197. Rhapsody James: Standing in Front of Your Work

January 31, 2024 00:59:11
197. Rhapsody James: Standing in Front of Your Work
Words That Move Me with Dana Wilson
197. Rhapsody James: Standing in Front of Your Work

Jan 31 2024 | 00:59:11


Show Notes

This week, Dana Wilson hosts Rhapsody James on the Words That Move Me Podcast! Rhapsody is one of the most mentioned people on #WTMM because of Dana’s legendary mime audition story. Hear about it from Rhap’s POV and get the scoop on how they both get the most out of themselves and the people they work with! 

This episode has a high dynamic range, from light and laughter to the depths of creative darkness. 

Watch this episode on YouTube.

Show Notes:

Connect with Rhapsody on IG

Connect with Rhapsody on her website

Work with Lorin Eric Salm 

Watch Marty’s 2nd episode

Listen to Marty’s 1st episode

Listen to Loriin’s episode

For more DANA

For coaching with me, join the WTMM COMMUNITY 

To donate to WTMM through our Fiscal Sponsor, THE DANCE RESOURCE CENTER


Watch and Subscribe on YOUTUBE 

Stay connected with us on IG and TikTok 

Full Episode Transcript Here

View Full Transcript

Episode Transcript

[00:00:00] Speaker A: Hey, it's Rhapsody James. Yeah, you are. It's your girl. Rhapsody James. The one and the only. Truly, Rhapsody James. [00:00:13] Speaker B: Truly. Oh, my God. Hello. Hi. Welcome. I'm Dana. This is words that move me. I'm so glad that you're here today because I'm a person who values high dynamic range. And our guest today, Rhapsody James, has just given me one of the widest ranging podcasts that I can remember in recent history. We talk bright light and very funny. We talk about some heavy duty, really serious shit. We talk about mental health. We talk about the way that we talk to ourselves when we're presenting our work to the world. We talk about releasing other people's thoughts about us and how we can work independently from our own thoughts about ourselves and how to manage all of that while even keeping a smile on your face, my friends. Rhapsody James. So good. But before we do that, we're going to celebrate some wins. Today. I am celebrating. [00:01:13] Speaker A: Wait for it. [00:01:16] Speaker B: I don't know yet. But I'm going to come back to that camera with something, I swear. [00:01:21] Speaker A: Ooh. [00:01:22] Speaker B: Okay. Today I am celebrating a future win. This is the last week before Christmas break and I'm closing it out big and strong. Shooting a music video this upcoming week that I'm really excited to tell you more about. But we'll get there after it happens. So fusion is a busy and full week of work before the Christmas break. That's me. Now you go. What is going well in your world? Congratulations, my friend. I'm so glad that you're winning. Please keep it up all the way through the new year. Just be winning all the time and you are. That's the crazy thing. That's like the point of doing wins every episode is that there is always something going. Well. Some one thing, even if it's a teeny tiny one. I will preface this episode only by saying the amount of love and respect I have for this person is tremendous. It will be abundantly clear in the episode, but I'm so grateful for her vulnerability as well as her strength in sharing and being so generous with the stories and the details that she shares. One of those stories is one of the most told stories on this podcast. The story. And that is the story of me becoming a mime. So without any further ado, enjoy the one and only rap city James Riz is almost as excited as I am because rap city gyms. Welcome to words that move me. [00:03:08] Speaker A: Yay. [00:03:10] Speaker B: Oh, I'm so excited. This has been long overdue. Okay, bye. Okay, you did not. [00:03:15] Speaker A: Oh, you want to come over here? Okay. Absolutely. Come on. You're like. You want to just want to check me out. [00:03:20] Speaker B: Just want to be licking. Is that. You just want to really start us off. [00:03:22] Speaker A: Got it. [00:03:22] Speaker B: On a rocky start. It was me. I grabbed her body. She didn't like that. Not a consensual upper body movement. This is long overdue. I don't know if you know this, but you are probably one of the more mentioned people on the podcast. No, because I talk about auditions a lot. [00:03:41] Speaker A: Okay. [00:03:42] Speaker B: And you were the source of one of my most famous audition stories. We're going to talk about it, but before we do that, it's tradition on the podcast that all my guests introduce themselves. [00:03:55] Speaker A: Yes. [00:03:56] Speaker B: Are you prepared for that task? [00:03:59] Speaker A: Okay. Do I have to put a title with it or anything? [00:04:02] Speaker B: No. Just tell us whatever you want us to know about you. [00:04:05] Speaker A: Okay. [00:04:05] Speaker B: Better or worse. [00:04:06] Speaker A: Got it. Right. Do I say it to you or the camera? [00:04:09] Speaker B: Oh, whatever you want. For me, it's really personal to the camera. It's really emphatic. [00:04:17] Speaker A: Just go like this. But it's, like, weird. It's like, hi. Yeah. My name is. You don't really know. [00:04:21] Speaker B: You could be like, well, then there was that one time I was the choreographer. And another thing I like to think of myself is that I'm a middle child. Yeah, whatever you want. [00:04:32] Speaker A: Whatever you want. [00:04:33] Speaker B: Emphasis for the kids. [00:04:34] Speaker A: Absolutely. Okay, I'm going to go to. It's Rhapsody James. Yeah. [00:04:50] Speaker B: You are. [00:04:50] Speaker A: It's your girl. Rhapsody James. The one and the only. [00:04:56] Speaker B: Truly. [00:04:56] Speaker A: Rhapsody James. [00:04:59] Speaker B: Truly. On the podcast right now. On the podcast for the first time. [00:05:03] Speaker A: For the first time. [00:05:04] Speaker B: Okay. Introduce yourself. [00:05:05] Speaker A: Go. Okay, cool. [00:05:06] Speaker B: Well, other than your name, which we now know. [00:05:08] Speaker A: Okay, well, number one, my name is Rhapsody James. And my name's in a dictionary. Can't copyright it, but my name is Rhapsody James. So along with that. Yeah, keep going. You've got my photographer. Yes. I'm a creative director. I'm a photographer. [00:05:24] Speaker B: Yes. [00:05:24] Speaker A: I'm a mentor. I'm a teacher. Master educator. [00:05:28] Speaker B: Yes, you are. [00:05:28] Speaker A: Because I've worked very hard for that. [00:05:30] Speaker B: Yes, you are. Oh, my God. You're very good. [00:05:33] Speaker A: I am a daughter. I am a friend. I am really funny. Oh, my God. [00:05:42] Speaker B: I will tell you first and foremost. [00:05:44] Speaker A: I absolutely love makeup. I absolutely love 80s tv shows. Like, I could keep going if you really want to. Kind of get the. [00:05:55] Speaker B: That's a fantastic introduction. Let's reveal the rest as we go. [00:05:59] Speaker A: Absolutely. [00:06:00] Speaker B: Okay. [00:06:00] Speaker A: Yeah. [00:06:01] Speaker B: I'm glad that you led well. You sort of led well. You're leading currently, I'm following currently little ways behind. Glad that you led with I'm a funny person because I think if people saw your work, they wouldn't assume that. Right? At, like, face value. [00:06:16] Speaker A: Right. [00:06:17] Speaker B: I think your work is heavy, dark. Often. Yes, sometimes. Like, oh, man, we really wish I had a better word for this right now, but I was not prepared, like, bloody. There are themes of. [00:06:35] Speaker A: I'm like, yeah, I mean, truly. No, it is. [00:06:37] Speaker B: Assassins was the first time I worked for you. It's not the first time we met, but, yeah, first time I worked for you. And this is a story about women who are assassins. [00:06:46] Speaker A: Right. [00:06:46] Speaker B: So there is some murder, and they. [00:06:49] Speaker A: Have different archetypes, and it's very like women. A woman scorned in all different types of. [00:06:57] Speaker B: And you do that very well, I might add. But if I looked at the body of your work, I wouldn't be like, that's a funny person. But it doesn't shock me because I think people who can do funny can also do drama. It's rare to find, like, not everybody who does drama can be funny. [00:07:14] Speaker A: Right. [00:07:15] Speaker B: But I think really funny people, because they're observers of the human condition. [00:07:19] Speaker A: Right. [00:07:20] Speaker B: Because in order to decide what's funny, you have to be able to see stuff for what it is. And I think because of that, I think you're good at drama. [00:07:26] Speaker A: I'm literally kind of like a goof troop. It's really weird. Yeah. I'm the friend that we get us all in the house and we're all laughing. Like I'm the one that I'll stand up and I'll just start doing. [00:07:38] Speaker B: You're the court jester. [00:07:40] Speaker A: Oh, for sure. Yes. [00:07:41] Speaker B: Okay, well, I'm so glad you're in my life for that reason, because you definitely keep me laughing. I cannot see you out in the world and be responsible for what comes out of my mouth. [00:07:53] Speaker A: Usually. [00:07:53] Speaker B: Just obscenities prone. [00:07:56] Speaker A: If anybody knew. [00:07:58] Speaker B: If anybody knew or if anybody didn't know that we're okay, they might suspect that we're not okay, that we're not okay, usually. And here's something I'm learning about YouTube. You have to be careful with how much you swear at the beginning. [00:08:08] Speaker A: Yes. [00:08:09] Speaker B: You're allowed to swear, but if it's all, like, happens at the beginning, you get flagged and it's not good. Right. So there's, like, a little concern that we might be starting off this podcast with our good old fashioned, like, you, son of a mother. [00:08:21] Speaker A: Totally. [00:08:22] Speaker B: We get taken off the Internet. [00:08:23] Speaker A: Yeah. Because it'll go but the truth is. [00:08:25] Speaker B: That it does feel like the most appropriate way for me to express my love and respect for you is in this really profane kind of way. It's like the only container that feels big enough and appropriate enough to fit that. [00:08:41] Speaker A: Crazy thing is, I feel the same about you. I'd just be like, you just right. Yeah. What is that? [00:08:52] Speaker B: There's got to be a word for that kind of love that's only expressed through profanities. [00:08:56] Speaker A: I don't know. [00:08:56] Speaker B: I bet other languages have it. I feel like english, the english language. [00:08:59] Speaker A: Really falls short for a lot of. [00:09:00] Speaker B: These type of things. Okay. [00:09:03] Speaker A: That's who you are. [00:09:04] Speaker B: You're hysterical. We appreciate each other a lot. Okay, now can we jump to. I just want to get straight to this. I have talked about my audition for sirens assassins more times than I can count. Maybe I'll try to link them all in the episode in the description below. [00:09:23] Speaker A: Right. [00:09:25] Speaker B: We'll try to find them. But ultimately what happened was from my end, and then I want to hear your end. I got a casting notification from my agent saying rhapsody james is having an open call for her show, sirens assassins. [00:09:43] Speaker A: Can I even say yes? Please? How bold am I? I was like, yeah, I'm calling the agents. I'm letting. [00:09:49] Speaker B: Calling all the people that I want. [00:09:50] Speaker A: Letting everybody know I'm having a show. [00:09:54] Speaker B: That's like, what you have to do. That's what you have to do. [00:09:56] Speaker A: It was just so crazy. [00:09:57] Speaker B: How many people came? Do you remember? [00:09:59] Speaker A: It was like 200 and something girls. It was crazy. [00:10:04] Speaker B: Debbie Reynolds. Big room was full. [00:10:05] Speaker A: It was crazy. A lot of people were like, what's happening? And it was like, oh, Rhapsody's having a. They're like, wait, wait. It's not a gig. And I was a show. It's a show, like when we want to do it. [00:10:17] Speaker B: That's how much people get behind your vision. [00:10:19] Speaker A: I was really shocked. Super shocked. [00:10:23] Speaker B: Okay, back to me. [00:10:24] Speaker A: Back to you. Back to you. [00:10:27] Speaker B: You know what's funny? [00:10:28] Speaker A: I like hearing you talk about this. [00:10:30] Speaker B: I've never heard your side of this. Okay, so I get a casting open call. Rhapsody. Sirens assassins. She's looking for to replace a few of the existing characters and looking open to ideas for new characters. [00:10:46] Speaker A: Right? [00:10:47] Speaker B: Wear all black. Time, place, blah, blah. [00:10:50] Speaker A: Yes. [00:10:50] Speaker B: I was like, shit, if I'm going to be seen in that room, I probably need to not wear all black because there's going to be a lot of women who are very sexy and very good. I probably should break the rules. I know Rhapsody well enough that I think she wouldn't kick me out, just, like, at face value. Like, you didn't follow the rules by. I know you well enough to think that you might think you didn't follow the rules. Okay, stay right. Okay. So I thought I had some wiggle room there, and I was like, what if I wear all white? What if I paint my. What if I'm, like, a scary clown? And I was like, but clowns are, like, already scary. [00:11:35] Speaker A: Wait a tick. [00:11:36] Speaker B: What if I'm a mime whose mime weapons? Like, a katana sword or, like, a hand grenade? That was a hand grenade. I was holding it, like, not. I was about to go. That's what I was about to do with my. I have not practiced my mime in a while. What if my mime weapons caused actual damage? Like, I throw a grenade and then bodies bounce, or I swing a golf club, and then somebody's head just flies off from stage left or something? Like, what if that? And so I got super excited. I was living with a makeup artist at the time. Shout out, Gia Harris. [00:12:12] Speaker A: I love you. [00:12:12] Speaker B: I miss you. She helped me create the face. I had a striped shirt. Like, that is what it was. I was like, I'm doing this thing. Jump to today and me almost putting the mime face on for the interview, which would have been a very short interview because I would not be able to speak because once the face goes on, I don't talk anymore. Which was where you were introduced to this idea. You didn't know any of that was happening? I didn't even showed up in the thing, and I didn't speak a word for the entire audition. [00:12:43] Speaker A: Yes, you did not speak. Yes, you did not speak. Right. [00:12:48] Speaker B: Okay, so now jump back to you. Do you remember your time frame for the show? How many people did you really need? What did you expect for people to show up with? And then what happened? When I opened that creaky ass door, I arrived late a little bit on purpose. I did want to make an entrance. I was not expecting the door to be quite so creaky, which was so clever. It was so clever. Okay, go. [00:13:15] Speaker A: It's one thing I love about you is so clever, as I say it into the mic. It's so clever. [00:13:20] Speaker B: Thank you. Thank you. Well, I think you're clever. Your entire show was based not on dance, but on this concept of women being badass and being mad and being strong and capable. So I definitely show up for that. [00:13:33] Speaker A: For the record, siren Assassins is still there. [00:13:37] Speaker B: Okay. [00:13:37] Speaker A: Even though it hasn't been viewed since that was 2010. [00:13:44] Speaker B: Okay, wow. But it's not like it's gone. It's not like the. [00:13:48] Speaker A: No, it's not gone. And we'll get to those things later, but for what we're talking about right now. So I initially premiered Siren assassins in New York, obviously born and raised in New York. And at that time, I was still very much bicoastal. I didn't move, move here until 2014. Okay. And so I was just like, okay, cool. It was successful in New York, and I was like, I'm going to do it in LA. [00:14:13] Speaker B: Yeah. [00:14:14] Speaker A: And I was like, okay, well, if I'm going to do it, I might as well do it. And so, first time ever got out, I put out the casacol. I rented Avalon. Nobody used Avalon. This was even before carnival used Avalon. It was like that. And so I literally did it the right way. I was just like, I have a show. Rented it, produced the shit out of it, did all of that stuff. We did the show. Then after that show is I got another bug and was like, oh, I should do siren assassins the Chronicles. And I was like, where you take a look into each character, but it's an evening and it's kind of like, not really a speakeasy, but a fun thing for all dance community to come. And they just get into these hot chicks, but not in a variety show. [00:15:07] Speaker B: Like a burlesque show, almost, where you get solos and you get featured. [00:15:10] Speaker A: It's like a different take on a burlesque show, but it's not necessary. I mean, you had that, and then you had women that were fully clothes, which I think what spoke volumes in that, too. Right? [00:15:21] Speaker B: Dana Foglia in a suit. [00:15:24] Speaker A: I know. What. Exactly. So it was just like, okay, I have to find who are the people who are going to. People who are going to do the chronicles, because the show, when I did it at Avalon, was its own thing. [00:15:41] Speaker B: Okay. [00:15:42] Speaker A: So then I put out the call, and then I was like, okay, cool. I'm thinking, okay, I'll just call. Nobody's going to come. It's not a gig. It's not a Janet Jackson job. It's not anything like that. I was like, people just whatever. I just wanted people who were interested. Like, the goal was to just call the agents to just say anybody who, like dancers who just needed some experience, that were gifted, not green, green, but had a little more time. And they were just focused on, like, I'm something that they're passionate about and. [00:16:14] Speaker B: Want to build on. [00:16:15] Speaker A: Right, exactly. So that was the whole thing. And so I remember I'm getting ready. And literally, I forgot who called me. Forgive me, but I forgot who called me. But I was on my way and they were like, rhapsody, you have over 200 girls here. And I said, no, I don't. And they was like, yeah, you do. And literally did a video and sent it to me. And I was like. And my heart went. And I was like, oh, my God. Oh, my God. Okay. Wow. So I was really nervous, but as soon as the door opened, I pulled into like, hello, everybody. How are you doing? But inside, I was throwing up. [00:16:58] Speaker B: Yes, for sure. It was, like, throwing in. [00:17:01] Speaker A: I was throwing in. Definitely throwing in. It wasn't up. It was just like, whoa. So I was seeing all the girls and whatever. And then you did come in late. I specifically remember because I heard the creek and I turned and I said, oh, my. And you literally. I remember you just walked and you bold. [00:17:29] Speaker B: This is why we can swear now we're past the point where. Yeah, you can say it. [00:17:34] Speaker A: You bold. Mo foe flipping freaking. I love you so much. You did that and then stood in front and then didn't say a word. I was like, oh, my God. [00:17:49] Speaker B: Yeah. [00:17:50] Speaker A: And so I didn't know, to be honest. I was think. I feel like. I think I said something to you. Yes. And you didn't say it. And I think I said, hey, Dana. [00:18:00] Speaker B: You said something along the lines of, like, Dana, you did not. Or like, I cannot. [00:18:04] Speaker A: Something like that. And I was like. And so I remember we was, like, two or three times, and then I think the second or third time, that's when I caught on, and I was. [00:18:18] Speaker B: Like, oh, she's really. [00:18:19] Speaker A: And then that's when I started doing this. [00:18:21] Speaker B: I was excited. [00:18:21] Speaker A: Oh, my God. Oh, my God. She's a mime. She's a mime. She's a mime. Oh, my God. [00:18:26] Speaker B: Because she was not a mime. But she was dressed, like, not yet, anyways, that came along. [00:18:31] Speaker A: And the thing is that I was so shocked. And whoever I was sitting next to, I feel terrible that I don't remember who I was literally sitting next to. [00:18:42] Speaker B: I do remember Marty came by to watch later on. [00:18:46] Speaker A: Yes, he did. [00:18:46] Speaker B: And he also didn't know what was happening. [00:18:49] Speaker A: People were like, what's going on? What's the big audition? And they were like, wait, this is for your show. I was like, go figure. I didn't know we're out here. I didn't know we're out here, Rev. But you know what was so crazy? It was two things that was going on. I was just like, the audacity for her to come in. She came in late, and then she came in committed. [00:19:10] Speaker B: Don't recommend committed part. Yes. [00:19:12] Speaker A: She came in committed. Then on top of that, you stood in the front, bold. [00:19:19] Speaker B: Yes. [00:19:19] Speaker A: You learned the choreography. Smashed it. [00:19:22] Speaker B: Thank you. [00:19:22] Speaker A: Then on top of that, then you added the character. Extra double, triple bold. Because for me, what you didn't realize is that I love that shit. [00:19:32] Speaker B: That's what you wanted. [00:19:33] Speaker A: Because you didn't remix to this extent of being disrespectful, you remixed to a challenge me as a creator. But you were bold enough in your gift to do it. You could tell me if I'm wrong, but I would think that in your mind, you was just like, the worst thing she's going to do is say no. [00:19:58] Speaker B: Yeah, get out of here. That was the worst. The other thing that my brain was offering me was the survival instinct of it, because what you have. Okay, so you mentioned 200 women, but capable women. These aren't like. [00:20:13] Speaker A: That was another thing. [00:20:14] Speaker B: The street people who just want to try to audition to be a dancer, these were working dancers. [00:20:20] Speaker A: That's another thing. [00:20:21] Speaker B: And when I tell you, gorgeous bodies, strong bodies, female bodies. And when the moment came to freestyle, those strong female bodies were doing, like, aerials into the splits. There was tumbling passes, there was, like, people popping and really dancing, right? And I really believed at that time, and maybe I was right and maybe I was wrong. It doesn't matter, right. That I would have gotten lost in the sauce if I had followed the rules physically, I was not a great technician yet, especially not with any street styles at all. I was not a great auditioner yet. In terms of, like, watch me freestyle, watch me follow the rules, watch me personalize. To a degree. I knew I needed a bit of a shtick. But when it came to the freestyle portion, which especially at that time, was my least confident area, right, all I had to do was lean on a fake wall and smoke a fake cigarette, and the room was going crazy for me while all of these people were busting their ass. And all I had to do was be imaginative. [00:21:31] Speaker A: And that is what took me out, because I was like, oh, my God. It was like a stillness in the chaos. No disrespect to anybody else that was dancing their butts off, but it was. [00:21:46] Speaker B: Like, oh, that's the show. I have to have that in the show. [00:21:50] Speaker A: But you know what was also crazy to me, because I remember other girls looking at you, but it was so funny to me because they were looking, like, confused. They didn't know how to feel. They didn't know whether they should hate. [00:22:03] Speaker B: On you, Dana, you son of a bitch. [00:22:06] Speaker A: Yeah. [00:22:06] Speaker B: And I was like, should I hate on her? [00:22:08] Speaker A: Yeah, but, no, but it's cool to. [00:22:11] Speaker B: Get me out to try to talk like, when did you have this idea? Tell me how you did it. And I just wouldn't. [00:22:18] Speaker A: And you stayed with it, which I think is so awesome. I really love when people are bold enough, and anybody who has had the opportunity to really be in a room with me when I'm creating, not necessarily, like, a job, but when I'm creating my work, they will often know that I'm just like, go, you love. Be bold. Oh, yeah. I'm just like, be an artist. Because I know I'm an artist. So I always tell people, especially in classes, too, I'd be like, yes, you're a dancer, but I don't want to work with a dancer. I don't want to work with 5678. I don't. I don't want to work with that. I want to work with an artist because I'm an artist, and I want to paint ideas. I want to paint. So what color are you? Because I know what my color is. So what color are you? [00:23:09] Speaker B: Black and white stripes, man. [00:23:11] Speaker A: Black and white stripes. There you go. [00:23:12] Speaker B: Okay. That's very cool to hear from your side of things. [00:23:15] Speaker A: No, it was awesome. [00:23:17] Speaker B: I want to thank you now profusely from the bottom of my heart, because that audition, as I've just been sitting here tooting my own horn for, like, 45 minutes now, really changed my life, because after I booked it, which was genuinely, I was surprised. I knew that it was bold. I knew that I would be memorable, but I didn't know if it was right. But what I had hoped to do and what I try to encourage people do when they audition is to give you a test drive to basically show the person what it's like to see me in the show. And I tried to put on a show that was like, this is what I would look like if I was your assassin. And I remember you called me and you were like, I don't know what to do with you. You're not in the show. I don't have that as a character. But can we work together to make. The answer is yes, but I don't know how or what that is. And I was like, oh, my God. Oh, my God. Thank you. And me neither. I think I need to find a coach because I don't know what I'm doing. It just came full blown appropriation of mime culture. I had no clue. I just painted my face white and black and wore stripes. [00:24:29] Speaker A: A mime. And I did it. [00:24:30] Speaker B: And I did it for however long the audition was. And then I knew that I wanted to do it well. And so I found Lauren Eric Psalm, who's also a podcast guest, and he runs the mime theater studio here in Los Angeles. I hired him to work with me privately. I took two of his in person group workshops, and mime changed my dancing rap more than any dance class I've ever taken. The technique physically and of the upstairs of the imagery, the philosophies behind it really changed me as a dancer and an artist. So I have to thank you because, wow, I don't know if you hadn't put out that call, if you just used your friends, right, which I was at that time, but not close enough to be in there like that. So thank you for being bold enough to ask for an open call because the ripples, like, you don't know how the ripples affect other people. [00:25:29] Speaker A: Man, it's really interesting. I'm in this space in my life where God is so, like, he's so revealing to me right now. And it's like, a lot of things where I'm realizing and starting to see my own, I guess. So say, like, worth or purpose? And for years, believe it or not, a lot of people won't think I wouldn't know. But for years, I have been like, what is my purpose? I know I can do this well. I know I'm very good at that. But what's the purpose? What's the calling? Right. Obviously, I do know I have a calling when it comes to dance education and training dancers. [00:26:21] Speaker B: Yeah, that feels. That feels crystal clear with you on that. [00:26:27] Speaker A: And I know that, but I also know there's, like, other things. So I am just now been just very accepting that I'm a vessel and God uses me. I don't know, because it literally is things that I just go, who? And I'd be like, okay, if certain people, yeah. I'll just be like, I don't know why I'm telling you this, but I'm just telling you this because I just felt like I wanted to tell you. And then, like, five years later, somebody will come up to me and say, do you know when you said that to me, that. And I'm just like, but before I went and think about it. So just hearing you say that again, I'm like, oh, man. [00:27:11] Speaker B: So it's probably always been that way, but it sounds like you're so open to it now and trusting of it now that you're running with it and letting that sort of thing. [00:27:21] Speaker A: And I'm not even trying to be like anything I say is your heels. Far, far from it. I'm just talking about it for me, like a personal thing that I have just realized because I've been so, like, therapy. [00:27:37] Speaker B: Yes. We love it. [00:27:39] Speaker A: I'm all about therapy. Therapy is a good thing. Therapy. [00:27:44] Speaker B: You know what? In addition to therapy. In addition to therapy. Therapy. Give it a shot. Do it big on therapy. [00:27:52] Speaker A: Big on therapy. Because with me going to my therapist, she explained to me, which I never heard this word before, which was catastrophizing. [00:28:02] Speaker B: Okay? [00:28:02] Speaker A: I was like, you'll be in therapy, and you'll be talking and you think. And then they just hit you right back. Slingshot, bow in the head. You're like, oh, my God. What did you just say? She was just like, rapsy. [00:28:16] Speaker B: You're catastrophizing. [00:28:17] Speaker A: You're catastrophizing. And I'm like, what's that? You're trying to act like, yeah, I don't know. What is that? [00:28:25] Speaker B: Well, no, I'm not, because. [00:28:29] Speaker A: What is that? [00:28:30] Speaker B: Okay, how did she explain. [00:28:31] Speaker A: And then, so, in a nutshell, she basically told me, like, you're catastrophizing, which is basically, you are painting this picture of something with no proof, like this really bad thing that is going to happen. So you know how we always be like, well, they said, or nobody's going to do. So she challenged me. She's like, one who actually said, and. [00:28:55] Speaker B: What did they actually say? [00:28:56] Speaker A: And two, have you ever done it before? No. So what proof do you have that people are going to say that or do that or think? And then I go, oh, my God. Which then house of catastrophizing is clearly in line with self sabotage. 100%, which I realize your portion of my life pro. I have self sabotage. [00:29:18] Speaker B: Totally. [00:29:19] Speaker A: And it's a really hard undoing. Very hard undoing. [00:29:22] Speaker B: Okay. [00:29:23] Speaker A: But I'm getting better. [00:29:24] Speaker B: You're in that process right now of undoing the self sabotage. Okay, well, we're going to weave all this together in a beautiful way. The last time I saw you at. [00:29:36] Speaker A: Congress, after our profanities. [00:29:38] Speaker B: After our profanities, we were like, mother bitch. Okay. And then it was like, how are you? And you were like, I'm not going to lie. I am going through it. I'm, like, watching this show tonight and just having a hard time thinking about what is next for me. And I don't know how to present my work and what I want for that work to say and be and do, and I'm in it. And I was listening to you and hearing so much of myself and struggles that I've come up on time and time and time and time and again. [00:30:11] Speaker A: Right. [00:30:12] Speaker B: And I asked you a very important question. Do you remember what I asked you? [00:30:15] Speaker A: You said, what, are you afraid of what people. No. You said, are you afraid of what people are going to find out about you? [00:30:27] Speaker B: Really close. [00:30:28] Speaker A: Something like that. [00:30:30] Speaker B: Is it okay if people are wrong about you? [00:30:32] Speaker A: Yes. That's what she said. That's what you said. That's what she said. That's what you said. [00:30:36] Speaker B: Is it okay? Because you mentioned you're like, I'm scared about what people will think, and I'm scared about what people say. I'm like, yo, fear is the real thing. I get it. It's the core of self sabotage. And I said, are you okay if people are wrong about you? And I love the way that you process it because you did it really, honestly, because you were like. [00:30:58] Speaker A: I was like, oh, wait a minute. [00:31:01] Speaker B: Actually, yeah. It's totally okay if people are wrong about me. I mean, I'm wrong about people sometimes. [00:31:09] Speaker A: I've been wrong before. [00:31:11] Speaker B: Is it okay for people to wrong about you? 100%. [00:31:13] Speaker A: Literally, yeah. [00:31:15] Speaker B: And then the next time I saw you after that, we were both presenting work at Congress, which is crazy, right? Can I tell you about your work? It was so revealing. It was so were. I don't know if you consider yourself an actress, do you? Well, maybe you should, because the first portion of the piece, which was you in a solo, was by far my favorite part. And don't get me wrong, I love some gorgeous dancing women in big black hats. [00:31:47] Speaker A: Yes. Shout out to Dina Thompson. That is her. I got to get her in a black hat. It's guaranteed. It's happening. [00:31:56] Speaker B: I really, really loved your solo and how expressive you were, how vulnerable you were, and how clearly in communication with another force you were. And I didn't know at that time if the force was meant to be God or this imaginary person or a past version of yourself or your future self. But you were talking to someone very clearly, and I was like, that looks like a person who has released what other people fucking think about them and is in communication with something more important than they and what they think. And I don't know. That's how it read. Is that how you feel? How are you doing with releasing other people's opinions of you? [00:32:34] Speaker A: How can I see it? Well, it was a combination of just one kind of allowing myself to just go very, like, God, that feels. This is just to do that in my body right now. [00:32:47] Speaker B: Just like release. [00:32:49] Speaker A: Yeah. To just move. Because I've always loved performing. When I was just starting and I was, so to say, as they say, green, I would go to the club freestyle. And I love to dance. Always knew I wanted to choreograph, but I love to dance. And when I danced, I danced. But then it got weird for me to dance because then that judgment thing that happens as you go through life, and then it just started become. I don't know, I felt like I became like, a really hard shell with. [00:33:29] Speaker B: Myself and with, like, the dancer person inside and outside container keeping that. [00:33:35] Speaker A: Because over the years, I have a torn acl, so my knees sometimes is good. And most of the time, it's like, don't go too low. You know what I mean? [00:33:44] Speaker B: Yes. [00:33:44] Speaker A: So it was a culmination of just releasing. Also, too, it was a part of me kind of getting the last shed off of my breakup with my ex man for, like, 15 years. So it's been hard. We're talking vulnerable. We're real people. It's been quite hard. A little harder than I thought. I thought that I would. [00:34:13] Speaker B: Yeah, we all know that that's going to be hard, but harder than you expected. [00:34:23] Speaker A: So that moment was my moment to just go, that last little fleck. [00:34:32] Speaker B: That's what that was of weight of. [00:34:36] Speaker A: And then all of the is then when the emotions. So it was basically me dealing with that. And then because it was all about Black House Manor, which is the project, which is in correlation with siren assassins. It's the whole thing. [00:34:51] Speaker B: Black House Manor is like the umbrella, like, where this all lives. And sirens assassins is like a part of that. [00:34:56] Speaker A: So really, Opal City is where it all lives. Opal City is where it's all the. [00:35:02] Speaker B: Imagination and the way your creativity houses your ideas is fucking beautiful to witness. It's gorgeous. [00:35:10] Speaker A: Thank you. [00:35:11] Speaker B: I love this. Keep going. [00:35:12] Speaker A: So it's like siren assassins, if we was to say in just for, I don't know, the New York people, but they'll get it a little bit. But siren assassins is like, in the city, uptown Manhattan, totally. All of the things that happen there. Black House manor is down on, down in the meat packing district, downtown, against the water. Twelveth Avenue, cobblestone, turn the corner, don't know what. And you land on this, like, what is that house? I've never seen that before. Nighttime, you know what I mean? With it. I see it. Yes. And then what was the Opal city? Opal City, to me, is my Gotham city. [00:35:56] Speaker B: Nice. [00:36:00] Speaker A: So siren assassins is a part of. It's a group of women. And then Black House manor is. [00:36:07] Speaker B: You've built a universe. You think you've built a city. You have a universe. I'm making eyes at the camera. Like, could somebody at Warner Brothers or Marvel give this woman a movie deal? Because there's too much in there for one show. And you sense that with sirens and turning it into a different night of a different type of. Yeah, yeah. These different compartments of all these wonderful. [00:36:32] Speaker A: Things, because it's basically black house manor is the female psyche. And these women, these emotions, which is what was displayed at Congress, was that you saw all of the trauma and tragic things, the tragic experience. [00:36:49] Speaker B: Who were they? What were they? [00:36:50] Speaker A: So the emotions that fell off of me is fear, trauma, desire, betrayal and rage. So they are a sisterhood, which they're called. I changed it more. Now they're called the Sin Sister society. And so they are. [00:37:06] Speaker B: You make me want to name everything in my life. Every idea I've ever had should have a name. [00:37:10] Speaker A: So they're a group of emotions that have now turned into flesh and they are a sisterhood and they take pretty much revenge on everyone that has harmed. [00:37:24] Speaker B: This is gorgeous. [00:37:25] Speaker A: I'm not going to drop it all. [00:37:26] Speaker B: As I was watching, I was like, these women are definitely from Slytherin House. This is a darkness that's happening. But I did also, I was called to mind because there are five of them and they looked like fingers, they looked like sneaky snake hands. And it just felt like someone was casting a spell, like somebody was doing evil deeds via magic, like some kind of dark magic. And all of that is always so fun to watch. But you were such anchor in that piece. What they were doing was interesting and felt otherworldly, theatrical, like in the sin city, dark scope type of way. But without a heart of the story, I wouldn't have cared so much. I've seen a lot of dark and sexy slithery things, but you presented and offered an anchor of real humanity in that piece that made me care about it. [00:38:19] Speaker A: Right. Thank you. Thank you so much. [00:38:22] Speaker B: No pun intended. [00:38:26] Speaker A: But that alone was hard for me because at the time when we spoke one, I felt like the surge of, like, I have to get back, creating, because I've been creating, but I haven't. [00:38:39] Speaker B: Been creating, like, shipping it, putting it in the world. [00:38:42] Speaker A: I've been here. I've been here I've been here. I've been here. [00:38:45] Speaker B: I've been here like this. [00:38:48] Speaker A: When I'm working with dancers now, I have to have dancers who know themselves enough because I challenge them too much. There is too much in me that I can't teach you. I can't teach you how to feel. So you have to already know how to feel yourself. You have to know how to already have your own emotions. Right? Whether it's black house man or sirenist. I'm just talking about. This is. I'm talking about just Rhapsody. If I just want to just do my own song and just a fun song, even if it's a fun song, it doesn't have to be, like, dark and creepy. It's like, what are you saying? [00:39:26] Speaker B: Are you telegraph what's going on inside. [00:39:29] Speaker A: Right. And if I'm giving you a theme, if I'm giving you a storyline, or if we're just listening to the song and the song itself has a storyline, how are you feeling? I feel, yes, there's a slew of people that need the 5678. They need the beginnings and teachings, and I think that there's a place for that, and I think that holds in the mentorship and teaching that do. But if you want to work with me, you have to be at a certain level now. You just have to. [00:39:57] Speaker B: I love that. [00:39:57] Speaker A: I don't have to. [00:39:58] Speaker B: When is your next mentorship happening? [00:40:01] Speaker A: When is the next mentorship happening? It will happen next year, and I'm hopefully planning to bring that out next. [00:40:08] Speaker B: Year, meaning this year, because this episode will come out in 2024. [00:40:11] Speaker A: Okay. [00:40:14] Speaker B: Are you getting stressed now? [00:40:16] Speaker A: I'm sorry. Let me say this year, listen, as. [00:40:18] Speaker B: A person who loves an event and a program, I feel you in that. It can be overwhelming to move all the pieces around. But when you know, let me know, because I can speak from having been in the room with you in creative processes but also in class. I love the way you lead and the way you train. It's impassioned, it's heartful, it's thoughtful, and it comes from a place of a lot of experience making your own work and a lot of experience doing industry related work. [00:40:47] Speaker A: Right. [00:40:47] Speaker B: Which I think is an important balance for people to have. And I think, yeah, if you speak to both of those things in your program, it will definitely be this year. [00:40:59] Speaker A: It'll definitely be this year. And I'm pretty much want to take a different approach now. I'm someone who's like, not. I've been there, done that, but I don't like getting bored, you want to. [00:41:14] Speaker B: Change the flow up. [00:41:15] Speaker A: And I take teaching very seriously. So I'm always like, if I don't feel it, I really will not teach. If I feel that I can't really be very responsible because that can go into a whole nother thing when we start talking about teaching, because I'm very serious about it in the sense of like, if you're going to teach somebody, you have a certain responsibility that you are offering some kind of tutelage to someone. You can teach the same one person the wrong way, and that wrong teaching can really change the trajectory of where they're going. It could change their mindset. It could change the thing. So if you're teaching out of, I don't want to get into a thing, but if you're only teaching for money, let me just say that. And I think a lot of people know this and I'm sure it's been talked about, a huge topic in the sense of if you are just teaching as a hustle. Right. Because there's a hustle in it. Yes. But you got to really have it here first. [00:42:30] Speaker B: Because this is people's lives and pathways and minds that we're. [00:42:35] Speaker A: Because then when they get to people like us and we want them to be themselves or trust and to really dance full. Yeah. And actually have complete the move and you have full here. And then you tell me you'd be like, well, I've been training for this many years and this. And I'm like, this, and you've been training for that many years and all you do is that you can't do that, but you do that and then you tell me you're full out. [00:43:07] Speaker B: Okay, question, right. As a teacher person who has encountered a few people, less students and more recording artists, I'm so curious how you approach specifically this, the full outness. Let's say you're working with a student or a recording artist who thinks that this is this. How do you get them there? What do you do? [00:43:32] Speaker A: How do you do it? One, it depends on who it is. It depends on, obviously the situation. But nine times of ten, I try to just relate it to. Okay, this is kind of where my funny part comes out. Right. I try to put it in a humorous way. [00:43:56] Speaker B: Right? Yeah. [00:43:56] Speaker A: So I'd be like, especially if it's a recording artist, I'd be like, okay, girl, grab your mic. Hold your mic. I said, you see these fingers like this? I said, I'm going to show you what you look like. Yes. [00:44:12] Speaker B: Gentle, fun. [00:44:13] Speaker A: Right. And I say, and now this is what I want you to look like. And then they go and you show them, oh, my God. And I'd be like, yes. I'd be like, you know what the funny thing about recording artists, like, when I work with recorded artists is they have this song and they're singing this passionate, or it's the moment or they hit a riff or an ad lib that takes me out. Because let me tell you, good music, I lose my mind. I will run around room, drop to my knees and be like, oh, my God, the music. Do you hear this beat? Do you hear this beat? Like, I will lose it. And those that know me know because they've seen it plenty of times. Yes. Right? Yeah. So imagine all of that, but then you get an artist who's decide. [00:44:53] Speaker B: You hear, but you see a limp wrist can't. [00:44:58] Speaker A: So I tell them, I'd be like, you sang the song. You were in the booth. What did you feel in the booth for you to sing that? I said, so now what you felt then they'll answer me and I'll be like, now you have to translate that. You put here. You have to. [00:45:15] Speaker B: Now, visually, you have to put here. [00:45:17] Speaker A: I said. So it doesn't always have to be about the 5678. It really is just about your intention. What are you making me feel like? I could feel you. That's why going back real quick to the siren assassins audition with you, I felt you and that feeling. You can't deny that. It's the simplicity in that. And I'm not saying every single thing has to be just as simple as you made it, but there is a very strong, strong thing that is a good thing when you really are bold enough to take the simplicity of just what? Life. [00:46:03] Speaker B: Are you ready for our final portion? [00:46:05] Speaker A: Oh, my gosh. [00:46:08] Speaker B: We have what I call wrist roll with it. It's the rapid fire question portion. [00:46:12] Speaker A: Oh, rapid fires. I'm terrible at this. [00:46:14] Speaker B: Okay? So am I. [00:46:15] Speaker A: Because as soon as I ask you. [00:46:17] Speaker B: What I think about this and why, I ask, and here's the I did. [00:46:19] Speaker A: It with movement lifestyle, and I bombed. [00:46:22] Speaker B: Did you bomb? [00:46:22] Speaker A: Oh, man. Shout out to Sean, man. I bombed. We got to do it again, Sean. We got to do it again, Sean. I'm so excited. [00:46:29] Speaker B: Rehearse right now. This will be rehearsal for your redemption round. [00:46:32] Speaker A: Okay. [00:46:34] Speaker B: Now I'm going to try to go easy on you. [00:46:35] Speaker A: Ready? I guess. [00:46:37] Speaker B: Cats or dogs? [00:46:39] Speaker A: Dogs. [00:46:39] Speaker B: Tea or coffee? Tea. Movies or series? [00:46:48] Speaker A: Movies. [00:46:49] Speaker B: A movie. What's the last movie that you saw? That you. [00:46:55] Speaker A: Last. Okay. Oh, that's not rapid fire. I got to say it fast. Sorry. Last movie I saw that I loved. It's going to sound like I haven't seen movies in a really long time, but. Joker. The Joker. [00:47:06] Speaker B: Nice. [00:47:06] Speaker A: Joker. [00:47:09] Speaker B: That's fantastic. [00:47:10] Speaker A: For sure. [00:47:11] Speaker B: Music video that you really wish you. [00:47:12] Speaker A: Were know music video. Wish. Janet Jackson. I get lonely. Really wish I was in that. [00:47:20] Speaker B: Wait, is that the one that sugar pop is in? [00:47:22] Speaker A: No. I get lonely. That's the one. Go figure. Wow. And there it was. [00:47:30] Speaker B: The birthplace of the creative vision. [00:47:32] Speaker A: Did I realize. [00:47:36] Speaker B: Where that came from? [00:47:37] Speaker A: Actual inner inspiration probably came from color. Janet. [00:47:40] Speaker B: And go risk learning about you. [00:47:43] Speaker A: Yeah, definitely. I get lonely, though. [00:47:45] Speaker B: That's crazy move that you would delete from the vocabulary forever. Just like a move that you're like, over. [00:47:53] Speaker A: Over in general. There's a lot of them, though. Like new. Any move. Yeah, I don't ever want to see that again. Yeah. And then what's that one? That new one? Well, it's not new. It's old, but people still kind of nay nay. [00:48:17] Speaker B: I love watching it done well. I do not feel it in my body. It's not a move that I feel is the strength. [00:48:24] Speaker A: Yeah. I feel really weird sometimes with these new dances because I'd be like, am I really getting that old? [00:48:31] Speaker B: The answer is yes, because the moves are coming out more often because of here they are. And I can't all the time. [00:48:35] Speaker A: Yeah. And I can't keep up. I think that's what it is. Back in the days, you feel like you had the Smurf and the Smurf was the Smurf for a minute. You was whopping for a minute. Yes. You had time to think. [00:48:46] Speaker B: Now we get it. And now it moves fast. It moves faster. [00:48:50] Speaker A: It's like a new dance every week. [00:48:51] Speaker B: It is. It's hard to keep up. Spinoff, podcast like the move of the week. We have to learn it, you and me. I love it. [00:48:59] Speaker A: Oh, I would totally do. [00:49:01] Speaker B: What was the last song that you belted? Full volume, like just really sang? [00:49:05] Speaker A: Oh, my God. Yesterday, Tony Braxton. He wasn't a man enough. Me, literally, yesterday in rehearsals, I was literally saying at the top of my lungs and everybody was like, rhapsody, you have a voice. And I was just like, yeah, you do. That's another day. I can sing. I just don't. [00:49:22] Speaker B: You have a movement voice and you have a voice voice. I told you, your solo performance, I almost said carnival at Congress reminded me of if Usher, Mary J. Blige and who was the third had a. I. [00:49:37] Speaker A: Totally forgot I totally forgot. [00:49:39] Speaker B: Eve. [00:49:41] Speaker A: Eve. You did say Eve because you were rapping. [00:49:44] Speaker B: I don't know if you noticed, but your freestyle was very gestural. I felt like you were rapping at me. And I love her movement and her face when she's talking. Obsessed. [00:49:57] Speaker A: I'm a vocal arrangement. Like, I love vocal arrangements. [00:50:03] Speaker B: So if you had to listen to one artist for the rest of time, who would it be? [00:50:09] Speaker A: One artist for the rest of time. [00:50:12] Speaker B: I hate that question. [00:50:13] Speaker A: Oh, that's a hard one. That's a really hard one. And I am going to say, ding, ding, ding. Go, shade. [00:50:26] Speaker B: Yes, mine would be prince, but also shade. I know. That's okay, because if we're still friends, then you can listen to mine and I can listen to yours. [00:50:35] Speaker A: Prince. Absolutely. [00:50:38] Speaker B: Because of the funk. Like, unadulterated funk. Yeah, probably wrong 14 in that context. But also the ballads. Also, nobody throws a fucking tantrum like prince. And if I could only listen to one artist, I would want it to be a person who throws a tantrum. Well, because I could probably relate to that. [00:50:59] Speaker A: But to tell you the truth, I know it's cliche, but it really is. [00:51:05] Speaker B: Get it? I get it because we have the conversation, Michael Jackson. [00:51:10] Speaker A: But once you get past the person of Michael Jackson, like the magnitude of Michael Jackson, once you get under that, you go, oh, my God, he's a genius. The music, like, the music, the music, the sound. Except by Prince. [00:51:31] Speaker B: I think Prince can. [00:51:32] Speaker A: Prince is. [00:51:33] Speaker B: Yeah, I do. I really do. [00:51:35] Speaker A: Absolutely. [00:51:35] Speaker B: Maybe not as many like. [00:51:40] Speaker A: It'S Prince's. [00:51:41] Speaker B: Arrangement to me in my dream. [00:51:42] Speaker A: It's Prince's arrangement for me, though. It's how clever he is with. Absolutely. [00:51:51] Speaker B: Two more, three more. [00:51:52] Speaker A: Jealous? I didn't say that. [00:51:54] Speaker B: It's okay. Sean might ask you. I'm going to text Sean to ask you that so that you can come back so he can say, prince. Okay, three more. [00:52:01] Speaker A: Go. [00:52:02] Speaker B: What scares you? [00:52:03] Speaker A: Oh, wow. What scares me? Me. Not wow. That's a loaded question. But I'm going to keep it very together. I'm going to say myself and I'm going to put a little blunt boost on the back of that. The reason why I say myself is because a lot of times I'm not scared of failure. I'm scared of success. So I stop myself because I always get afraid that I'm not going to live up to the responsibility of being successful. So therefore I stop or I pause and then I do a little and I realize that I have to really release, which I really feel. The Congress show was the first step in that for me. So look out 2024, because we're doing it, sorry to say, a date in the podcast, but look out 2024, well. [00:53:01] Speaker B: It'S an ongoing, there's no like one date where this will happen. It's like you will continue to show up and become that person many, many days until you have nothing but evidence that you are that person. [00:53:12] Speaker A: Absolutely. [00:53:13] Speaker B: And then you will believe it. [00:53:14] Speaker A: Yeah, that was a real question. [00:53:17] Speaker B: That's what scares you. [00:53:19] Speaker A: I can't believe I said that. [00:53:20] Speaker B: That was gorgeous, rat. That was beautiful. [00:53:22] Speaker A: Everybody's going to know. [00:53:25] Speaker B: Okay, here's something I didn't say earlier. Everybody's going to know, and everybody's going to show up with unwavering support for you. Because there's nothing more relatable than that. I think knowing that we're afraid, we have, since we're small, but finding out what it is that we're afraid of and that it's not actually failure for many of us, at least a little bit, we're afraid of success. That's huge. And I think you will be getting a lot of support in this direction. I also wanted to say the poetry behind supporting your work from having your works back, meaning that you need to stand in front. That's nuts. And that's what you have learned are learning, is that sometimes you need to get in front of it in order to really get behind it. [00:54:18] Speaker A: Yeah. [00:54:19] Speaker B: I am proud of you. Thank you for your vulnerability. I'm going to leave it right there because it's a gorgeous way to close. Except one more question. [00:54:26] Speaker A: Come on. [00:54:27] Speaker B: What are the words that move you? Could be a quote, a guiding principle. Kind of like a north star philosophy, or a prayer, or a mantra, or just like actual words like family, love, funk, prince. I don't. Yeah, go, go. [00:54:44] Speaker A: Hold on 1 second. Can I get my phone? [00:54:47] Speaker B: Because you have it. You have. You have it and you don't want to get it wrong. Yes, I know this. [00:54:55] Speaker A: Hold on, let me find it. And I'm not going to read it. I'll say it. Just let me find which one it was. [00:55:01] Speaker B: I love that you have so many. And I love the sound that your nail makes. Touch your phone. Oh, quotes. I love heart emoji. [00:55:06] Speaker A: And look, it's like. [00:55:08] Speaker B: Could you hold that phone up a little closer to the microphone so that we can hear the. [00:55:15] Speaker A: Quotes? I love. [00:55:16] Speaker B: That's that nomadiga right there. [00:55:17] Speaker A: Click clack. [00:55:18] Speaker B: Click clack. [00:55:18] Speaker A: Click clack. Click. Okay, so I would say the words. A quote or something that moves me is distractions. Are actually announcements. Whoa. [00:55:34] Speaker B: Distractions are actually announcements, meaning something's calling towards you. It's saying, hey, that is actually. I'm important. So do you follow all of your distractions? Everything that is announced? [00:55:50] Speaker A: I pay attention to it because I get distracted often. So I feel like getting distracted. And it's not in a distracted, like in an irresponsible way, it's just that I just. [00:56:02] Speaker B: When something tickles you or when something's like, you listen. [00:56:06] Speaker A: Yeah. And I'm just like, what's that? [00:56:09] Speaker B: Oh, I love that. [00:56:10] Speaker A: Some distractions are really bad. But then also, too, there's another, for example, Instagram. [00:56:14] Speaker B: Don't get distracted by. Just kidding. You're probably watching this on Instagram right now. Sorry. [00:56:21] Speaker A: Leave it open. Watch it. One more game. [00:56:23] Speaker B: Thank you so much for being here and for sharing your lightness and the darkness, the vulnerabilities. This is so important to voice for you, but also for everybody listening and watching. To know that they are not alone and that there is not alone is truly no level of achievement, no year in your life, at which point this will no longer be a thing that you have to deal with. No, we're human beings. This is part of it. Yeah. [00:56:51] Speaker A: It's like new, what they say, new levels, new devils. It really is like, you're always going to start. It's the biggest thing that I realize is that you're always starting from a certain phase, so you will always start over. I remember just really quick, Pastor TJ said I was watching the sermon and it's always stuck with me. And he was just like, there's always a new beginning. So once you do one to ten, when you do eleven to 19, like, the one for the ten level is, then there's 111 is like 21, and then 21 is like, there's always the one, right? So there's always going to be the next first level. [00:57:32] Speaker B: It's just at the next level. [00:57:33] Speaker A: Ten. Right. So you know how we're always like, I'm a ten, I'm shooting for a ten. Yeah, you hit that level now you have. Correct. You got to go back to one again. Correct. Right. So I feel like I'm at a one on another level. Not that I'm just like. You know what I mean? It's like one at a newer level, more experience, more. [00:57:53] Speaker B: I can confirm for that because I've been watching you work for a long time. So I celebrate you and your climb and thank you for talking about it here and sharing your stories and yourself and God, your laughter and your jokes. [00:58:06] Speaker A: Thank you for that. [00:58:06] Speaker B: Also, thank you for listening, watching, click the bell and subscribe. Please leave a comment or review or rating. If you are liking what you're hearing now, go out there, get into the world, and keep it exceptionally funky. See you soon. 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 towards 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 wordsthmoveme.com. If you're simply curious to know more about me and the work I do outside of this podcast, visit thedanawilson.com.

Other Episodes

Episode 0

September 07, 2022 00:49:26
Episode Cover

140. Making Statements with Culture Critic Cintra Wilson

Fashion icon and writer of "Fear and Clothing: Unbuckling American Style", Cintra Wilson, joins me on the pod today.  Cintra is constantly making statements...



February 14, 2022 00:51:33
Episode Cover

Bonus Episode: Happy Hour Q&A with WTMMCOMM

This marks a FIRST, but certainly not the last Words That Move Me Community HAPPY HOUR!  Wine isn’t the only thing sparkling in this...


Episode 0

May 06, 2020 00:16:58
Episode Cover

19. A Letter from a Friend

If you're looking for balance in destabilized times, turn to this episode, and turn to dance.  In this episode, we explore the side effects...