217. Jillian Meyers: Be moved, Be Impressive, and Know WHY!

[00:00:00] Speaker A: Oh, God, Dana, these questions lately, that's. [00:00:07] Speaker B: Actually all I needed. I didn't need an answer. That was good. [00:00:09] Speaker A: I feel hot. I'm like, the pressure is insane. [00:00:12] Speaker B: I'm so sorry. Wow, I'm so sweaty. [00:00:13] Speaker A: I'm so sorry. [00:00:17] Speaker B: Hi, I'm Dana. This is words that move me. This is my dog, wrist roll, aka riz. And we are thrilled that you're here because today I'm joined by one of my best friends ever and a occasional nanny to Riz. No, because today we are joined by one of my best friends, Jillian Myers. She is a seaweed sister. She is a Emmy nominated and Olivier award nominated choreographer, performer, educator, professor. And she is a light, a bright, shining beacon of hope and really good art. So I'm very excited to share this conversation with you, but first, let's celebrate some wins today. I am celebrating. I don't have one. Yes, a new drill. I haven't been very interested in dancing for fun lately. And today, out of nowhere, I thought, hmm, I'm gonna make something that's kind of hard for myself, that makes me better at something or take a step that is a habit to me and turn it on its head so that it's no longer a habit in that same way. So I have a new drill. I'm excited to complete it, and then I'm excited to master it. And I'm going to take dance class today. I'm coming back. Dance. It's been a long, hot summer, and I have not been wanting to dance. I've been tired, y'all. And I feel it coming back. It's coming back. I'm juiced. How about you? What are you celebrating? Hmm? Hmm? Congratulations. I'm so glad you're winning. And I'm so glad that jillian is our guest today. And I'm so glad that she is my friend in life. We talk about stories from our past, times that are hysterical and important. And we talk about teaching what we hope for students today. We talk about being performers and transitioning into assistants and associates and what's the difference? We talk about what makes her a great leader and what makes her a great facilitator. We talk about how she's made over 150 dance numbers for television. You have so much to learn from this person. She is so exciting, and all she wants is for you to be excited to. I am excited enough for all of us. This is the one and only Jillian freaking Myers. Okay, how are we gonna fucking start this? [00:03:07] Speaker A: I don't know, wills. Wait. And do I? Sorry. [00:03:10] Speaker B: Start with a clap. That's how we start. [00:03:11] Speaker A: I like. [00:03:12] Speaker B: Do we what? [00:03:13] Speaker A: You should start with a clap. Shall we try to clap back to her? Go for it. [00:03:20] Speaker B: Oh, I knew that one. Eight and one. Oh, I love. I do like the idea of rhythm and song, though. [00:03:37] Speaker A: Yeah. [00:03:38] Speaker B: Two brightly colored ladies in black and white shoes. We love blousy blouses and curly hair dos. [00:03:47] Speaker A: Yeah. He was like, there's gotta be a do. [00:03:49] Speaker B: Hi, Julie. Welcome to the podcast. [00:03:51] Speaker A: Yeah. [00:03:52] Speaker B: Whoa, I'm sweating. I'm sweating. Yeah, that's yours. [00:03:56] Speaker A: Yep. Yep. I know. I feel like you touched mine with most people, and I was like, they gotta understand it. But now I'm here, I'm like, oh, you wanna double check? You wanna check in? [00:04:03] Speaker B: Yeah. [00:04:03] Speaker A: Who do we send? [00:04:04] Speaker B: You can even throw to mine if you want. You're my guest. Thank you so much for being here. Well, it's your second time on the podcast, but first time in visual format. [00:04:14] Speaker A: Oh, for sure. [00:04:15] Speaker B: Second time. Well, first time also as my solo guest, because we were joined last time by our magical, also musical sister, Meghan lawson. Check out her episode, if you haven't already, and the three of us all together, the seaweed sisters episode. We'll drop that in the important bits somewhere where you drop shows, show notes, caption comments, somewhere. Okay, so when was that? [00:04:39] Speaker A: I feel like it was very. [00:04:40] Speaker B: It was early, Covid. [00:04:41] Speaker A: Yeah, I was gonna say early. [00:04:42] Speaker B: Early podcast. It might be, like, in the first ten. [00:04:45] Speaker A: Yeah, I was gonna say ten. [00:04:47] Speaker B: Nice. [00:04:47] Speaker A: Yeah. Okay, great. [00:04:48] Speaker B: Thanks. Thanks you for starting me off strong. [00:04:50] Speaker A: Welcome. [00:04:53] Speaker B: Okay, so this is the hard part. I'm so curious to hear how you do this. Cause when I introduce you, it's like, usually, like, right after I introduce myself to some people. Hi, I'm Dana. And have you heard of jillian Myers? I know you're not, because she is the great. [00:05:09] Speaker A: No. [00:05:09] Speaker B: Sometimes I feel that way about you and a small handful of people that I'm just like, everyone should know. Everyone should know you and feeling in. [00:05:17] Speaker A: Relation to in an important way, I think, you know, like, if you know this person, that's a signifier of many good things. At least if you do get on. [00:05:26] Speaker B: Yes, yes, yes. That's true. [00:05:27] Speaker A: Yeah. [00:05:28] Speaker B: Okay, so take the floor. Introduce yourself. I'm sorry. [00:05:32] Speaker A: I know. [00:05:33] Speaker B: What do you want us to know about you as we head into this conversation? [00:05:36] Speaker A: Well, I guess this is worth knowing about me. I listened to many of others intros today. Cause I was like, how do people do this? Because I knew it was coming. [00:05:45] Speaker B: That's good. [00:05:46] Speaker A: And I was like, do I tell Dana that I did this. I was like, that is very much me. A very. [00:05:51] Speaker B: You like to rehearse. [00:05:52] Speaker A: I like to practice. I really. And not that I practice what I was gonna say, but that is often a thing that I'm driven by. I wanna practice. I wanna do it again. But you only get one shot at this, so. Well, no. Cause Dominique Kelly, I love. He's, like, been on many times, comes back all the time. [00:06:08] Speaker B: Yeah. And we'll introduce him to himself differently. All the time. [00:06:11] Speaker A: Yeah. Okay. [00:06:12] Speaker B: Good reference. You did do your homework. [00:06:14] Speaker A: I did, yeah. Okay. My name is Jillian Myers. I am a dancer type that's stolen from Miss Wilson. I love this. It's not only a label, but a categorization. So I'm a dancer type who grew up outside of. [00:06:30] Speaker B: Do you know what I got excited about just now? I'll tell you. [00:06:32] Speaker A: After grew up outside of Portland, Oregon, and have lived in LA for almost 20 years. I'm a person who does and makes dance for self and for others. [00:06:45] Speaker B: Totally. Lucky guns. Lucky guns. Lucky sons of guns. [00:06:51] Speaker A: Sometimes there are finger guns, especially in earlier work, which I would never choose now. Anyways, that's another aside. Oh. I am a person who loves sweet and sincere and funny things of any variety. And those are qualities that are kind of important. Not kind of. They are important to me in people, in life, in work, in. Yeah. Food, even. [00:07:17] Speaker B: Sweet, sincere and funny. [00:07:19] Speaker A: Yeah. [00:07:20] Speaker B: The only thing I would add to that, if I had to explain your values, your style would be romantic. I. When I see your work, I really love the way you almost make this. I love the way you recreate and represent love. It's a very different color of love than what gets represented so often. And so I'm crying. No big deal. You're just done with your introduction? [00:07:55] Speaker A: I think so, yeah. That's. I mean, yeah, like I said, I was like, I like the bullet point offerings that people give and, like, kind of random facts. But we'll start there. I'm sure more facts will come out. [00:08:05] Speaker B: Okay, I'm gonna circle back and give a side story. I don't even know if you know that this is where this started. Dance type or dancer type. We speak in types. Jillian, do you know where that started? [00:08:17] Speaker A: No, I don't think I do. [00:08:18] Speaker B: I think you do, because one of the things that we share is a fondness for Japan and japanese products. [00:08:25] Speaker A: Yes. [00:08:26] Speaker B: Do you remember ice type? [00:08:27] Speaker A: Oh, my gosh, of course. [00:08:29] Speaker B: They're these menthol body wipes that make you feel like you are on hot icy fire made by Gatsby. This is by Gatsby, which you can find at some daiso. Like, you can find them here. And I, when I started dating, Daniel was, like, really into ice types. And there was a shop right near him that had them. And he would pick me up some ice types. And he was the one that started saying, applying the word type to other things. [00:08:53] Speaker A: Like, this is a breakfast type food. [00:08:56] Speaker B: And you're a dancer type. And then he's an actor type. And so types came from ice type. [00:09:01] Speaker A: Oh, my gosh. Ice type. And also so good. Very Daniel. That was gonna be my guess. It was, like, some exchange with Daniel. Ice type. [00:09:09] Speaker B: Ice type. [00:09:10] Speaker A: After class. Like, everyone would use them in Japan. That's how I first got hip to them, you know? Cause it's like, there's a lot of people. You're sweating. There's not always a shower, but you're gonna go on to the rest of your day and not get in your car. So you're gonna be, like, walking around and getting more sweaty. So everyone ice type down to feel cool and clean. [00:09:28] Speaker B: And, I mean, really riveting. You have to be careful with where you wipe. [00:09:33] Speaker A: Location. Very. Yeah, yeah. [00:09:36] Speaker B: Armpits. And then be careful for the rest. [00:09:40] Speaker A: And then be careful. Yep. [00:09:42] Speaker B: Okay. So, like, fun fact, I think not a lot of people know we used to live on the same street. Think about that and how much that is. [00:09:50] Speaker A: 19 years ago, I think. [00:09:52] Speaker B: 19 freaking years ago. Morrison. [00:09:54] Speaker A: Yeah. [00:09:55] Speaker B: I was on the Tehunga side. You were on the Lancashire side. [00:09:57] Speaker A: Correct. [00:09:58] Speaker B: Figure it out. Valley types. And we would occasionally walk two old millennium together and train together, take classes. Do you have any memories of that time that you care to share? [00:10:12] Speaker A: I mean, I have many, but I'm like, what are you teeing me up for? Which one? [00:10:15] Speaker B: Oh, I don't know. I have a funny story from the night before I went on tour. Do you know that one that I was gonna share? [00:10:23] Speaker A: Does it have to do with a parking lot at a grocery store? [00:10:26] Speaker B: No. [00:10:27] Speaker A: What's that one I'm thinking about in the, like, I think it was the first week when you moved. We went grocery shopping. I was like, let's go. This is a great value grocery store down at the end. Lankers. I'm, like, going towards what was Debbie Reynolds studio? [00:10:41] Speaker B: It was not Vallarta. [00:10:43] Speaker A: And it's not $0.99 Rancho. Like, Rancho. I can't remember. [00:10:47] Speaker B: It's not super king. [00:10:49] Speaker A: No. But, like, great produce, like, for a really great price. And as, like, young dance types, that was a wonderful thing. So I was like, let's go. And we went in your Volkswagen bug. I was gonna say bug. Beetle, whatever. Okay. [00:11:01] Speaker B: Turbo diesel Volkswagen bug there. [00:11:03] Speaker A: He's whatever, whatever. No big deal. And I. We came out, like, we went in dinner shopping, and we're like, sweet. All these deals. Great produce. Yes. And then we came out and I think your bumper was, like, hanging off the back or the front of your car. [00:11:18] Speaker B: The front bumper. Cause we even. The additional sweet thing about going was that I got a pull through spot. So I went in one spot and pulled through it. I love a pull through. And I even think I said out loud, I love a pull through. [00:11:30] Speaker A: You would. Anna's very good at narrating and letting. [00:11:33] Speaker B: You know what's coming up all the time. That's why podcasts. [00:11:35] Speaker A: Really good at it. [00:11:37] Speaker B: So we pull through the spot like, yes. We go inside and we have a yes. Experience in the store. And then we walk out and I saw this bumper in the middle of the parking aisle. Parking lot. And I was like, man, that sucks for that guy. And then we got closer and I was like, oh, that's my bumper. Somebody had also pulled through and then turned left, clipped my bumper and brought it with them, dragged it a couple feet. And that was my first big car expense of living in LA. It would not be my last. That same turbo diesel Volkswagen bug got t boned at the Woodman magnolia intersection. I was going through yellow and somebody was turning left. And that was the piss that totaled. That totaled her out. [00:12:24] Speaker A: Yeah. [00:12:25] Speaker B: Good memory. [00:12:26] Speaker A: But it was your first week there, and LA is tough and not always, but can be really tough in the car sense of direction. All like traffic. I'm like, not jams, but accidents. All of it. And it was just like, right there. [00:12:42] Speaker B: Right in the face. Right in the face. [00:12:44] Speaker A: I was like, oh, wow. And sorry. We great produce bad. [00:12:48] Speaker B: Really good. We saved so much money. I love that place. That was a really good, really good valley secret. [00:12:55] Speaker A: Yeah, it'll come to us. [00:12:57] Speaker B: It'll come. [00:12:57] Speaker A: Yeah, yeah. But what are you thinking? [00:12:59] Speaker B: I was gonna tell the story. Cause you had two other roommates in that place. And the night before I went on my first tour with JT, we were gonna leave from millennium. So we're getting picked up at millennium. [00:13:11] Speaker A: Okay. [00:13:11] Speaker B: But I got rid of my place, I think, so I. Yeah, yeah. I didn't pay rent. That whole. Highly encouraged. If you're going on tour and have the ability to not be paying rent while you're gone, get a storage unit, stay folks place during breaks or with a friend. Whatever. Couch hop, sublet. Go on a little vacation, but don't be paying rent for that time. And so I needed a place to stay the night before, and we were getting picked up super, super early, and we stayed up pretty late eating tri color trader Joe's chips and salsa. Yep. [00:13:45] Speaker A: Yep. Okay. Yep. They still make them right now. [00:13:50] Speaker B: And then you went to bed. [00:13:52] Speaker A: Yes. [00:13:53] Speaker B: And you were like, just really try to be quiet in the morning. My roommates have to work. They have to get up so early. I was like, yeah, totally. And then I decided to take a shower that morning, which is a normal decision. [00:14:07] Speaker A: I was like, what happened? And now I remember. Yep, keep going, keep going. [00:14:14] Speaker B: So you had a bathroom, an ensuite bathroom in your room, but you were sleeping, so I wasn't going to go into your room and use the bathroom. So use the other bathroom, which was your roommate's bathroom, and you didn't tell me. And they didn't tell me. But the sliding glass doors needed to be handled in a very particular way. [00:14:33] Speaker A: Yeah. They, like, needed to be realized. It's like some cheap apartment in north Hollywood, you know? [00:14:37] Speaker B: So I'm naked, and I slide open one of the doors, and then I turn to, like, close the door or turn on the fan or something, and I hear, like. And I turn around, and that door is falling towards me. So I catch it. And then the other door starts falling inwards towards the porcelain tile wall. So I step halfway into the bathroom to try to grab that one. So now I'm straddling the tub with my naked self, holding two glass doors, making a lot of noise. [00:15:11] Speaker A: Oh, my gosh. [00:15:11] Speaker B: Making a lot of. [00:15:12] Speaker A: Broke. [00:15:13] Speaker B: Nothing broke except my heart, I was. [00:15:15] Speaker A: Gonna say, but I remember there was a lot of, like, go, gong. Gong. Don't. Ah. You know. Vocals. Narrating. Yes, narrating. [00:15:24] Speaker B: I love it. And then you open the door, and you were like, what is happening? [00:15:27] Speaker A: I was like, dana, I would have forgotten this, but it is definitely, like, in the recesses. I'm so glad you brought this back up. Wow. Like, a real. I mean, for some of our students, like, truly a lifetime of memories, like, those students that are less than 20 years old, that was your lifetime ago. [00:15:46] Speaker B: I'm crying. I love that. Neither of those stories had anything to do with training, which we did do a lot. How many classes a day do you think we would take? I mean, you were on ed scholarship. [00:15:58] Speaker A: So you took a billion. I wasn't. [00:16:00] Speaker B: You weren't? [00:16:01] Speaker A: No, I had, technically. [00:16:03] Speaker B: Nice to meet you. I'm a day nice to meet you. [00:16:05] Speaker A: I know we've known each other for 20 years of. Well, I was there a lot. And technically I had an LADF scholarship the summer before, basically my senior year in high school, before I moved to LA and. But then when I moved to LA, I worked at the desk, but there were certain shifts that were not worked by a scholarship student. And so I worked one of those. I think I worked on a Monday and Wednesday strategically. Cause the best class days were Tuesdays and Thursdays and on those days it was very probable. And my best days, and probably you two to take five classes. So it would have been, I think Mandy at ten and then there was a break and then d d and then we would do, if we could tap the Napoleon at four, Tavares at 530. And then if we're really. No, Doug would be at 830. At 07:00. It was either Terry Biemann, Terry best sometimes, or Ryan Heffington at 07:00. So. Yeah, if you were like mega class daddy. Yeah. But Tuesdays and Thursdays were big dance days. Yeah. And we would take them all. We met in a class. I think we met in Tavares class because our shared mutual friend Tony Testa was like, basically demanded that we were friends and we became friends. [00:17:19] Speaker B: He choreographed that. [00:17:20] Speaker A: He did. [00:17:20] Speaker B: He was like, okay, five, six, and you meeting you two friends forever. [00:17:25] Speaker A: Yeah, be friends before he moved out here. So he's like setting up really, like such a beautiful bedrock of friendships. [00:17:34] Speaker B: How did you meet Tony? [00:17:35] Speaker A: I wanna say in a class. I think he came to visit for a week and I was taking Tavares class. Cause that class was your lifeblood. Yeah. It really was like, I love him. I love the musicality of his class. And it always feels like magic when he dances. It's unbelievable how he'll. How he teaches you what you're going to do, but yet somehow there's like transformation and magic than when he does. [00:18:01] Speaker B: It, it is unrecognizable. I love that you think it's magic. I get frustrated. I'm like, where was I when you did that? I've been in the room this whole time learning moves and they weren't them, but what it is is a crazy freedom to stretch music and line. [00:18:21] Speaker A: Yes. [00:18:21] Speaker B: In such a way that truly and feeling Tavares Wilson. [00:18:25] Speaker A: I didn't say his last name, so. [00:18:27] Speaker B: My God. Yeah, it's true. [00:18:30] Speaker A: Yeah. [00:18:30] Speaker B: And he is a wonderful teacher. And we'll teach you the way. [00:18:33] Speaker A: Yeah. [00:18:33] Speaker B: And we'll dance it a different way. [00:18:35] Speaker A: Each time, which for me was like, yes. Like, not only one exploding my young brain of, like, wait, all of those things could be true. [00:18:43] Speaker B: Yes. [00:18:43] Speaker A: Like, you. This is still the framework. This is still what we're doing. And yet, like, it's a vehicle for so many other experiences, which, like, now is such an important part. I think of how I love and approach dance, you know, but also, especially as a young person and kind of continuing the conversation we had before you were with us. Fair audience. I loved the challenge of it. I was like, oh, and then I would love to stand, like, next to him and could I match and catch on to his nuancet. At that time, it was like a game. And so this was also something that I remember Tony and I connecting on very early of just the game of how can we be most like and unlike and choose that? What is a good game? And so standing in the back, like, you know, just nerds dance nerds. [00:19:31] Speaker B: Oh, I love that game. This brings up a good question. What are your favorite kinds of challenges? And what are your least favorite kinds of challenges? [00:19:41] Speaker A: Dance specific. [00:19:42] Speaker B: Yeah, let's keep it, like, dancing project specific. [00:19:46] Speaker A: I love feeling, like, pushed to my edge, whether that be, you know, timing, quality, movement, complexity. I think just to feel pushed. I really love. I love that so much. I love that challenge. That was a question, right? Yeah. Loving this challenge. [00:20:05] Speaker B: What are the kinds of challenges that you love? To be stretched on rhythm. To be stretched on, like. Like, how much can I hold? And all the other wonderful things you just said. I don't need to say them again. [00:20:18] Speaker A: That's okay. [00:20:18] Speaker B: But, yeah, that makes sense. And then in what ways do you not like to be challenged? [00:20:22] Speaker A: Sometimes maybe this is, as an older person speaking, an older, moving person. I don't love maybe a physical challenge that I feel like is unwarranted or it isn't in support of something that I value. Maybe more than that. Again, just like I. A body that. It feels different. It feels different when you get older. So I think then you become a bit more discerning about the physical challenges you want to embrace. Right. To ultimately support longevity, you know? So I think, yeah, I'm much more choosy about the physical challenges that I embrace and that I feel like that they are moving towards or at least in support of another goal rather than just to be physical or impressive. [00:21:11] Speaker B: Yes. [00:21:11] Speaker A: Aggressive. And that idea is subjective. [00:21:13] Speaker B: This is another great thing. Megan and I touched on this a little bit, too. What impresses you? [00:21:20] Speaker A: What impresses me now, because it wasn't always the same, but, yeah, now that's the only thing that's relevant. I think. It's really. It's feeling. I want to be moved. I want to be moved when I watch something and that. I don't have an exacting equation to that, but I, hands down, many, many hands down, would rather be moved than be impressed. I don't really care to be impressed, I think. And I can be moved by so many things, you know? And maybe some of them are impressive, but if I'm not moved, it doesn't really matter. [00:21:56] Speaker B: Doesn't matter. Yeah. [00:21:57] Speaker A: Yeah. [00:21:58] Speaker B: In the first year of doing the podcast, the question of the year that I ask all my guests was, what is the difference between technique and style? [00:22:06] Speaker A: That's right. [00:22:07] Speaker B: And my favorite answer to that question. I had two. But one of my favorite answers to that question was, technique is the what, and style is the so what. Like, so what. So what's the point? So, like, why? [00:22:20] Speaker A: Yes. [00:22:21] Speaker B: Why what? Wow. What is the point of the what? Yeah. And the older I get to, I am way less interested in the what and way more interested in so what. [00:22:30] Speaker A: But I love that so what still has what? Cause I do think that's a part of it. Right. Like, being a dance nerd as you are, too. Like, technique and understanding of different. Like, not only styles, but disciplines, like, I am into. But I think if they are also void of feeling or void of. I don't know, something that makes it personal to the person that is moving through those disciplines, then I feel. I don't feel, you know, so. So the. So if it was just so, I might also not be moved. I'd be like, so what? So, you know, but so what? There's, like. That makes a vote, right? [00:23:06] Speaker B: Yeah. [00:23:06] Speaker A: Yeah. [00:23:07] Speaker B: Ooh, fun. [00:23:08] Speaker A: Yeah. [00:23:08] Speaker B: I like this. [00:23:09] Speaker A: Yeah. [00:23:09] Speaker B: Food for thought. I'm so glad that you are teaching for a couple of reasons. Number one, because you're a dance geek, I think you make it look very cool to care about history, context, challenge, purpose, you know, feeling, humanity, romance, all the good things. Not to mention, like, specifically, I love that you're interested in times, like, period specific type of romance. [00:23:38] Speaker A: Like, yes, I am. [00:23:40] Speaker B: You're really renaissance age Wilson. [00:23:45] Speaker A: This is where us being dear, dear friends is biting me. [00:23:50] Speaker B: Jillian loves. What would we call that? What even is that? What would we. [00:23:54] Speaker A: I mean, I love a period piece, and that could be so many periods. Like, there could be. I do love them. [00:24:00] Speaker B: I love a period piece. [00:24:01] Speaker A: I do. [00:24:02] Speaker B: I'm not gonna go down that lane. I'll let you preserve some of your mystery there. But I'm glad. I'm grateful that you're teaching, because now more than ever, I believe how important it is to have a great teacher and a teacher that's excited. And I think enthusiasm is one of your superpowers. And I share in that to an extent. I think I can get excited about almost anything. But I know it can be really frustrating when you teach a class and you feel that your enthusiasm is unmatched. And you and I have expressed some, like, man, did it land? Did I get through? Did it work? And so I'm wondering, when it comes to teaching, if you had a magic wand that would, like, make your exchanges the way you want them, what would you be changing? Whoa. [00:25:00] Speaker A: I know that's a big question, and you said something you, like, planted a fraggle. Well, yeah. Just like, oh, sparkle in the back part of my brain, in my considered opening possibility intro of myself. [00:25:13] Speaker B: Professor. [00:25:14] Speaker A: What? [00:25:15] Speaker B: You're a professor, right? [00:25:16] Speaker A: I am a professor, yeah. [00:25:17] Speaker B: Oh, sorry. That wasn't it. [00:25:19] Speaker A: But I am that professor. [00:25:21] Speaker B: What? [00:25:23] Speaker A: I feel like a nutty professor right now. No, I was thinking another fact I wanted to share is that I think it's cool to care, and you just said it, and I really. I think that's an important piece for me, too, because I care a lot. [00:25:36] Speaker B: Bigger to me is pretending to not care. [00:25:39] Speaker A: Yes. [00:25:40] Speaker B: Because we all care. Don't you lie to me. Don't you lie to me. [00:25:43] Speaker A: We care about something. And why not, like, reveal that? Because it only, you know, connects us to others, like, care, if not about the same thing, but, like, have the capacity to care. [00:25:52] Speaker B: Right? [00:25:53] Speaker A: Yeah. [00:25:53] Speaker B: Yeah. You are full of care. You are very. Careful. [00:25:56] Speaker A: Careful. Yeah. [00:25:58] Speaker B: So, magic wand. [00:25:59] Speaker A: Sorry. [00:25:59] Speaker B: Dance education spaces. Why don't we talk specifically? Because you teach at pace. You're a professor at pace. You teach specifically dance for camera. Is that what you call it? [00:26:07] Speaker A: Choreography for camera class. [00:26:10] Speaker B: Nice. [00:26:11] Speaker A: Adjunct professor. [00:26:12] Speaker B: Yeah. Tight. Yeah. So let's take that space and address it first. What do you wish students were doing more of? What do you wish they were doing less of? How would you make that space? Like chef's kiss. Perfect, which we know doesn't really exist. [00:26:25] Speaker A: I think I can generalize. Like, I don't even think it has to be space specific. Space specific? Yeah. All of these. [00:26:33] Speaker B: Wow. We're together. [00:26:36] Speaker A: Maybe it's just because we just talked about it, but I think the care and enthusiasm for curiosity, because otherwise, that's, like, all learning spaces, right? Like, is to be curious about what we're doing. Right, Riz? Yes. [00:26:49] Speaker B: Yeah. She's maximum curious. [00:26:51] Speaker A: This one, yes, she is about all things. Sniffing, smelling. But, yeah, I think, like, that's what I want always in students is, like, just to have curiosity about what we're doing. [00:27:03] Speaker B: Yeah. [00:27:05] Speaker A: To care that we're doing it. I think that it's worthwhile if you care about it to, I guess, support its value. Because sometimes, especially when we do anything, I think a lot, maybe we kind of lose sight of its value because we're always doing it. You know what I mean? And I think maybe, especially in school, it can be sometimes a feeling of you're not choosing this. It's kind of happening to you. Yeah. Whereas maybe different when you show up for a dance class, it takes a little bit more self kind of agency. So maybe you're a bit more conscious of that. Like, I'm choosing this. Yeah, we're all. We're choosing to be there, so let's get into it. [00:27:44] Speaker B: It's also the one thing that you can't do for someone. [00:27:49] Speaker A: Yes. [00:27:49] Speaker B: You can't care for them. Like, I can clap out a rhythm for you. [00:27:52] Speaker A: Yep. [00:27:53] Speaker B: I can help you understand. I can show you the move. I can put your. I can actually rotate your leg for you if you are consenting, but I cannot make you care. I would love. [00:28:05] Speaker A: We were kind of talking about this the other day, though, a little bit and thinking of examples of maybe, like, instances as young people where it maybe wasn't said in that way, but it was like an exercise that then intrinsically kind of taught us about caring. [00:28:21] Speaker B: Yeah, yeah, yeah, yeah. Talk about it, talk about it. [00:28:23] Speaker A: I mean, this. And I. It's not necessarily my personal example, but I can relate to it. Cause I'm sure I've had them. But basically another young dancer who was a student of Mandy Moore. Who. Mandy Moore as my mentor and dear friend and teacher and hero and all, you know, just like, yeah, XYZ. She's got it there for me. And this other student was a very young student of hers, and she shared about. Mandy was her weekly teacher at one point when she was very young. [00:28:53] Speaker B: At Bobby's. [00:28:53] Speaker A: Yes, at Bobby's. And teaching this combination that I was like, oh, I think I learned that one. And the beginning of the combination started in a very. With a very specific detail. Like, I think it was something like, with those fingers. Hands. And she was sharing how, like, they did it over and over and over, you know, and Mandy being like, nope, that's still too fast. Nope, this, like. And I was like. It made me think about, like, for young people inherently. She was teaching them how to care about those. Not only, like, yes, the details of dance, but, like, paying attention to something and doing it over and over and over and that. It was a small detail. It wasn't like, nope, you didn't do your quadruple pirouette. It was like, your ring finger starts this very first motion. And I was like, whoa. Like, I don't know how conscious Mandy was, like, if that was her ultimate goal, but I'm like, that is a way, maybe to help teach young people about caring, you know, and not doing it again. [00:29:50] Speaker B: We're doing it again. We're not moving forward until more of this. [00:29:54] Speaker A: Take your time. Slow this. How can there be more quality about this? You know? I don't know. Rather than talking about, do you care about this? You know? So I thought that was. [00:30:02] Speaker B: That's a really great point. I don't like being told what to think is important as an adult. [00:30:08] Speaker A: Agreed. [00:30:09] Speaker B: I can't imagine that. I liked to be told that as a child. But somebody saying, again, if I really wasn't doing it right, I understood that. And most of the time, I could tell. And I was frustrated, like, I know I am stupid ring finger. Or if it was adagio, it was like, stupid hip flexor. And it was always adagio. [00:30:31] Speaker A: Yeah. An arabesque, like position of death. [00:30:34] Speaker B: So the again, again, again part says, this deserves your attention. [00:30:39] Speaker A: Yeah. It's like forcing you to care about it. [00:30:42] Speaker B: Yeah. [00:30:43] Speaker A: And maybe you didn't actively in that moment. Right. Because you're like, again. But it was interesting again, like, maybe 1520 years later for this person, like, really remembering that moment about, like, having to be so specific about it, you know, and her sharing the story, just. I know. I've had this moment with Mandy many times, you know, in different iterations, and maybe, like, one isn't more specific than another one, but, yeah, again, nature nurture. Like, yeah. How do we foster that for people as teachers is hard. [00:31:14] Speaker B: Oh, my God. [00:31:14] Speaker A: Yeah. [00:31:15] Speaker B: Let's keep talking about Mandy. You have assisted Mandy on and slash, associated on how many hundred episodes of television? [00:31:23] Speaker A: I think we hit. We crossed 150 on Zoe's extraordinary playlist. Yeah. [00:31:29] Speaker B: How many hundreds of episodes have you choreographed your viewer listener? We have so much to learn. Oh. [00:31:34] Speaker A: And they weren't episodes, but numbers over two seasons. I was like, whoa, 100 episodes is a lot. [00:31:40] Speaker B: That is a lot. Yeah, that's a lot. [00:31:41] Speaker A: Yeah. [00:31:42] Speaker B: But you'll get there. I don't doubt it for a second. I'm curious, what are the qualities about you that make you a great assistant? [00:31:51] Speaker A: Associate. [00:31:52] Speaker B: And what are the qualities about you that make you a great leader? And if somebody asked me this question, I'd be, like, making me say this out loud, but, yes, I am. I'm making you say this out loud, and if you come up short, I will fill that list for you, because I think you're great in all of your many, many roles, which you serve in many roles. And I think that's another we. When we talk about getting older and longevity and doing things for your body, I think to keep a wide range of experiences is another reason why I'm able to keep going. [00:32:27] Speaker A: If I was just doing touring. Agreed. [00:32:30] Speaker B: From 2007 till now, I couldn't. I wouldn't. No, I'm not. [00:32:33] Speaker A: It would be hard to stay interested and to stay caring. [00:32:36] Speaker B: Yeah. [00:32:36] Speaker A: Yeah. [00:32:36] Speaker B: So, okay, we're bouncing back. [00:32:38] Speaker A: Okay. [00:32:38] Speaker B: What do you think? How would you answer that, man? [00:32:40] Speaker A: Well, I think it's important to acknowledge that those two roles are different. [00:32:44] Speaker B: Yeah. [00:32:45] Speaker A: And I think I have an episode about it. I think you do. [00:32:47] Speaker B: Yeah. [00:32:48] Speaker A: Yeah. And slash, like, whoever you are assisting or associating, I'm like, I've never said it like that, but that is correct. [00:32:55] Speaker B: Yeah. [00:32:55] Speaker A: Will also change, you know, and I very thankfully have assisted a great handful of people over a long amount of time. Just mandy the longest and probably the only person that our relationship has progressed from assistant to associate to even coke or. [00:33:13] Speaker B: Thank you for saying that. [00:33:14] Speaker A: And, I mean, that also in and of itself is such a gift. Like, to have longevity of a relationship and a mentorship that can progress like that. And I think I'm realizing, like, how rare that is, too, especially, you know, like, I. We've talked about it a little bit, but also this summer, just have received that question a lot from young students of, like, how. How can I get to be in that position of being an assistant or associate? And it's so different now. Like, I mean, at least for myself and Mandy, like, that LADF scholarship, which is how we. [00:33:48] Speaker B: 19 years ago. [00:33:50] Speaker A: Yes, 20 plus, because I was. Before I graduated high school. [00:33:53] Speaker B: Oh, my God. [00:33:53] Speaker A: Yeah. So I've known now I've known Mandy more long, more than half my life and worked together. And it was really by chance that she was chosen to be the choreographer for that scholarship LADF scholarship group, that she did a number for us. So it really is happen. Substantial, you know, but it is a relationship. It's something that's built over time, a long amount of time. And so I encourage just this is a sideshoot for any young people that are hoping to be in that position, maybe start thinking about it as more than a position. It's a relationship, and you also have to want that part of it. It's not quite a clinical exchange of, like, I get to be in the room with you and learn how you do what you do and help you do what you do. And that's it. Like, because what we do is personal, because I think a lot of us care about it. So that energy in the room when creating, it's never so cut and dry. So I think, yeah, people that have assistants or associates, it's like they want someone in the room that they can relate to. So thus a relationship. And so as an assistant, look, we have an assistant joining us. [00:35:05] Speaker B: Tiny one. [00:35:05] Speaker A: The sweet is tiny. Tiny. As an assistant, I think I am good at facilitating. I believe in that role. That is often what you are doing is facilitating what the choreographer needs from you. So whether that be cleaning a choreography that was made, whether it's help setting things up, whether that be logistically, physically in the room, a voice when they need to step out, that you can keep leading a little bit to the dancers, what have you. I'm good at that. I like doing that. I think in general, I like to help. I'm like, give me a job. I really like to help. And then as an associate, which, in my opinion, is more of a creative contribution, I also love that. That's really one of my most favorite parts of any project is the beginning part of it, of figuring out what it is and how do we do that? I think even from a very early age, I think that was always my impulse. Like, I wanted to be a part of that part of it, and I want to ask questions about that part of it, rather than I think some people get a lot of satisfaction of showing up and like, okay, tell me what to do, and I'll do it. And I do. But I also, I want to ask, like, but why are we doing that? Like that, why? Question shows up for me so much, especially as a choreographer, sometimes to a detriment, where I'm like, why? And then I'm like, I can't move until I know why. You know, so. So I think these are things that I am good, why I'm good at that. You know, just want to help. I want to support. Yeah, I want to creatively contribute. If you want that from me, that's my favorite. And I can lead because that's like, you have to be able to do that. [00:36:49] Speaker B: You do have to be able to do that. It's interesting that so often people who are great facilitators get bumped up to leadership because they're in the room. They know how to do things. And I do think that a lot of what makes a great assistant is leadership capability. [00:37:09] Speaker A: Yeah. [00:37:09] Speaker B: And also a knowingness of when to lead and when to support. That is huge. And that is something else that I think you do really, really well. [00:37:16] Speaker A: Thank you. Yeah, I probably a general fear of overstepping, because I was always like, I don't want to overstep. So that's good. But then that makes to your other question, like, when being in the full leadership position, like, just to not question self is hard. That's a big challenge. You know, I think as a leader, I lead with kindness. Hopefully, if it's clarity as much as I have it. I think as a leader, I like to impart information. So that feels good. As a team, like, you know, just to, like. [00:37:51] Speaker B: Okay. [00:37:51] Speaker A: Get everyone on board again, because I. I like. I love collaborating. [00:37:56] Speaker B: Yeah. [00:37:56] Speaker A: So I rarely am moved to, like, just be alone in my room and make something. [00:38:01] Speaker B: Almost never. [00:38:01] Speaker A: Yeah. Actually, probably never very early, and especially not lately. [00:38:05] Speaker B: Today I made a little exercise. Oh, okay. But I. Choreography? No. [00:38:10] Speaker A: Okay. [00:38:10] Speaker B: Jilly, I think you just exercise some incredible self awareness. Oh, I would co sign all of that. I will say also, I think that another thing that you do well in the leadership role is maintain the idea of exploration versus pretending to know all the things. And I think in an associate or assistant role, it might be a more natural fit to not know, like, what if? What if? Is there a world where ba ba ba. But so many people think that choreographers know and should know everything, and so many choreographers think that they know and should know everything. Really always game to explore and find what else? And so what? And so what else? [00:38:58] Speaker A: Yes. [00:38:59] Speaker B: And that I really, really love. I love working for you. [00:39:02] Speaker A: Oh, my gosh, Dana. [00:39:03] Speaker B: And it's not happened as many times as I would like. [00:39:06] Speaker A: All the more. [00:39:08] Speaker B: Bring them. [00:39:08] Speaker A: Keep bringing them. Well, I think. I mean, I love that you said that, because I've been thinking in the last year a bit about that, and because I do, I ask a lot of questions, like, why is often at the genesis of anything I make? Why is it happening? Why, you know, and why. Why do I care about it? And then, thus, hopefully, others will care about it. But. [00:39:27] Speaker B: And I think that's why it's important to answer that question. [00:39:29] Speaker A: Yeah. Because I think I love questions. I also think I love work that is questioning. Like, I think sometimes I'm a bit repelled by work that's so sure of itself. Yeah. [00:39:40] Speaker B: So declarative. Yeah. [00:39:41] Speaker A: You know, like, I don't know why sometimes I'm like, eh, I don't know. When I feel like there's a little bit of question in the work. Maybe I just relate to that. But hopefully the question is a playful thing that we've agreed on and not just, like, I have no idea what's going on. [00:40:00] Speaker B: Right, right. [00:40:01] Speaker A: But I do. I love, I love. And that doesn't work for every situation. Like, some, I think work has to be very decisive and declarative, but I think at the heart of things, a little questions are playful, and especially if I don't quite know the answer. [00:40:17] Speaker B: Oh, so much fun. [00:40:19] Speaker A: Yeah. [00:40:20] Speaker B: I remember, like, learning combos used to be fun to me. Learning eight counts and hard eight counts. [00:40:26] Speaker A: That was challenge. [00:40:27] Speaker B: I loved that. [00:40:28] Speaker A: Love that challenge. Loved that time. [00:40:30] Speaker B: Challenge. Yeah, yeah, at that time. [00:40:31] Speaker A: Yeah. [00:40:32] Speaker B: That softened a bit. I'm more interested in tools now. [00:40:35] Speaker A: Same. [00:40:36] Speaker B: I'm way more interested in or situations. [00:40:39] Speaker A: This is what I'm interested in. [00:40:40] Speaker B: Nice. Like, escape rooms. [00:40:41] Speaker A: But, yes, 100%. [00:40:43] Speaker B: Get out of this rhythm in one piece. Good luck. [00:40:46] Speaker A: Or, like, use this tool, and then this may happen. And then go this direction while trying it. Like, these kinds of. And then, like, let's see how it goes, you know? Like, that's far more interesting for me, not only inside, but outside like that. I'd also rather watch. [00:41:01] Speaker B: Have you ever called on those tools on Sethe? Like, have you ever needed to. Cause one of the things that's great about that is that on set, oftentimes you don't have time. And if you can paint with a broad enough stroke to say, okay, dancers, move from there to here on this rhythm with these objectives. Go. And to have dancers who are trained up enough to know what you're talking about and be able to execute it, that is rare. So I want to take your class now, and I want all of you listening to get your butts in there, because it is a humbling and empowering experience to say, like, wow, I really fancied myself in charge of my body, but some of the objectives that you ask make me feel like, oh, hang on, let me try again. I need it again. I need to practice. [00:41:49] Speaker A: Oh, my gosh, I need to practice. [00:41:50] Speaker B: I need to practice. [00:41:50] Speaker A: This is a definite, genuine cry. In one of our seaweed rehearsals, in some of our rehearsals, a bit of panic. Like, I need to practice. It was very, I need to practice. I hope so. [00:42:02] Speaker B: I hope so, too. [00:42:04] Speaker A: Well, and I think well, too. Like, there's two thoughts that I really love in your first question of that, like, do have. I found that there are situations on set where that. And actually, I would say I feel like those things haven't fully merged yet. I think in, like, because I think in a more set environment, I often default to, like, must know, must answer. Everyone's get. Yeah. You know, because if I don't know, then there's a whole, like, pinwheel of people that are not going to know to do their job, and so. But I would love to have a little bit more space in there for it, you know, because I. Cause I love it. So I'm trying to, like, kind of change my mind about that. But that's a hard muscle to unflex. Yeah. Just, like, must know, must help go. But the playfulness is something I hope to have because. Because, yeah. If you ever come to class, it might not seem at first so apparent how, like, what we're doing in there, you can apply to being on set, but it is exactly what you're saying. It's the malleability to make change, to change your mind about something, to have something new thrown at you that you also have to include in what you're thinking about, which is, 100% of the time, what's going to happen to you on set, where things are going to change. There's going to be five things that you're thinking about at one time, as well as still being on camera and being a great performer. And so I think us to practice that capacity, to be practicing many things at once while performing, while seeing each other, while being aware of where you are in the room, is very applicable as a professional. We're not talking about it in that way, because I'm like, ah. Like, again, the class space for me is a play space, so. And even though the play might be very challenging, as we were also talking about, I love that. That feels playful for me. Yes. So. And often give things that I can't do on purpose because I'm like, I love that feeling. I want to practice. And I love that feeling of, like, oh, my gosh, I don't know. My body. [00:44:04] Speaker B: Yeah. I thought I could do the charge right now. [00:44:05] Speaker A: Nope. [00:44:06] Speaker B: I love that feeling. [00:44:07] Speaker A: That's a thrill. [00:44:08] Speaker B: Like, what is, especially in a safe space of class pace. If I must feel that feeling, which I don't hate, let it be in the safe space of class. [00:44:16] Speaker A: And I love it if we do something for so long, I think we get used to the feeling of, like, I know what this is, and I killed it. And, like, I know that feeling, and that feels good, too, but I think. I don't know. Lately, the feeling of, like, I don't have a hammer. [00:44:31] Speaker B: I make my limit. [00:44:33] Speaker A: And then seeing others, like, being with others while you're in that state is, like, the most special experience that, again, I get a thrill. And I think this is also very much a very seaweed element, kind of, I don't know, not discipline, but, yeah. Like, we are very much with each other when we don't know what's happening. [00:44:53] Speaker B: Yeah. Solidarity. Solidarity and discovery. Yeah. Oh, my God. [00:44:57] Speaker A: And it's the most. It's just thrilling. And so I hope to. I want to give that to others. [00:45:01] Speaker B: But it's so funny. Riley encouraged me to watch Trevor Noah's Netflix special. [00:45:06] Speaker A: Okay. [00:45:06] Speaker B: And he. I don't want to give away the joke, but he talks about flabbergast, like, the feeling of being flabbergasted. [00:45:11] Speaker A: Okay. Like, yes. Yes. [00:45:14] Speaker B: In disbelief. And the only thing better than being flabbergasted is to have a partner in flabbergast so that I'm like, what? And then I see that you're also like, yes. And it's similar. They're cousins. It's not the same, but they're very closely related. Yeah, that is. On the subject of, like, being at limits. [00:45:33] Speaker A: Oh, tiny, tiny making. [00:45:35] Speaker B: She's at her limit. [00:45:36] Speaker A: I know. [00:45:37] Speaker B: On the subject of, like, being at your limits, I am really curious, because you have pulled off some remarkable things on set and been a part of some really challenging stuff. Can you think of the time that you were most at your limit? Like, I don't know if this is gonna work or what to do next. [00:45:59] Speaker A: Do you have any of those that stand out? I mean, the opening scene of La La Land, that is still one of the hardest things I've ever been a part of. Yeah. I just. Yeah. A humongous challenge in cross department coordination. This communication from, you know, choreographer to dancer. I mean, again, this, choreographed by Mandy Moore, I was her assistant at this point, was also the first feature film I'd ever worked on, so I had no comparison to how that could go. Should go. Right? Yeah. It just was so many moving parts that all had to line up perfectly. As, you know, that's what Mister Chazelle demands, expects as he should. Yeah. I mean, that could be a very long conversation, but it really. Yeah. And, like, really opened my mind to, like, how much more is involved to making something than just the choreography. Totally towards success. Who's doing it when, in what circumstance, on what kind of props, how? Just a matter of four to three. [00:47:08] Speaker B: Inches would determine narrow margin for error. [00:47:11] Speaker A: It was insane. You know, you were there. [00:47:13] Speaker B: I was there. My car was hot. [00:47:15] Speaker A: Yeah. And how you prepared for that? [00:47:18] Speaker B: How do you prepare for that? [00:47:19] Speaker A: Right. And with the means that you have to prepare for something. You know, like, we never rehearsed on a freeway for days at a time on all the cars that everyone was gonna dance on. Like, we had some clunker cars in a parking lot. Not as many as we would have without a median, without an incline that the 105 has. [00:47:40] Speaker B: Oh, my God. That was not fun. [00:47:42] Speaker A: Yeah. Or an slush. It wasn't a heat wave when we practiced that too. It was when we shot it. [00:47:46] Speaker B: When we shot it. [00:47:46] Speaker A: Yeah. [00:47:47] Speaker B: I burned little holes through my little tights in my little leather moccasins. I was wearing leather shoes. They were like tiny blue ovens for my feet. Actually, there were blue suede shoes, now that I think about it. Check that out. And I think that now you're calling to the front of my mind. [00:48:02] Speaker A: Yeah. [00:48:02] Speaker B: One of the other reasons why having an imagination in our field is essential. [00:48:07] Speaker A: Yes. [00:48:07] Speaker B: And it's not so that you can dream up shit that's never been done. It's so that you can dream the circumstances under which you're gonna need to do something and prepare yourself as best as you can with what you have. Yes. It's like, very rarely do we get to, like, no holds bar, just dream. But you're using your imagination to solve problems that you know are gonna exist. And then on the day you find out there are problems that you didn't know about, and you have to solve them. That's where most of the creativity comes, is in problem solving, not in, like, these big, grand artistic gesture type of creativity. It's like, oh, shit, how are we gonna not slide off the cars? What about sandpaper? You know, like, things like that and. [00:48:50] Speaker A: Like, not crushing the hood or the roof or whatever. Well, and as you're saying that, I also think, like, a couple of the other situations when you asked that question that came to mind were also films. But a part of it is also, I think, somebody else teeing up, like, something that's really challenging. Like, you know, like, both Laland. Another one that I thought it was Babylon. Also, Damian wrote both of these things. Like, he dreamed this up, right, of, like, I think it should go like this. And then us, you know, coming in to collaborate with that, to be like, okay, how do I make that possible. So the problem solving and slash. And what if we did this? So it's like, kind of that one up, you know? And I think part of me, I mean, maybe I just, like, haven't challenged myself enough. But left alone, there are things that you'll miss, like, as what you might see as possible. Right. So. So in that collaboration, for things to just keep adding on and adding on and adding on, it amounts to something that I don't think any. Just one person would have made alone, you know? So, yeah, I don't know. Like, that's how we get to do such challenging things, I think, is because somebody said, what if? And then somebody said, and then what if? Yes. Exactly. [00:50:00] Speaker B: What if plus yes. [00:50:02] Speaker A: Yeah. [00:50:03] Speaker B: And that is why you're such a great collaborator, because you see the value there. You know that one plus one equals 1 million. Yeah. Instead of one plus one equals. No, no, no. This is my one. Okay, well, cool. Keep your one then. But, yeah, I love. Oh, I love the seaweed sisters so much. I love what ifing with you. And is there a world with you? [00:50:25] Speaker A: Because it's so much fun, man, it's, like, lucky to be pushed that way. And so. Yeah, yeah. Any of those, like, hard heart things were never just because of, like, let's do this as a challenge. It's like somebody teed something else up. [00:50:38] Speaker B: Yes. [00:50:39] Speaker A: And then somebody hit it, and then somebody caught it and threw it back, you know? So, like. And those are the really interesting, I think, creative results. Right, right. Yeah. [00:50:48] Speaker B: Nice. Well said. [00:50:49] Speaker A: Yeah. [00:50:50] Speaker B: You ready for our fun? We could do this all. [00:50:52] Speaker A: I know, also, but I do. [00:50:53] Speaker B: Let's. Let's get to our wrist roll with it section. I really love these rapid fire questions. Are you ready for this? [00:51:00] Speaker A: I don't think so, but let's do it. [00:51:02] Speaker B: Let's go. [00:51:02] Speaker A: Okay. [00:51:02] Speaker B: I don't have these written down. We're gonna go off the cuff. I always start pretty similarly. You're gonna be fine, but then we're gonna. We'll get into the weeds as it works. Ha ha. Coffee or tea? [00:51:11] Speaker A: Coffee. [00:51:11] Speaker B: Dogs or cats? [00:51:12] Speaker A: Dogs. [00:51:13] Speaker B: Nice. Stripes or polka dots? [00:51:15] Speaker A: Both at the same time. I almost wore a polka dot skirt with the shirt. [00:51:21] Speaker B: I love it. [00:51:22] Speaker A: Yeah. Okay. [00:51:22] Speaker B: Okay. What is your favorite? I solo that you ever danced? [00:51:26] Speaker A: Oh, myself? [00:51:27] Speaker B: Yep. Ah. [00:51:29] Speaker A: Favorite. Oh, it should be fast. No shit. [00:51:32] Speaker B: Quick, fast, quick, fast. [00:51:33] Speaker A: Oh, God. The solo that I've been performing in the last couple of years that I made for myself to Benny and the jets. [00:51:40] Speaker B: Nice. [00:51:40] Speaker A: Yeah. [00:51:41] Speaker B: Have I seen that? [00:51:42] Speaker A: I don't think you have. Yeah. It was like, my dream of, like, automated. I'm like an automated performer boss, who's, like, forgotten. I do. I forgot my performance, and then, like, I hear a bit of the song and then I remember, but then I ultimately died at the end. This is my last performance. Yeah. Also love Sci-Fi want dance and Sci-Fi forever. How do we do that? [00:52:04] Speaker B: Okay, for all of you making those period pieces, the next Amadeus needs to be choreographed by Jillian Myers. [00:52:11] Speaker A: Or if you need to be Amadeus, I can do it. [00:52:13] Speaker B: She can. She looks just like him. We have photo evidence and also science fiction. Yeah, way more science fiction needs stance. It needs movers. We can prove it. We also have a short clip from a seaweed project. This section we nicknamed minority report. [00:52:33] Speaker A: Because I love this film. I was like, let's do it. [00:52:36] Speaker B: What do we call it? Acrylic report. Because all the tech in that movie is just glass. It's just, like, polycarbonate or glass. [00:52:45] Speaker A: That's so funny. Okay, sorry. Rapid fire. [00:52:47] Speaker B: Right. [00:52:48] Speaker A: We're back. [00:52:48] Speaker B: If you had to choose one album to be with you on a desert island, what would it be? [00:52:54] Speaker A: God, I'm sorry. It might be D'Angelo voodoo. That was my first thought. So I'm gone. Yeah. [00:53:05] Speaker B: Yeah. [00:53:06] Speaker A: I don't know. 4 miles Davis. [00:53:08] Speaker B: Ooh. [00:53:08] Speaker A: Or John Coltrane. [00:53:11] Speaker B: It's tough. [00:53:12] Speaker A: I would juggle, and if any, whatever I caught, I'd be very happy with. [00:53:16] Speaker B: I love that. Okay, I'm gonna ask everyone. Pick three. And now juggle them. Which one did you catch? Okay. Move that you would delete forever. Like, I am done seeing this move. [00:53:28] Speaker A: I feel like there are some obvious answers, but that have already been said. [00:53:36] Speaker B: For me. It's so many. [00:53:37] Speaker A: Actually, it is. Me too. Yeah. Any of the ones that I think really hurt your body. [00:53:42] Speaker B: Right. Anything that looks painful, I don't need to see either. [00:53:45] Speaker A: Yep. I really just like watching things like. [00:53:49] Speaker B: That aren't go like this. Yeah. [00:53:52] Speaker A: Yeah. Okay, good. [00:53:53] Speaker B: Love that. How about, what's your favorite move? I know what it is. [00:53:56] Speaker A: You do? Oh, yeah, you do. Step touch forever. [00:53:59] Speaker B: So good. But if it wasn't a step touch, what's second in line? [00:54:05] Speaker A: That step feels good. I mean, pas de bouret is pretty classic. [00:54:09] Speaker B: Yeah. [00:54:10] Speaker A: And can be again, like, applied in many different. Different. It's my tempos and pauses. [00:54:17] Speaker B: You can level with it. You can up, down with it. You can turn with it across. [00:54:21] Speaker A: It's a versatile step. [00:54:23] Speaker B: I love it. Mess it up. [00:54:25] Speaker A: Yep. [00:54:26] Speaker B: Burpata day. [00:54:33] Speaker A: I will only ever do burpata days in class from now on, there is. [00:54:38] Speaker B: No day in the word pas de beret. [00:54:39] Speaker A: Nope. But I like Bird Potter. Great. [00:54:43] Speaker B: Okay. [00:54:44] Speaker A: Bird Potter day. [00:54:45] Speaker B: Is there an artist? I don't know why we're so music centric right now, but you have great taste in music. Is there an artist right now who you're like, where the fuck are you at? Where. What have you been doing for me? [00:54:56] Speaker A: Yeah. [00:54:57] Speaker B: Jamaric. Why? Nobody asked. But I'm like, where are you? I know you're around. You're on socials. [00:55:02] Speaker A: He sure is. [00:55:03] Speaker B: Where are you at? [00:55:04] Speaker A: I mean, I'm like. [00:55:06] Speaker B: I'm a waiting. Very low key, obsessed. [00:55:08] Speaker A: Oh, no need to be low key. I mean, Riley knows. I like. I think I've used, like four songs from one album in class this year. [00:55:16] Speaker B: So good. [00:55:17] Speaker A: All of it. Yeah. [00:55:18] Speaker B: I mean, and we also love great hats. [00:55:21] Speaker A: Yeah. Disco and hats. But it's like. Yeah, I love disco music. Where are you so and so feeling blank. [00:55:31] Speaker B: Don't worry about it. Maybe this will be the answer to that question. Yeah. Who would you like to collaborate with? Anyone. Living or dead. Collaboration. You get to make a thing with a person. Go. [00:55:43] Speaker A: Well, the first flash is something we, as a seaweed, have said recently, and many a time, over a period of time, is a little dragon who I'm a huge fan of, but as a self, so. Oh, duh. Another duh. Why did not. [00:55:57] Speaker B: Oh, my God. [00:55:58] Speaker A: Faster. [00:55:58] Speaker B: Or Sam Ferwin. Oh, dang. [00:56:00] Speaker A: Oh, we're singing music, so that's cool, too. But he. I mean. [00:56:04] Speaker B: Yeah, well, and you have gotten to. [00:56:05] Speaker A: Collaborate with, I mean, as a birthday present, but. [00:56:09] Speaker B: Oh, okay. [00:56:10] Speaker A: Not just music. Totally. [00:56:11] Speaker B: Either way. Yeah, either. Whatever. Yeah. Senf a good answer, though. Really good answer. That is a nice. A nice musical, movementical man bond that you two have. Wow. [00:56:23] Speaker A: I mean, yeah. Bill is. Is a great. Really, wow special. [00:56:27] Speaker B: Do you remember during COVID when I was like, I'm gonna learn all the hat moves, and then I learned three, and then I gave up. [00:56:34] Speaker A: They're so hard. [00:56:35] Speaker B: They're so hard. It's really discouraging. The sound of a hat hitting the. [00:56:38] Speaker A: Floor is very scary. [00:56:40] Speaker B: An angel loses its wings every time. [00:56:42] Speaker A: And it's like, quiet enough that it's only meant for you. It's like it's a solo death that only you are feeling and witnessing. Sorry. That's not. No need to laugh when I talk. [00:56:52] Speaker B: No, but it's true. We're gonna tighten these up. Yep. You are a well read human being. You love books. What is your favorite book? Of the moment. Of the moment. Not of all time. [00:57:05] Speaker A: No. I'm doing these side eyes at Riley. Cause we often exchange kind of romantic period piece books, but I'm not gonna reveal one of those right now. [00:57:14] Speaker B: Don't do it. Oh, God. I. [00:57:16] Speaker A: God, Dana, these questions. [00:57:22] Speaker B: Lately, all I needed. I didn't even answer that. [00:57:25] Speaker A: I feel hot. I'm like, the pressure. [00:57:27] Speaker B: I'm so sorry. Wow, I'm so sweaty. [00:57:30] Speaker A: I can just say the book that I'm reading right now, which I'm only, like, not even a third of the way in. It's called profit. It's a Sci-Fi book, so I'm still figuring it out. [00:57:40] Speaker B: Okay. Okay, fine. [00:57:41] Speaker A: I totally. No review yet, but because you are. [00:57:44] Speaker B: A book person and a words person, a very well articulated person. Thanks. What is your favorite word? Do you want to start with least favorite? [00:57:55] Speaker A: I mean, I love the word. I love the word happenstance, and I really, anytime I get to use it, I try it. [00:58:04] Speaker B: Yeah. It's not the same as circumstance. I almost used it wrong. [00:58:08] Speaker A: Yes. [00:58:09] Speaker B: You can't really say, like, in any happenstance, right? No, you have to say it was, like, by happenstance. [00:58:14] Speaker A: Yeah. Yeah, I know. Maybe because maybe that's why I don't use it very much. [00:58:17] Speaker B: That's interesting. [00:58:18] Speaker A: Easy to use, but it was a wonderful happenstance, and, like. And now I'm questioning, is that really a word? It might just be slang. [00:58:25] Speaker B: Now that I'm saying web so often it doesn't sound like a word at all. [00:58:28] Speaker A: I know. Maybe not. It is. Okay, so says Merriam Webster. [00:58:31] Speaker B: We're like, no, it definitely is a word. [00:58:33] Speaker A: Oxford. Sweet. [00:58:34] Speaker B: Happenstance. [00:58:34] Speaker A: Happenstance is good. [00:58:36] Speaker B: It's really good. Why is she just staring at me? Oh. [00:58:40] Speaker A: Oh, okay. [00:58:42] Speaker B: She. She just wants to nibble on me. [00:58:44] Speaker A: Yeah. [00:58:45] Speaker B: She's telling me it's time to wrap it up. Are you ready, Jonathan, final question. [00:58:48] Speaker A: Let's do it. [00:58:48] Speaker B: What are the. [00:58:51] Speaker A: She's demanding. [00:58:53] Speaker B: I love it when she, like, swallows the bark. She's, like, so close. Tiny. [00:59:00] Speaker A: Love you, tiny. [00:59:01] Speaker B: Okay, final question. Yes. What are the words that move you? [00:59:06] Speaker A: What comes to me is that this Langston Hughes poem that I've loved for so much of my life and have made a video essentially riffing off of it. The poem is called motto. The video, it's called snap in chat. Yes. Is basically me trying to get through reciting this poem and digressing for three minutes. But the last line of the poem is, my motto, as I live and learn, is to dig and be dug in return. And I just have always loved that. So much the sentiment of, like, being into something and sharing that, essentially, you know, there's a lot of ways you can interpret that, but yeah. [00:59:42] Speaker B: Thank you, Jillian Myers, for sharing that and your bright, shiny, sparkly self. Oh, thank you so much. I think the world of you. I'm so lucky to have you as my friend and call weeg. [00:59:58] Speaker A: Thank you for making the show and giving a space for thoughts and exchanges and for others to be a part of them. [01:00:06] Speaker B: You're welcome. I was looking directly at your right eye through that little horseshoe shape. This is a good angle. Oh, you like? This is really interesting. I mean, I'd rather see your whole face unobstructed, but it's my honor, my duty and my pleasure to keep this space open, to give choreographers faces and voices, to give dancers voices and places to explore what's going on up here, to talk about it out here and encourage people to keep doing it out here. So you go out there, keep it funky, smash the likes, subscribe, leave a review or rating, and I'll see you next time. [01:00:44] Speaker A: Don't, don't, don't like, like bam, bam. [01:00:47] Speaker B: Smashing the likes.