone’s going to be rehearsing there cause that’s where the BMS are. So Miami kinda made sense and I loved it. Didn’t you have fun there?
I did have fun. There we went out a couple times.
Yeah. I think that we should always rehearse in Miami. Absolutely. Another cool, cool thing about this, just a little, a little nugget is that um, it was kept such a secret that all five dudes in NSYNC, they all stayed at different hotels, had different transportation of course. And they all came at like scheduled different times to rehearsal. So they weren’t all showing up at the same time. Like it was like a whole secret like service type of thing, which was really cool to be a part of. And I think we kept it from the other dancers like you knew. And maybe
Where is that footage? I know you’ve been releasing some,
I have that footage. I put part of it up of the first section y’all are in.
Oh man. There’s some nice nice moments in there.
Yeah, yeah. But, but, but that was a cool thing just having like I remember the day that they came in NSYNC where and all the dancers finally got to know and we ran it for them or whatever and they got to see what we were doing. And that was such a cool day, man. That’s history.
David Moore was so hype. He was so excited.
And I let David dance in front of NSYNC.
That’s right. He was there. He was there. He was their leader. Um, I will definitely link to that performance cause it is a forgotten gem. That is such a, that’s history. Good call. Um, also in there, I think you just revealed the closing chapter of work smarter, not harder. And that is, remember everything you have a steel trap of a memory that makes, you know, all of the listening in the world doesn’t mean anything if you can’t remember it. So whatever your method is, method is, if it’s having great assistants or keeping good notes or just being Marty, which means your memory is foolproof. Um, then that like, that is such a huge, huge, important part of, of being able to work smart.
Yeah. Um, I mean I think it’s, I don’t think I have some like special memory. I think I have like a selective memory. I think that’s what you have to do is like if you, if it’s something that you think you might need to know and remember, then try to figure out a way to remember that. You know what I mean? Like, you know how bad I am with birthdays. Like I’m the worst at birthdays and I’m really bad with people’s names. Um, once I know it and then the people’s names, then I w- I don’t forget, but I’m really bad if I just meet you once or twice. It’s really hard for me. And I think part of that is almost like, I want you to make me remember who you are. You know what I mean? Like I will make me want to know you type of thing. Where a birthday. I’m kind of like, I don’t need to know that because some, somebody gonna to remind me, you know, someone’s going to be talking about it or I’m going to see nowadays especially I’m gonna see an Instagram post and I’m going to go, Oh, I’m going to hit up that person before I forget, you know,
Cross out everything. Definitely don’t remember everything. Remember important things important. Absolutely. That’s that. Um, and on that note,I think, I think we’d wrap it up. Is there anything that we, I think we could easily go round to for the record and I’m excited about going a little deeper into some of these topics on our IG live on Thursday at five. Um, but I’m just so grateful at you being in my life and at you sharing all of this. The insight is priceless. It really, truly is. So thank you for doing it.
Thanks for having me. This was fun. Let’s do it again Thursday.
It’s been awhile since we took the dog out.
Where’s this dog going
To the pound.
Where’s this dog going?
To the bank.
We’re just all going logging out of our zoom conference right now by Marty. Thank you so much.
I hope you smiled. I hope you laughed and I hope you enjoyed reading the ways that Marty works smarter, not harder. I’ve been learning from Marty for years and I got a lot out of this episode. It had so many great reminders to look, listen, freestyle, and remember the important stuff. Oh, and laugh a lot. If you don’t already have a full page of notes on this episode, I want you to grab some paper and brainstorm the ways that you can work smarter, not harder. And at the bottom of that page, leave yourself some space and ask yourself for three ways that you can make sure to laugh more today than you did yesterday. And with that, my friends, I will bid you. Adieu. Adieu? I’ll bid adieu Thank you so much for listening, everybody. Stay safe. Stay soapy and keep it funky. I’ll 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 word member. So kickball, change over to patreon.com/WTMMpodcast Learn more and join. All right, everybody now I’m really done. Thanks so much for listening. I’ll talk to you soon.
Intro: This is words that move me, the podcast where movers and shakers like you get the information and inspiration you need to navigate your creative career with clarity and confidence. I am your host, master mover, Dana Wilson. And if you’re someone that loves to learn, laugh and is looking to rewrite the starving artist story, then sit tight. But don’t stop moving because you’re in the right place.
Dana: Hello. Hello everybody and welcome to episode 17. I’m jazzed about it as usual. Um, in episode 16 I mentioned, well, I promised, I think that April’s podcasts would all be about bringing the joy, the silly, the bright, the creative. Um, and this episode is exactly that, but it is in disguise. This episode is about processing the darker side of the emotional spectrum. Sadness, stillness, anger, grief, anxiety, depression. Yes. All of those guys. And it’s really about coming out on the other side of them naturally without forcing anything. So thanks for joining me. Are you excited or what? Uh, before we dig into it though, of course, let’s do some wins this week. I have a handful of wins. I’m going to try not to say cooking again cause that’s what I said last week. I’m becoming way more comfortable in the kitchen and I’ve had some really killer dinners and leftovers. So I’m counting that as a win privately, secretly, and also now publicly. Okay fine. I’ll just call it a win. But I also want to shout out the handful of dance studios that I’ve been working with, eh, in the form of some digital support. Um, Dance ImpressionsMichelle Latimer Dance Academy and Cary Dance You guys have been so much fun to work with. I’m absolutely counting you and your students among my wins for the week. I’m just learning so much about, uh, transferring my syllabus and my teaching style into a different mode, different platform. Ultimately a different process and process is what we are talking about this week. So very appropriate. Um, let us, Oh, sorry. My bad. Let me give you your moment. Hit me with your wins. Say ’em out loud. It’s really important. Go.
Okay, great. If you need more time, please don’t let me stop you. Just hit pause. Keep going with your wins. It’s very important that you do that.
Okay. So the word process has been coming up a lot lately. Um on the podcast, I talk a lot about creative process and um, it’s also been coming up in like casual conversations. People saying things like, I don’t know, I’m still processing. Another example, the SBA, uh, assessing my application for the PPP, paycheck protection program. So fingers are crossed for that. Um, here’s another fun one that I heard recently. Uh, how long should I let this color process? Oh my God, I miss my hairdresser. Hehe, uh, yes, maybe you shouldn’t be, um, processing your own hair, doing your own color or cutting it. Just a thought. There are certain things that really ought to be left to the professionals and trust me in the COVID moment, we’re all experiencing new in terms of life and also our hair. I’m just going to encourage that you accept it for what it is and process that. Oh, also, here’s a fun game. Speaking of process, keep track of the number of times I say process in this episode and then do that many pushups per day starting now, whatever day it is, uh, for like the rest of the month or a month from now. And um, just go ahead and see how shredded you become. Look out beach bod. Even if it’s not for a year that you see a beach again, you’ll be ready for it when the day does come. Okay. So starting now it’s process time. So the word process when used as a noun means according to Merriam Webster, a usually fixed or ordered series of actions or events that lead to a result. Okay. Well this explains sort of the creative process in my mind. It’s something that moves forward or occasionally spirals. Um, but it’s always moving. And at the end there is a result. There’s this thing, whether it’s a show or a step or a film or you, you get the, gist in the last two episodes, I have talked to the seaweed sisters a little bit about the secrets of our process, which include saying yes, and to any idea. Um, and I also talked to Kat Burns in the last episode, which was 16. So let’s see, Seaweeds were 15. Kat Burns was 16, and Kat talked a lot. How processes differ depending on the format, um, or the medium, whether it’s scripted TV, a stage show or an improv show. Um, and honestly, if you haven’t listened to those episodes, go check those out. Some really golden nuggets in there. But long story short, every project and every person will have a slightly different creative process. So millions, so many different creative processes.
All right, so when used as a verb process means to refine or rectify or even to clarify, to me, it evokes this idea of sitting with something and chewing on it, digesting it until it’s gone. So that’s sort of a difference that gets stirred up in my mind. A creative process results in something, it leaves something at the end versus a process of refinement or clarifying results in having something completely digested. And then it either goes away or turns into something else completely. So there are probably as many forms of processing emotions as there are creative processes. It’s likely that everyone has their own way or even that their way might change over time or that they’ll use a combination of different ways to deal with different things. And I’m just fascinated by that. A handful of those styles of processing might include journaling or as I like to call it a thought download, which is where I try to just stream of consciousness dump whatever is in my brain. It goes through my arm and my hand and lands on a page or on a pixel via a keyboard or pen. Um, but there’s also therapy counseling, you know, talking to somebody. And then there’s also DMT or dance movement therapy, which is made up of countless techniques and exercises that are designed to ultimately create awareness of mind and body. I will be very clear, I am not a dance movement therapist. I use dance to tell stories. I use dance to make money and yes, sometimes I dance explicitly for fun. Occasionally I dance as therapy when I’m feeling down in the dumps as I’m sure several of us have, right? Oh and I am learning by the way that dance crying is actually a thing. Literally dancing up all the feels and then dancing them out via tears from your eyes. I love this concept and I really, really love the thought that the more aware we are of our minds and our bodies and the sensations within them, the more able we are to watch and regulate them and even generate new ones, right? Like new feelings in our body. We can control them, make decisions about them and our emotional experience of the world is effected. My job and a huge part of my life revolves around being in touch with my body and controlling it, being deliberate with its movements and using it to get a job done to craft shapes and phrases that convey emotion or information to give form to feelings to exteriorize the interior. That is my jam. That is what I do. Now, It’s the third week of April and I’ve been distancing since March 6th I have been regulating and controlling and deciding the crap out of my daily life. Are you ready for this? Okay. I coach on Monday, Wednesday and Friday I film new combos to send to studios on Saturdays. Sundays are seaweed sister sessions followed by deep household cleaning. Then I look at finances on money. Monday I do curbside produce pickup on Tuesday podcasts are Wednesdays, IgG live at five on Thursdays. All the food prep, all the dance classes, all the laundry are happening every day. And I also journal and I stretch daily. Whoa. So I really thought that I was processing these new circumstances along with all of my feelings pretty well. I seems to have found a schedule that appeared to be productive and fulfilling. Oh, but boy, spoiler alert, I certainly wasn’t processing, not all of it. Anyways, how did I find out that I wasn’t, Oh well, as you might imagine on a rainy day, the fourth in a row, I mind you, I had a breakdown, a full blown adult tantrum where hot water poured from my eye holes. And this tantrum was actually the good part. By the way. The water pouring out of my eyes was the release. It was the moment before that was actually super tough. The quiet before the storm, we’ll call it.
That was the moment where I was feeling heavy, slow, foggy, vapid, guilty, just gross. You name it. Dark end of the spectrum. I was feeling it. I tried to motivate myself up out of it. Go, go make up a new combo. I tried, my moves were lame. I stopped. I tried to write a new podcast, but my ideas were mangled and mushy, kind of half formed, gross. I stopped, I tried to make food. It was gross. Oh, you better believe I ate it anyways. And then I felt gross and then I stopped. I just felt stopped. All of it felt pretty stopped. I felt stuck like so many of us probably felt or are currently feeling and for a person who moves for a living, for a self-proclaimed movement master feeling stuck feels pretty awful. Now by default, I’m a person that’s a pretty positive thinker, captain, bright side, Susie sunshine. Like that is how I like to live my life. But I do believe that my life will round out with a natural distribution of emotions like 50% of the time I’ll be good or better. And then the other 50% of the time I’ll be sub good or bad or occasionally awful. Now for the record, I have no scientific evidence to back up that that’s actually how my life will round out. But I have a feeling that if you did analysis on like the past five years of my journals, you’d find some plot points that you could put on a graph and you’d probably be left with a pretty good looking bell-curve. So as I sat there feeling these awful things, I was sitting way at the tail end of my bell curve. I got on the phone for some coaching and this is what I asked my coach. I asked, how do you know when to sit with yourself and your big, ugly, deep dark thoughts? And when do you coach yourself out of it? When do you coach yourself off the ropes? When do you let captain bright side shake some sense into you? Well, here’s what my coach said, and by the way, let’s pause for the cause for a second because there are a lot of different coaches and styles of coaching. Now, there are the types that will break you down to build you up. And then there are the types that will give this air of being almighty all knowing, omnipotent, like they, they know you better than you know yourself and they know the answer to your question even before you know what you’re even asking. Yeah, those are not my coaches. My coaches honor me exactly as I show up. However, broken or built that may be, depending on the day and my coaches helped me see in myself a way that gives me the power to answer my own questions or to make my own decisions. So that’s the type of coaching I’m going in for right here.
So I asked my coach, how do I know how long I should sit with a negative feel? How do I know when it’s time to regulate and step in and do the self coaching or when is it time to move? Like move yourself out of it. Of course she didn’t answer. Instead she asked, okay, what exactly is this negative feel that you’re feeling? And the first word that came to my mind was stuck. I feel stuck. And she said, “okay, whereinyourbodydoyou feelstuck?” And I said, after a little bit of checking in and thinking I had a feeling she might be expecting like my heart or my throat or my forehead, which are all totally acceptable answers to where do you feel stuck? But I genuinely like I felt it everywhere. I felt it inside my body, every inch of it. I felt it in my blood and she was unfazed by this. Uh, she was a stonewall. She was like, “okay, great. Let’s talk more about your blood.” Which is so funny to say out loud right now, but it was a perfectly reasonable question in that moment. She asked, “what color is your blood?” And I was like, you know, close my eyes and really try to visualize my stuck blood. And I decided that it’s definitely gray but not even like a full, beautiful, deep, dark rich gray but like gray at 50% opacity, like puny, sad, weak gray. And then she said, “all right, got it. Okay, so, um, is your 50% opacity gray blood? Is it moving? Does it have motion to it?” And I said, no, it is definitely still, it is what is stuck. It is the thing that is like freezing up like concrete. And she’s like, “okay, great, great, great. So tell me more about your 50% opacity, concrete blood.” And I just kept explaining the image, my made up idea of what my blood looked like and moved like inside my body. And at a certain point all that digging in was starting to make me tense. So instead of just feeling stuck, I was now feeling tight and I said, man, my now my skin feels too tight right now. I’m really tense. And she said, “Ohgood, tell me about your skin.” And I said, it’s, it’s brittle. And she was like, “okay, okay, how else does it feel? Does it have movement?” And it was like, no, no, it’s, it’s too pulled tight to have movement. And she says, “okay, well how is it normally?” And I thought for a second, and I said, I think it’s normally kind of like a plum. You know what? I remember the book To Kill a Mockingbird. I think that’s where I got this from. I think there’s an explanation of skin in that book where they, uh, Harper Lee explained skin as like the skin of a plum. Like it’s supple. It would peel back if it got snagged, but my skin was definitely not that. So as my coach kept asking me to explain my skin, I was coming up with ideas like it’s not definitely not a plum, it’s more like a grapefruit, like thick, porous and, and, and instead of housing a grapefruit, my grapefruit skin is trying to contain a watermelon. And then she said, “okay, good. Let’s go back to your blood. How’s your blood doing?” I was like, are you kidding me? Okay. All right, fine. Was talking about my blood some more. I’m explaining my blood, I’m getting emotional. Then she says, all right, how’s your skin feeling? I’m like, it’s tight. It’s too tight. And she’s like, okay, let’s go back to the blood. Has the blood doing. So we, long story short, we bounced back and forth between talking about my concrete blood that was now bubbling to my grapefruit skin that’s trying to contain a watermelon. And then she asked one last time, how’s your blood? And I said, well, it’s not stuck anymore. The stuck was gone and it was replaced by, you know, blubbering hot waterfall of other emotions. But stuck was definitely gone. So the answer to my question, how do you know how long you should sit with the negative fields? Well, sit with them, be with them, experience them deeply until they’re gone. The answer to my question, when is it time to move yourself out of it is it’s time to move into it. The only way out of it is through it. And the answer to my question, when is it time to regulate? Oh, the answer to that is it’s not time to regulate. It’s time to process. So the next time you’re experiencing life on the downside of the bell curve, stop, look and listen. There’s a good song for that to your body and process. Now the process that I used talking about my, um, now the process that I used revolved really heavily around my awareness of the sensations in my body and my imagination. I mean, come on. Gray, half opacity, concrete blood, grapefruit skin. I mean what an imagination. That is like A plus super kindergartener type style of imagination. This process means giving a color, giving emotion, giving texture, and giving names to this sensation in your body, like to a high degree of detail over and over and over again. And that process might really resonate with you, especially if you’re a dance type that checks in with your body regularly. But it also may not resonate with you. It might not be your style of processing emotions, but it was hugely effective and profoundly moving for me. So I had to share it. My interest and curiosity in, um, we’ll call it mind meets body processing is absolutely peaking. So you better believe I will be getting into, uh, some DMT and other processes for processing emotions in the upcoming weeks and months and probably years. So take a second to think about it for yourself. How do you process emotions? How do you process the events of your life? I would love to hear how you do it. You can message me on the gram @danadaners or you can send me a message via the contact page on my website, which is theDanawilson.com.
All right, my friend, I hope that that um, glimpse at my process for processing emotions gets you thinking about how you process yours. Um, then that is it for today. Thank you so much for listening. Stay safe. Say Whoa. Stay safe, stay soapy and keep it funky.
Thought you were done. No. Now I’m here to remind you that all of the important people, places and things mentioned in this episode can be found on my website, the Dana wilson.com/podcast finally, and most importantly now you have a way to become a wards that moved me members, so kickball, change over to patreon.com/WTMMpodcast to learn more and join. All right, everybody now I’m really done. Thanks so much for listening. I’ll talk to you soon.
KEEP IT FUNKY
Sign up for links to free workshops, tools, and project updates