184. Decades Plus with Marty Kudelka

Hello. Hello. I'm Dana Wilson and this is Words That Move Me. I move people. I choreograph movies, music videos and TV shows. I dance for pop stars. I coach some really awesome people. But what I truly love is to learn, share and inspire clarity and confidence in my fellow movers and shakers. So if you are navigating a creative career or simply want to live a little more funky and free, then settle in, because this is for you. Hello? Hello, this is Dana. This is words that move me. And this is the first guest episode of the third season. Heavy air quotes there because we do years instead of seasons here and it's October, but time is a slippery thing. So we're calling it season three, a new chapter for Words That Move Me, because right now you can see my face and body if you want to. Indeed, this is our first guest episode of the new video format and I am stoked about it because today I am joined by one of my dearest friends. I said it, friend, mentor, frientor. He is hands down, the person with the largest influence on my career. He is a legend and a tastemaker in our community. Yes, my friends, today we are joined once again by Marty Kudelka. Round one with Marty was episode , one of my favorites of all time. You must listen 100%, will link. We reference that episode a lot in this conversation, but anyways, this one holds up. Round two is so good. I'm so excited to share. But first, let's do some wins. We start every episode with wins because of reasons and trust me, they're just important. Today I'm celebrating a trip to Dallas with Marty and our homie Ivan Kumayev to teach for on the low. And Keith Green. On the Low is a hip hop focused intensive there in Dallas and it was awesome. Definitely check it out if you are in the Texas area, which I am aware is a large, large area, but I'm telling you, it's well worth it to make it out to one of those. I will link in the show notes for sure. Anyways, we had fun and it is safe to say that meeting some of Marty's hometown homies gave me a much greater understanding of him. I have an understanding of whole new levels of Marty's mardiness fan freaking tastic throwback photos and videos that he probably wishes were buried. So rich. Anyways. Thank you, Marty. Thank you, Keith. Thank you. On the low in Dallas. Okay, now you go. What's going well in your world? All right, my friend. Congratulations. Keep winning. I am cheering you on. Okay, let's do this. We're just going to jump right in. No more intros necessary. Enjoy. The one and only Marty Kudelka. Marty Kudelka, welcome to the podcast. What's up, everybody? Okay, this is crazy. Number one, I listened to our first round on the podcast. I listened to it in preparation for this episode. Believe it or not, I do come prepared, learn that from you. Thank you. And at that time, I do wins at the beginning of every episode. And the win that I was celebrating was that the Seaweed sisters had just taught a fundraiser class for ML. Okay. ML at that point had raised $63,000. Wow. And you and I both know the fate of ML was that their former location would close. But this week, as in, like, over the weekend, they reopened. Yeah. How long ago was that? Our first episode was episode . This was over three years ago. Yeah, I was going to say yeah, I was going to say four, so. That'S it probably was exactly four years ago. Wow. And they're back. They're back. And we're back. Sean and Team and we're back. Yeah. 100. Wait, what? 100100%? We're back. No, it's episode , actually counting 100100%. Like the kids say . We aren't kids anymore. I'm not a kid. No, the episode that we did, I say my age. And when I was listening back to it, I literally clutched my pearls. I was like, clutching your pearls says something to I know. The other day I told somebody, I miss your mug. And she was like, we don't need you. Miss my what? And I was like, your mug. Like, your face like, mugshot, mug. No. And she was like, I've just never heard that. And I was like, I'm going I. Was I was just hanging out with a couple of my friends kids who are now in high school, and they had never heard some Alia tracks. And I was like, this is just absurd. Did they know who that is? No. That's what I mean. Yeah. Like, oh, this is dope. No, it's wild. No shit, this is wild. Yeah, it's dope. Because it's the greatest of all time and stands the test of time, which is tight. Yeah, but it's over. Like, this stuff I was playing in late s, so it's over, like, years old. That is a big so. I understand it, but we're getting old. We're getting up there. Yeah. Speaking of stands the test of time, it is a age old tradition on the podcast for my guests to introduce themselves. So I'm not going to read your bullets or anything like that, but anything you want us to know about you, bring it on. I'm Marty Kudelka and I do podcast, and I'm going to do another one right now. Thank you for joining in. And this is the way I start my class always too the same thing. That was just freestyle. It's what we do. And I told Dana, I don't want to be prepped. I just want to just flow because we're homies and it should be real. So I have no idea what's coming. But yeah, I dance, I choreograph, I produce some things. Sometimes I tried to host a couple things. It's kind of fun, kind of intimidating. And I'm Dana's Homie. Dana dog. Thank you so much for coming back. This is very exciting for me. This is our first episode in the video format. Thank you for that's. Right. Seeing us today, it is kind of important to me to show people who are usually behind the scenes, to give voices to dancers who are usually voiceless, and to share what people look like. Also, most of my choreographer homies are very good looking. So I'm excited about this. I don't know where I stay. Very good looking. What? I'll take it. Leave a note in the comments. How good looking is Marty? Ten out of ten. Oh, please don't. No. So here's where I would like to start, because we covered a lot in the previous episode. It's so good. It's really good. Objectively speaking, it's great. One of the things I say in there, because I actually started drafting what I want to talk to you about, and I'm glad I listened to it because I ask one of the questions that I was going to ask. Again, we talk about your most valuable asset. Do you remember what it is? Now you're putting me on the spot. Let's see. I'll give you a hint. It's a part of your body. Oh, God. Oh, yeah. My ears. There you go. Yeah, for sure. State Farm. And at the time, I remembered, like, hasn't Mariah Carey insured her legs and her voice? And I did a little research after listening to our episode because I did not include this in that million each, her walkers and her talkers, million. Is that crazy? I mean, that's kind of smart, but she doesn't do a lot of movement with those legs. There should be some asymmetry in the dollar amount of the insurance. Yeah, but still, , is a lot. How much would you insure your ears for? That's a wild question because I don't think I'm going deaf. Not totally, but I can totally, 100% don't listen to music in your in ears. Turned all the way up for hours at a time. But I also just like to listen to music loud since I was a kid, even before I started dancing. Like, I play the drums, so that's just loud enough. And I didn't know what I was doing, but that is how I kind of drumming helped me not to get off topic, but helped me the way I listen to music now. But I was just always around loud music. So the last two or three years, my left side's worse. I know that much, but it's going through. I just was on vacation in the water every day, and I would come out, it'd be even worse. But I can still put on a song and hear shit that nobody else can hear. Yes. Just because I already know it's there. If you know it's there, then you know what I'm saying. I don't need to hear that much, but I don't know how much back in the day. A lot. Yeah. I think that is like one of your chief signatures is your musicality, I would say. Yeah. I tell people if your first time taking my class, musicality is the number one thing to focus on and trying to make it effortless, look like anybody could do it. Your mom, your dad could do it, but they really can't when they try. Make it look that easy. And textures would be third. We switch a lot really quick these days. But yeah, musicality number one, for sure. Is it weird for you to explain your own style in those terms? Yeah, and I didn't I guess I never would have unless somebody asked you. Yeah, in an interview back in the day. And now podcasts or whatever. So now I've become used to it. But it's kind of weird. It's kind of weird. I know I have a lot of stories, all my friends know this. Long stories, why you're here, it's great. But they all really happened and they all like, I don't know, I could go on for too long. But going back to the musicality thing and talking about yourself, like, I have stories, but I don't like to talk about myself necessarily. Things that happened around me or with other people, whatever. But talking about me and what I've done is weird because I also just do what I do. I don't think about it too much. I have a different process than I don't really even know that many other processes from other choreographers because I'm not in the room. In the room when they choreograph, right. I'm not at their crib, I'm not at the studio with them. So I have no idea. So I just know mine. And I guess I know other people's when we've collabed together or whatnot. But I know what I want to do. I want to get to it, work smarter, not harder. Yes, once it's done, it's not done done. But if it's good enough for me to put out, then that's a good starting point. And then I can finesse it and go from there as it goes on. I'm not going to obsess over something, stay on something too long. So then I can't go forward anymore. So everyone's different, of course, but that's just my way. But it starts with the music first and foremost. We go at length in round one about your process. And it's fascinating because first of all, you mentioned it's different for every project. It's different for a music video than it is for one song or a radio show or a morning show or a full blown tour, of course. But the way you break it down in that episode is pretty all encompassing. It is tight. Like, I have a better understanding and I've been in the room for sure, don't count the years. But I find it's hard to explain my own style. So I like the way that you wrapped yours up in, like, priority order. My style is number one, this. Number two, this. Expect this. That's awesome. Good job. Yeah, thanks. Okay, so obviously we've known each other for a very long time. You've known me since I was , and I wish that I knew you when you were . I don't know. Yes and no. I'm not going to ask you what you were like because I have a pretty good idea. But I am going to ask you what you think young you would think of current. Oh, I've never been asked that. That's a good question. Dana doug I knew that I was going to do this. There was no question. I didn't know how. I didn't even think about it too, too much. I just knew I need to move to La. You know, like, I came and auditioned for Janet, thought I got it, didn't get it. Moved then not moved back, but went back home, was like, mortified. But then I used that. Like, kind of boost you. Yeah, perfect my craft, if you will, or make a style of dance. Yeah. That's what you did. Yeah, I made a version of commercial dance, which is weird to say, too, but it is. And even doing that, I just knew it's going to happen. I don't know how it's going to happen, but it's for sure going to happen. So I think I would tell my older self, like, yeah, it's dope, man. You did what you were going to do. Cool. Maybe DAP me up. It wouldn't have been like, whoa, this is so crazy. Not like you didn't see this coming. Yeah. Like, even my homies that are my real homies back in Texas who don't really care about what I do, they care, and they think it's cool and they like to go to shows, but they don't give a shit about the artist I work for unless they're cool people. They care about me. You know what I mean? And same thing with them. They like, oh, yeah, we knew that was going to like it was just when. Yeah. I think that's how you kind of have to think, just in life in general, if you want to be successful or whatever, you have to be confident now. Don't be cocky. And there's times I'm cocky if you know me, but it's almost a fake cocky. It's a game. It's sport. It feels like sport for you. It is sport. It's 100% mental. Like, when I'm going to do my combo, I just had to do it in Hawaii. I just taught in Hawaii for the first time. Twenty four seven. Oh, my God. They're incredible. Have you been there? No, but I mean, the people that. Come up out of there are incredible. A billion people. But it's in a mall. It's in a shopping mall. It's the first time. Vaguely think that. I have heard that before in years. I've taught since my first class, but not straight, but, like, years straight. And I've never taught in a mall till this last Wednesday, which was kind of dope. There are still firsts for you? 100%. And there was only two people out of, like, something that had never taken my class before. Wow. So that's kind of cool. But wait, why did I even go to class? Sorry. Oh, yeah. When I'm doing a solo at the end yes. I have to have this conversation with myself internally. I'm not going to say what it is, but I have to. Yeah, but the things I tell myself are absurd, and I'm just like, it's false confidence. What do you tell yourself? Please. I won't say all the words, but basically, it's always a different version. But why are you nervous? You made this shit up. No one hears it like you do. This is you, this whole bullshit. But it works enough. It kind of works until I mess up, and then I'm like, oh, you're a dick. What are you doing now? You got to make up for that. And there's a whole nother story. Okay, the self talk. Before you perform, I want to talk about it because I have a new technique, you may have noticed. Oh, no. Well, because I am not known to mess up often. Like, I'm not known for fumbling. I'm known for pretty much having it together pretty much most of the time. We do have some funny stories of complete fumbles. Like unrecovered fumbles. Not quite Mariah Carey New Year's Eve unrecovered fumbles. Wonderful. But I've had some fumbles. Anyways, my new self talk or my new pre performance technique is prepare, prepare, prepare, prepare, prepare, prepare. Throw it away. So all during class, I'm thinking about the choices I'm going to make. I'm thinking about where I'm going to look, how I'm going to feel, what the texture is, how I'm going to stop, where I have to put my supporting leg, and then when it's time to dance, it gone. And sometimes it's riveting. Sometimes I'm just like, look, mom, no hands. And it's, like, really exciting to be a passenger in it, because I have to assume I've done a lot of work. There is muscle memory and there is body memory that I have. And my body will show up for me because I've been doing this long enough that it feels really nice to not white knuckle grip and have to be in my body mind. I can just be in my mind mind. Sometimes it works to great advantage, and sometimes it's a crash and burn. You'll notice now that I have said it, I have been messing up way more in class, and I don't think it's necessarily because I have taken less class, although I'm kind of on my class actually right now. I'm taking a lot of class. Feels great. But yeah, I am messing up more in class and getting better at recovering, which is such see, that's what I was so important. That's what I thought you were going to say. Oh, yeah, because I did notice that. But it also is like it unlocks something else. Because being able to do that when you mess up. I know maybe two or three other people's on a super high level know if you're in my class, right? But if I don't go like this. But 100% don't see it. Or if they see it by the time you figure out something dope to get out of it into the next thing, it's so dope that they forget it in that instant. And most people don't do that. Most people are going to look at me or look at somebody else or stop or walk off. You know what I mean? Or like ask for the music to be stopped. But not well, it happens. But yeah, I had a guy walk off. Cardinal in Hawaii. I had a guy walk off, but he just was like I watched it go down. I don't think I've ever walked off. I might have like boot scooted out. Silly dance out. But to fully surrender, it really takes I have to have messed up upon messed up upon. Listen, there's a lot of reward in what happens when you mess up. Like the little weirdnesses that come out. I tell my classes all the time because I've been doing an exercise across the floor I think you would love. It's called Six Step surprise. You do prep six, like as if you were going to do a pirouette, but you have to do anything. But a pirouette on seven and eight or anything. Anything. Five, six and then start over on eight. And then you go again. Oh, that's a good I do this. Because I judge a lot of convention. I have seen everything. You know what I saw recently? You know the worm, right? Yeah. I used to use this as an example because I know Nick Baga, the. Regular worm or the ones that kids do backwards. Wrong. Wait for it. Well, some people do it backwards. Some people do the right way is. Go back to little kids and parents just like slam their face. That's so funny, going backwards. If you haven't met Nick Baga, then you've never seen a side worm. This guy can do a worm on his side. So I used to in this little speech that I gave, say, I have seen it all. I've seen the sideworm. And so nothing you can do will genuinely impress me unless it's loaded with youness because I've never seen you do this. So now I have seen you're going to gag the worm in a lift, bro. You know how kind of like a crowd surf lift, like people supporting dancers have shoulders and hips. I saw someone up there in that lift doing airborne while people are doing this? No, they're not puppeting. It the girl. Oh, she did the worm. I see what you're saying. So when I tell you I've seen it all, I truly mean footage. I could get it from the convention. I will find that for you. Yeah. That's insane. That's kind of dope. It's crazy. So now the point is okay, coming back to the Six step surprise, this is how it goes. We can go far. Coming back to Six step surprise, my favorite thing I've ever seen on a convention stage is this very young dancer doing a very adorable solo, and she forgot what she was doing. And watching her try to find I was genuinely on the edge of my seat because she was genuinely in the moment. And most of those kids have rehearsed these dances for hours, similar to how we prep for a tour. By the time people see it on stage, we've danced it so many times. 100100%. But to have the ability to dance it as if it was the first time, that's a skill I want everyone that I hire to have. So we train that in my class with Six Step Surprise and to get to genuinely surprise, find it. This is me recovering. To genuinely recover. No. This is going to be a. Genuine we're going to call this episode the Art of the Recovery. To genuinely surprise yourself means that you have to be so in the moment. The moment before that, whatever happens next is a surprise because you were thinking about exactly where you are. That's really deep. That brings us back around to me kind of surrendering the plan so that I can be right where I'm at. It's riveting. It's terrifying. Highly recommend. Yeah. You know what I just realized, too? Tell me just where it's probably going to get us off topic, but is when we're doing it in class, like, when I'm going to do a solo. You're doing a solo? We haven't rehearsed it that much. Well, I haven't because I just made it up. That's true. So maybe that's why it's so frightening, because I don't get that feeling when I'm going on stage. I get amped, like I'm ready to beat people up. That's exactly what it is. Because your brain is telling you I'm not quite ready yet. Yet. I haven't dang, you just made me realize that. Look at that. That is insane. I taught a new combo today, actually, this morning, and it was very much still finding it. I love to already have it and have it tight, but today was a finding it type of day, and it was really fun. I had a great time. That's dope. Oh, I'm going to send you the song I used. It's a version of Boogie Wonderland. It is a remix, and it is. What is Boogie Wonderland? Sorry. You know, first one in Fire. Oh, okay. How's it dance? Dance oh, okay. That's all need. Yeah. You know me in titles. Oh, that's true. Yeah. Okay, we're going to get to talking about music a little bit more in a second. But I want a story. I think it's known definitely between you and I and to the wider world because I've professed it publicly and published it many times. You choreographed the greatest moves of all time for Justin Timberlakes. Like, I love you, you're going to. Say no in your opinion. Okay, that's true. In my opinion. Wait, sorry. Just for the record, just because you didn't say it in your bio, how many MTV VMA nominations for best choreography? I don't know. It's all messed up on Google and stuff. Some people say I won five or six. I think I've been nominated maybe like eight times or something like that. Maybe, maybe more. But I've only won one best choreography for my love. Oh, my God. Yeah. No, you weren't. You were on tour with us, but you weren't at the VMAs with us, only back. But I was there for the making of that thing. Oh, yeah. You helped me create my love, fool. I know. I have footage and it's so near and dear to me. Yeah, but I don't care about awards. Actually. Neither do they. No awards. Thanks. Yeah. And rock your body won for best dance video. But Justin gets the award. I don't get it. But that doesn't make sense. Yeah, but I don't care. Okay, I forgot. Let me back up. We're in the video format. Now, if you're listening to this podcast, simply audio format, go to the show notes and I'm going to link to some of the stuff that we're talking about. But if you are listening to it audio, go watch it on YouTube because I'm going to include little clips of these videos on the screen. I'm not sure where. I wish I knew where. It's so cute when everybody's like, click the link right next to my yeah, no secret. I think like, I love you is the best. Diane Martell choreographed that video. We're going to try that again. I directed it. Diane Martel choreographed I would love to watch that video. We should remake like, I Love You with Diane Martel doing the moves and you directing it's a rap for like, the th anniversary. Wait, has that already happened? Yeah, it was last year. Yeah, I know. Th. year anniversary. Th. That's great. I'll still be able to dance some. We can do something big. That's great. Let's do that. What I wanted to ask, first of all, she's incredible. Incredible, incredible. You worked with her a bunch with me. Worked with her with you on Robin Thick Two Chains and Kendrick Lamar. What was that song called? I don't remember. It'S titles. It is. Give it to you. Give it. There you go. Give it. Yep. On the football field. It was great. It was so much fun. And Miley Cyrus would diane and Miley Cyrus with Diane. So I know she's a carnival ride to work. Like, it's exciting and also scary because she's intense and she knows exactly what she wants. And if it isn't it, she's telling you straightforward, not a compliment sandwich or any sneaky method. It's like very direct. Anyways, I was not with you, with JT at that time. So I'm wondering if you could tell a like, I love you music video story that I maybe haven't heard. I don't even know if I've ever been asked this. You're so good. I do this. I remember I made it up, this section first in me, Jason Wright and Kelly Kono's apartment in Sherman Oaks, using off television as my mirror just so I could see, like, a silhouette. Because anybody who knows me knows I don't like to look at myself when I choreograph. I like to just feel it. Sometimes I'll go to the studio, but it takes way longer that way. So I like to make it up, then go to the studio, make changes. So even with my love, I did that. We didn't just go and I started making it up there, but for some reason, I was looking at the silhouette of it all. And I made it up super fast because I had already heard it just like once before through a phone. So then when I actually got the CD to listen to it, I was like, what? Yeah. And when I heard it over the phone, pharrell was playing the drums live and Justin was singing it live like they were at the recording studio. So it wasn't the song song yet. So that's kind of but so when I had the actual mastered version of it, I'm like, what in the actual hell is going on? So it was so easy. And then I remember going to the studio with just him. I didn't teach any dancers first, which normally I would teach dancers first, so I would know how to teach it and just feel yeah, and make it more comfortable. Me knowing the counts and seeing it on somebody. Because maybe then if I see it on them, I can change something. But I didn't I didn't teach it to anyone. And maybe because I knew it was going to be special or something, I don't know. And then I went to the studio in Alley cat she's not there anymore. And in the middle, small studio and Diane, I taught Justin like eight eight or something like that verse and the hook. And then she came in, and I remember her saying she just sat in the middle, like we would back to the mirror right in between, just us two. And there was no security, no assistance, no anybody, just us two. And we did it for the first time. And I remember her quote was like, we could fucking just shoot you two right here in the. Studio with no edits and it would be fucking dope. And we were like, Dang, that's cool. Really? That's how good the choreography is and how good on its own, but how. Good he is, too. Yeah. If Dope choreography is Dope, you don't need to cut it. You do, of course, because it does look better. But like in class footage, there's no edits, there's no staging normally. And you watch a whole fucking video of that. Yeah, but I didn't really know how big of a compliment that was till like years later when you find out. How hard she is to impress. Yeah. Yes. And then like, oh, she wasn't just saying that because I had no idea. It was my first time working with her, too. And I knew what she did and I knew she was a choreographer. I knew she knew about Freestyle World, that aspect of dance. I knew she had her hand in everything, but I didn't know how honest she was. So I probably was thinking, oh, she's just kissing butt because it's Justin and she's trying to be cool to me, too. But no, it's super special. I love that. Thank you. Yeah, for sure. I also was wondering this wasn't on my original list, which I keep peeking at. It's funny because obviously we see each other all the time, but we rarely get to talk like shop at length. We're talking about the project that we're working on or we're like shooting the shit in general. But this is really cool. Can you tell the story about Crimea River and the green suit? Because there's some illusion in that video that I think most people would not guess how that was pulled off. Can you talk about yeah, for sure. And another side note about like, I love you is yes, please. I wasn't supposed to be in the video or Eddie Morales. It was supposed to be Rich n Tone. Ton n Rich. You knew this. I swear. Maybe you forgot, but 100%. We're going to talk about my faulty memory in just a second. It's okay. Yeah, but yeah, I don't I remember, which is crazy that out of everyone that I remember stuff so vividly. But Tone and Rich were supposed to do it because I looked up to them. I'd never worked with them. And I'm like in front of with Justin and the twin. Like, not the twins, but everybody called them the twins back then, too, because they looked alike. They did enough. Yeah. And at the last minute, one of them, they had a choreography gig because they were already Tone n Rich. Right. So one of them couldn't do it. And I was like, I really wanted you for the look of it, like, both of y'all to match. So then we'll hit you on the next one. DA DA DA. We'll do something else, but I'm going to figure out somebody else. And then Eddie and I had been touring with Pink and we were homies and already know that we could match. And so I was like, Yo, can you be in La. Tomorrow? And he flew the next day. And Rich n tone are still, like, pissed. They're not in. So cry me a river. Yes. The director, Francis Lawrence, who's a g, he wanted to feel like kind of a surreal world, in a way, but where you didn't quite know what was going on. Right. Not surreal. Like Jamira, quiet surreal, where the room is moving and he's not that overt. Not that overt, but yeah, more subtle than that, but still something's off, but I don't know quite what. I also just said sorry. Topsy turvy years old. I'm so old I don't even know somebody else. I think Janet had done it in a video. I think Francis might have done that, too. That's why but we used it a little better. I think you just said way. Yeah, way a little. That's you checking your cocky for confidence. No, because hers was now that I think about hers was dope. It was like a fight sequence, but it was more like the Jamariquai video where you knew what was happening. Right. But you thought it was wires, though. So people in cry me a river thought it was wires, too, but it's not. Basically, there's some type of camera that immediately, when you watch playback, can pixelate out green screen stuff. So instead of having an entire green screen, we were at a practical like a real house and we had two dancers wear green suits. Justin had a harness that he wore where they had handles on the back to lift him up. Like a stunt harness. I don't know what the proper word is. They cut out, like, holes in his leather jacket so the straps could come out the handles. And you would have one guy on one side, one guy on another. And we basically choreographed at Alley Cat, too. Different room. Like, we used a table for a bar and another thing for some steps. And basically choreographed these two dancers lifting him around the room, like, down a set of stairs where he jumps and it looks like it took him a second. He looked like Michael Jordan in the air going down the stairs versus Justin Timberlake. Like a little surreal. And it was because they're actually doing that. Versus a full blown harness. Harness. A rig. Yeah. Where it's all timed out and perfectly. Kind of like action movie. Yeah, it's like, programmed. Right? The Winch is programmed to make you perfectly lay down. You have people it's a little bit more natural. And yeah, you have three people working. Symmetrical in the video. You can tell that he's not in control. He's a little looks a little out of control. It's awful. But then he would walk out of it and he's in control and they're just walking next to him, not touching him. So, yeah, it's pretty fresh. I love examples of music videos where there are dancers but people don't know there are dancers. Yeah, 100%. They were super. Great argument for the value of dancers that isn't hot. Eight counts, 100%. Yeah. Being able to be we had one of our guys didn't show up, which I won't get into that. I love that substory. If you see me in real life and you ask, I'll tell you, but I don't want to blow certain people up. But yeah, somebody missed. And it was like a :, a.m. Call in Malibu and it was not a good morning. And I had to think, who would be up that early in the morning, who's strong, who can count, can do choreography, blah, blah, blah. Flo master. Duh called flo master. And he was up, I think, running at the beach. Yeah, he'd done two workouts. I could actually see him on the beach in Malibu. He's coming out of the ocean. What's up, man? With his oxygen deprivation mask on, with. The green suit on. And I'm like, there you go, Jerry. And get over there. Deep cut. And yeah, he saved the day. And if he wouldn't have shown up, it would have been me and my skinny self on the other side trying to lift Justin all day. Like, they tried to get me to do it and I said, I will find somebody that's awake or I will go hire a surfer and teach them how to count. That's strong, because Justin's not little either. And it was Havoc. Havoc was the other person. I'm like, he's going to be like, leaning left. And here's something I just thought of for the first time. I'm going to blow myself up. Do it in the cry me a River. Video. At some point, he kind of leaned back and like a picture, he kicks a picture or something. I know exactly what you're talking about. So we did the video first and then we did promo for that cry me a River. And I had, besides Justin, two dancers. Guy dancers. Roger and sky. And I was like, I wonder if we could emulate the video somehow. So remind you this is , so it's a long time ago, but I had, like, at one point on like, I forget the lyrics, but I had Justin lean back and they were back to back with sky, and Skye leaned back to make so it kind of looked like he was doing this, but it didn't because there's a guy there. It's live. It was so whack. So don't do that. It was a good idea to implement it, but if we had wires or something cool. But thank you for telling us this story and it's a question that I want to ask more guests. What have you done that was bad? We all know the work that you're celebrated for, but tell me where to go to find you not being I'm. Not going to tell you where to find it. You have to do that on your own. But oh, my God, I just showed Pam a video that I'm not even going to show you. Okay? No, we have to be on a different level for you to see this video. And I just saw it for the first time. It's from or seven. I wasn't living here, and I think it's . I think it was the same year I auditioned for Janet. And it's for a drag queen in Dallas, actually. But it was in Chicago because we used to tour. Like, we would backup dance for all these drag. It's a huge, mean. Look at RuPaul's Drag Race. I mean, it's please so huge. But this is way back when, and I would do any dance job. You just pay me. Like, I'm there so myself. None of my choreography is all Roger Lee's and this other guy, fenton, maybe, and Coco. There's those three guys. But I'm up there. I look ridiculous. And it's a Whitney Houston like, high up tempo janet all this music, some of it I would choreograph to and dance to, but most of it I wouldn't. It's just not my thing. Like, jazz funk to the fullest. And I was so committed. I had frosted tips on my hair, and I don't know what kind of shirt it was, but it's so bad. And what's crazy is my boy Fenton, he's the one, he just texted to me and was like, do you remember this? Ha ha. And I'm like, what is this? Oh, my I i don't know where I was at, but Pam was in the room, and as soon as I saw it, I had a heart attack. And I turned around and put my air pods, whatever they're called in and literally had a heart attack. Like, nobody can ever see this. This has to be buried. So I called him, and he's like, what's up, man? I'm like, Please tell me you didn't show that to no one. He's like, no. Why? On my instagram. No, thank God. Yeah, no. Why am I going to show that to embarrassing AF? Sorry. And I was like, yeah, please don't show that to anybody. But I ended up showing Pam just because I don't know why, but I showed her because complete trust, complete. And she was like, oh, my God, it's so cute how hard you're trying and going. I think she gave me more better. But I'm like, if she didn't like you're, roasting that shit because I know she'd be bullshitting me. So she was real, but it was like, it's not cute. I look so whack. But it's part of my history. Like, I just have my choreography taken away from me. I told you this the Cert job. Oh, yes. Because I knew my choreography didn't match with this artist from the get go. And I said, are you sure you're calling the right person? Because I did my yes. Yes. She wants to try something different. Yes. And she loves your stuff. With Justin, I say it's, he makes it look really easy and it's not really easy, so she's blah, blah, blah, whatever. A little bit on their side. Overhyped. Overconfident, maybe. But I still knew in the bottom of my heart, in the back of my brain, this is not going to work exactly like how it normally works, but I tried. Within two minutes, I knew that she wasn't comfortable and not super fast as they think she is. Like, in our world, she's not fast. So once she gets it, great. But we had a little bit of time and a lot to learn, so I was just like, oh, my God. So, as a good choreographer, I start pivoting and making it easier and changing it into more what I know she wants. Yes, and she loved it, so it was great. All the things that I did that I would have rather have done from the beginning, I would rather them say, this is do her style, but in your version of it, because then it would have been a different story. But that didn't happen, so we ran out of time. So I had my choreography taken away. So I don't feel like it's something bad that I did, necessarily, but I think that I should have just gone with my instinct and made more shit up. Like, that not shit, but made more routines up, more catered to her from the get go and just trusting my feelings. So I feel like I could have done a better job of that, maybe. But I also pivoted so fast where I was like, I had more stuff than she could learn. Like, I would go to the hotel every night once this happened, or even in the other room and go, AJ learned this. You learned this, you learned this. I'm going to forget it. And I was, like, cranking out stuff that she loved, all the jazz funk stuff that I did, which is weird, saying that I do jazz funk because it's not my thing. But well, we talk about it in episode in Marty Cadelka round one on words that move me. Yes. We talk about your excellent axle jump that you have and how you had an audition where it saved me. Come on, 100%. You must go listen to that episode. It's a great episode. And you talk about exactly that. And jazz shows up in your work a lot. Straight up, like dance studio dance jazz. Because those shows I was doing in , we were doing pirouettes in that we were like, thrashy. It's my new friend goal to get to the level of being able to see that video. I'm going to earn it. What we're wearing is pretty bad, but I did another one and I don't know if he has the footage, but he won't send it now that I called him. But where we had those I don't know what they're called, but it only was a button here. Open chested and like the puffy sleeves. Like hammer vibe. No, that vibe. Yeah, like what the heck? Flamenco. Like a very Latin 100%, I want to say. Like Cuban peat. Yeah, Cuban Peat is the best. Yeah, I had one of those on and it was like bright colored, like rainbow colored, and it was black sheer with only one button. No, that doesn't exist. That's what I'm saying. Okay. That's not on film, I don't think, or that I know of. It is somewhere, but the other and it also gave me more insight, which is cool. I already knew that. But I wasn't ready to be on stage with Janet Jackson because that was the year I auditioned. I don't know if it was before or after I auditioned, but I'm sure being in rehearsals would have made me better. But I don't think I was ready. You were not ready? No. And you viewers at home, are not ready for what is coming next. That was such a great segue, Marty. There's no better segue than that. I am trying to not directly bite from one of my favorite YouTube shows, hot Ones, where the host has a segment on the show where he pulls up a photo and asks for the context of that photo. Like what exactly was happening here? And I'm going to ask you to tell us what exactly is happening. I just set myself up for this so bad. For those of you listening in audio format, I have currently pulled up on my laptop a photo of Marty kudelka himself. Speaking of frosted tips, this is the frosted tips generation. More eyeliner than I'm wearing today. A fishnet shirt, a notice. She is as well. Fantastic goatee. Shawnette Heard is in the background. Marty is in the foreground giving a serious smoky eye, flirty smirk with a lip ring, a goatee and white frosted blonde tips. What is happening here? What is happening? I've seen his photo so many times, but where is it actually from? What is going give me the story. Okay. I can't tell you everything that was going on in my mind, but maybe you can figure it out if you're smart and you know so. But the base of the story is Shawnette and I were going to be in on. I don't remember if we were on the COVID but Dance Spirit magazine because we had just started choreographing for Janet. So it was a big deal in the dance world. So we had a photo shoot somewhere in the Valley, want to say like Studio City. Really nice little house. And it was just Janet. No, sorry, just me and Shanette and Dance Spirit, but also Janet and her makeup and Stylist dude show up too. And I'm like it's kind of cool. Cool. I'm not thinking anything. I'm still brand new in the business. This is like barely after year one, like year one of me living here. And maybe like two months into working with Janet, maybe we had only done the VMAs or something and a video. We hadn't done her tour yet or anything. It was like brand new. But again, I'm like, she's not going to be on Dance Spirit whatever in it. But I don't think too much. I'm just excited. It's cool that she's there. Like her and Shawn really close. That time we do the photo shoot. I'm not wearing this. I don't have on smoky eyes. I did have blonde hair at the time. And I had that. The piercing. The piercing. Anyways, we took our pictures, we did our whole thing. And then they leave. Dance spirit. Whatever. And then Shawnette and Janet are going to do some pictures. So then they change into some stuff. And then they ask me if I want to get into some pictures with them. And it's all like PG. Yes. But it's a little risque because we're both wearing just fishnets. So there's a lot of fishnet going on. But I was very influenced by two hot moment of stuff in this moment. And like, you only live once. Let's put on a fishnet. And before you knew it, my boy Tim Bucharen, who I don't know if he still works or Janet. I'm sure he does, but he did that to my eyes, and I have no idea. But I just went along with it because I was like, it's Janet Jackson, sean at Hurd. You're a yes person at this time. At that point, I was a super yes person. And I'm not anymore. And more way more of a no. That's not true. Hard no to smokey eyes, though. I haven't seen you an eyeliner ever. One in our entire existence. It probably is the only time, like even back doing those shows. We didn't do queens. Drag queens did, but we didn't. But yeah, this. So what is this picture actually from? Is it from a program or something? No. Here's the kicker. When Dance Spirit came out no, they cropped this, and it's literally like Sean or Janet's somewhere in this picture, too. But this came out as well as the other ones with us wearing I'm in there with normal clothes, like hip hop clothes. Adidas wild to me. Wild. After they had left, they did their shoot and didn't use anything from their shoe. No, we did. We used the normal clothes. Like I had on Adidas that were like $,. Adidas whatever I had on top. It was like a T shirt, but it wasn't that fresh. But it was not that. And there was no smoky eyes. I think I had a hat. Incredible. But I went to a newsstand because I was excited the day that Dance Spirit came out because I'm going to be in this is big. I've got mine back here. See? So I open it up and see this and have a heart attack. Yeah. So this carries on, but I can take a joke. If anybody knows me, I can take a joke. And I can also do a joke, aka Jimmy, not book it and I shout out Ivan. So I got this joke played on me plenty of times, like, on tour, on the Led, all the Imag screens on everything. This picture Eddie Morales put up once with like, dance contest winner Marty Kudelka with like there was a giant rainbow across it, I'm pretty sure, during my solo on tour. So, like, this haunted me for a long time until I embraced it and just said, you know what? I took pictures in Fishnets with Shawnette and Janet and you as part of your glow up. Yeah, I like it's a mile marker. That was that exact moment. That is what is somewhere in Studio City that went down and it was a great moment. A great story. Yeah. Not a lot of people have asked me that, especially now. Everyone will know it. Yeah. Sorry to do that to you. Oh, no, I think it's great. That's what this is for. And also I think it's important. Thank you for that peek into your world of play. One of the things that I learned from being a part of your team, we talk about it in episode one. Like your immediate circle, team Roast and then Team WAM, which is your well machine, the teams that you keep to get work done and to live this awesome creative life that we have you play and stunts, gags pranks is a part of the game. And I think it's really nice that you invite a world other than dance into sports. Yes. Oh, yes. We talk about that in that episode, too. I am very ill equipped to be. I know, but you but you still. Will play along and like, well, I like learning. Here's the real, true truth as she looks down the barrel. I believe that as artists, it is our job if something is wildly popular to the masses and if people are paying a lot of money for it, it's our job to find out why does that work? Why do people love that? What about that speaks to people? I have figured out for myself, anyways, my answer to that question, as it pertains to sports, is that people love there being a winner. People love having bragging rights. People love to be able to gamble or place a bet and have an actual point score to point to a winner and a loser. And that doesn't exist in our craft. There is no I mean, some battles and very interesting to see how Beboying works out at the Olympics this year. But because it is a subjective art form, there is no clear winner or loser. There is no clear bragging rights. You can't bet the same way that you do with sports. So I think that's why people get into sports more than they get into dance or many other performing arts for that reason is because it's subjective and not points oriented. But yeah, in dance competitions, when you're a kid or now at World of Dance or whatever, all the you know what I'm saying? That's true. You could treat it like a sport. And be competition, and the companies who do treat it like sport do very well. A lot of money, a lot of interest in those competitions. And it's interesting to me, but it's not my vibe, sports points. But I love that you figured that out. I don't want to forget something real quick, and I don't know if this is the right way to say it, but I'm going to give this crew a shout out. Yeah. Do you know ID Co? It's like a dance crew from New Zealand. Okay. I went to Alex Chung's show, flipped the switch in Burbank. Me and David Moore, Josh, we all pulled up. His girl bailey, too. Shout out. And, like, this piece starts it was a bunch of people. I know we're off topic, but I want you to see this piece. It's incredible. Like, I've been showing non dancers on my vacation. Like, you have to watch this. It's its own specific thing, but just the way it was executed. Like, I want to be a fly on the wall on their rehearsal process. I should have them on the podcast. Will you send me the link? I will link to what you're talking. About so that people can we're actually off camera once we end? I'm going to make you watch it before we go. Do what we got to do. Okay. It's that dope. Awesome. And when it started, I was like, oh, this is cool. It's going to be cool. Oh, this is really cool. And then you start like, who am I and what am I doing with. My yeah, but I get it. It's definitely a specific thing. And they just wanted HHI as soon as during the performance, I learned so many things, and I don't know if it's the same routine or whatever, but it's incredible, the precision. That doesn't happen that often. We're in dance where I'm like, what the fuck? Cool. Yeah. I think a lot of people look up to your work, so it's very cool to hear about work that you look up to. I hadn't thought to ask you for that. So thank you for that bonus. All day. Okay, two more segments all day. Let's go. Number one in our round one, we talk about this kind of one of your secret skills is that you have an incredible memory. You are like an ironclad memory tank. And I don't have such great memory. In fact I know, but can't remember. One of these tattoos was a gift from you. Is it the original? It's the original. You bought me for my birthday. My first tattoo. Yeah, I forgot that. I know. I went with you because then I ended up getting right and left. Oh, no, it was right yeah, it was right and left on my feet. Yeah. Which are the best ever. Best ever. And terribly painful, I would imagine. Yeah, kind of. So watch me kind of segue this. Sorry. It is a heavy Justin day, but that's okay. He's quite good. So where I want to take this is not many people know that his character in Alpha Dog is decorated with all of your tattoos, plus some could you talk through yours and what they mean? Any that are not totally secrets, along with that footage of yours that you. Not I don't have a lot of great stories I like to do it like it's all about the time for me. So I didn't plan on getting right and left on my feet. I thought about doing that. But that specific day when I went with you right, on Ventura, remember? Yeah. It was just a moment. I saw she was going to do it. Another person was open. I was like, you think you could do this? He mocked it up and looked dope, so we did it. So I think this was with Pink in a hotel room and Eddie Morales, kevin Federline. Like, we were in a hotel room. I don't know what city, but I think it was in Philly, where she's from. And her dude came through, gave all of us a tattoo. But other than that but the Alpha Dog story is I have established in on my chest because when I was born, because I'm old and I'll be this month. It's wild. Did you know? You don't because it's a secret. Secret. I know. Podcast, right? Risky. I have a gift for your th on my phone. It's a video that it's definitely th status. So I've been holding onto it for years. Wow, I'm so excited. So I know that you're because I keep waiting for your th. Wow. Okay. Note to sell. Make it to . That's good. Yeah. That's incredible. I wouldn't know that. Come on. So now everyone does. Yeah. Maybe have a viewing. Yes. Oh, God. I don't know. Lower the bar just a little. As you saw, I put it down because I didn't want to look at my sheer shirt. So if you need your notes, you can pull it back up. I got this. And then not too long after that, justin did a movie called Alpha Dog. And his character had a lot of tattoos or whatever. And I don't have a lot of tattoos, but he liked mine and said, can I? Like, they took pictures of me, like, the people from the studio at his house. And so that he changed it to , I think, though, and had these stars, this like basically all mine. And then filled in with. Whatever. He wanted to do cool on his own. Because at the time, he had, like, just two or three, I think, still. I still don't think he has a lot more than that, but yeah, so it was kind of cool. So his character has a bunch of my tattoos, which is dope, even though he ended up being, like, a psycho. But great movie, though. It is a great underrated movie. Yeah. Really underrated. Yeah. Okay. Ready for the final round? Yeah. Okay. We're calling this the way that was. Your memory thing about your tattoo. Yeah. Okay. Because I couldn't remember. I was like, Surely I know he paid for one. Was it my first one? It was, yeah. And then I was inspired by that. To get these. That's right. Yeah. So final segment. I'm really excited because this segment usually in the previous seasons of Words That Move Me, I've called it in previous seasons of Words That Move Me, I've called this the Burnout Round. But this season we're calling it Wrist roll with it. Careful. Be careful with your mustache. Be careful with your mustache sequence. That one's. Quick answers. Here we go. You're hired to choreograph the opening ceremony for the Olympics. They give you full freedom on music. What songs do you use? I can use any anything. I mean, Prince. Oh, my God. In the record player right now. I'd probably stay away from MJ just for political reasons. But I would love to use some of that music. And I don't know India. Because we need some feeling and we need some levels to it. We need soul. Yeah. We need Earth. And I would also immediately hire the choreography team who did the China Olympics. Right. It was that one. Yeah. Who changed the world forever. I would hire them immediately to help me because I would not want to be compared to oh, my gosh. I would like to be involved, please. And I would never try to beat that. Because you can't. You can't. No. Well, yeah. Maybe nowadays with technology. Yeah. Because that was pre drones, pre all that. Find a way to beat that. And I would love to be there for that. I don't want to stress. Okay. I know, right? Is that a gig that you would say no to? This was not included in my role with It round. But would you say no? I don't know. It depends on when I don't know. But it's possibly yeah. If I don't think I'm right for it. I've said no to big shit before. I think I said no to another Super Bowl with another artist because I didn't think it would be good. Yeah. That's important to listen. Thank you for bringing up the instinct. Sorry. I know this is supposed to go really quick. Okay, here we go. Here we go. Favorite move. I already know it. One, two, three, ball change. Yeah. Okay. Move that you would delete forever. Just get rid of it. Never seen again. Oh, I don't know. Okay. You like moves? Yeah, I don't really hate on moves. Even like I thought about the nayna. I don't know. But then there's people who can do it funky, right? I love the nayna. I'm not very good at it, actually. Yeah, I don't know. I love moves. I love moves. Great. Is there a song that you won't ever touch because it's just too good? Not because it's too good. Because I never wanted to do working day and night. I finally did it. I tried for years and years and I like the outcome. So I'm not against that. It just has to be a right time. Me and somebody else. I'm not going to say who yet, but have a collab going and that is to a mix of a song or a mix of a bunch of songs that I never touched and it's been years and we're doing it for the first time. But I'm doing that with somebody else. I have a feeling they'll be joining me on the podcast tomorrow. Oh, yes, they will. They and I'm getting good with the pronouns. Is that bad? No. Okay, good. I don't know anymore. I say stuff in class and I go, I don't mean it like that. It's . So here's the thing. I choreographed to a song before rocket by Beyonce and then I not too long after that, saw Keoni and Mari do well. It's choreo cookies at the time. And I saw they did something to it and after I saw they did something to it, I never taught my routine again. So it's kind of different. Flip. That's very cool. Never. Because theirs was flawless and I was like, why would I do that to myself? I have had this same thing happen many times. Yeah. Be humble. Love that. Thank you for that note. You get to do a duet with anyone, living or dead, who is dance. Yep. What other? Figure skating. No, I think it would have to be like Gene Kelly. Even though that's not like yeah, that's great. I really love that answer. And thanks to AI, someday we might. Be able to see maybe. Yeah. Because I'd want him to do your shit. Yeah. But mix with his shit. Possible, man. It's crazy. Wow. Sidebar. Another episode. Here we go. Someone you haven't worked with that you wish you had. And is it still possible? Sure. Yeah. Jamie King. Nice. Oh, my God. Well, we kind of did but didn't because he directed Christina's stripped tour and I did. It was the same thing. It was justified strip tour. So I co directed with Justin and choreographed and danced. So we worked in a little bit together. But it was definitely not like what I'm talking okay. Someone you have worked with that you wish you hadn't. Just kidding. I'm not doing that. I'm not here to stir the pot. I don't know rhymes with don't say no, I won't say that. I won't say anybody. Okay. But there are people, I'll say this, there are people and the reasons why yes, please. Are because we work differently together. I want to be at work and have a good atmosphere and like what you said earlier, and it all comes back to work smarter, not harder. There's days where if I can look at the clock and say, let's kill this really quick, we could have a longer lunch, we could maybe play some cornhole outside, maybe a game or two, a can jam and go back to work and still have the best product ever. Why not? Why not? You know what I'm saying? You give yourself time, enjoy your work. We love our work. Like most of the time there are jobs we don't like to do. Sometimes it may just be like a clock in, clock out situation because we're the expert at what we do and somebody needs us and it's just not so rewarding at the end, like woohoo. But for the most part we're doing what we love for a living, you know what I'm saying? And I still love it. So why not have a great atmosphere. So I always say this, I'd rather hire a good human who can dance than the best dancer on earth who's an asshole. I want the right person for the job, but I also want that person. To be cool, the right person plus. So yeah, thank you for that final question. This one might be tough because it's a little abstract, but just go with the gut. Let whatever lead. What are the words that move you the most? The words that move me the most right now, actually that's a good segue from what I just said. It's just adding on to that. You don't know how long you're going to be like, you don't know. My job may change tomorrow. I know Justin's getting ready to come out, but he could have a change and go, yo, I want X, Y and Z. Well, actually on this to I know this is way more than just words, but I'm going to hire more people to help me choreograph, you know what I mean? I don't want to just do it myself. There's young, talented people who need the opportunity and are way more capable. I mean, I can still do it, but they are just as capable as myself. So why not give them a step and then I can still be part of it and direct it. Maybe even say, why don't we dance to this rhythm? Because I think I hear it better than you. Sorry. This is what we call the supervising role. Marty if I bring somebody in, it's very far and few between. But it's always when I feel like somebody can do something better than me now even if I feel like I can do it better I still am going to give somebody opportunity, you know what I mean? So thing changes all the time. So I'm saying all this to get to that shout out to Kyle. Yeah. You never know what's going to happen. So just like, enjoy what you're doing. Don't obsess over one thing. Move on. As soon as you leave the audition, you should know, like, it's over. You forget about it. If you get a phone call, that's like Christmas. Like, I forgot I did that shit. You know what I mean? I got my choreography taken away from me, but I looked at it in the positive, like, well, my job kind of just got easier. There's all these acrobats, like cert acrobats, and they need help, and I know they need help, so I'm going to go over there and learn stuff. I learned so much and about Trapeze. You know what? Now I'm learning more stuff. I'm working less hours. I just went bowling with Pam one day just because I could, because I didn't have any rehearsal. I had to be yet. So I was just like, well, my name's not on the schedule. I don't have to go to the acrobats. That was just me being me. So I'm going to dip, go bowling for a couple of hours, come back. I got paid the same amount of money, the same credit, but years ago, I would have reacted way differently. So all you young ins, you have to learn that it's show business, and that's the business side of it. Those were great words. That was a great a lot of words. Yeah. Sorry. It's all very forward moving. It makes sense that you are a person who pioneers things because you're a person who moves forward. You're a person who enjoys what they do and surrounds themselves with people that bring them joy. And I'm flattered to count myself among that group. You're actually an OG now, which is. Crazy, which is wild. Well, I mean, it's been many years. I know. Many years. I'm grateful for all of them. Wait. Well, I shouldn't ask how old you are. We can do it off camera. No, it's okay. I'm and so . So . Wow. years. We know each other decades plus. I remember yesterday, though, meeting yeah. Well, you in class for the first time in Colorado. Yeah. Was it monsters or was it an artistic vision? It was artistic. I came the day before to teach at that studio. That's right. And you taught I know. I want to say whitney Houston. You know what song? Something about a ring. Yeah. It's not right, but it's okay. You misha. Tony, Randy, all four of them were my class. Wow. I do remember that. I remember that. I remember the rhythms that you danced to. Actually, I don't remember the moves. Yeah. But I could probably reteach that now. Let's go. Okay. On camera. If she learns, it because I have footage of it. If you teach it, I'll teach it because it'll still hold up. Christmas tree, Mike. That fool back in the day roasted it in the dome. Roasted it? We were doing hat tricks, remember? He shit on that. Yeah. Oh, yeah. I'm going to call him up. Do it. Okay. Marty dog. Thank you very much. Where's this dog going? To the pound. Where's this dog going? To the bank. Where's this dog going? Out of here all day. This podcast was produced by me with the help of many big, big love to our executive assistant and editor, Riley Higgins. Our communications manager is Ori Vajadares. Our music is by Max Winnie, logo and brand design by Brie REITs, thumbnails and marketing by Fiona Small. You can make your tax deductible donations to Words That Move Me, thanks to our fiscal sponsor, the Dance Resource Center, and also many thanks to you. I'm so glad you're here. And if you're digging the pod, please share it, leave a review and rating. And if you want to coach with me and the many marvelous members of the Words That Move Me community, visit wordsthetmoveme.com. If you're simply curious to know more about me and the work I do outside of this podcast, visit thedanawilson.com.