Podcasts about alvin ailey dance theater

"Dance Talk” ® with Joanne Carey with special guest, Robert Battle, choreographer, artistic director and newly appointed resident choreographer for the Paul Taylor Dance Company.In this episode of "Dance Talk” ® with Joanne Carey, host Joanne Carey interviews Robert Battle. Together they discuss Robert's journey from his early beginnings in dance in Miami, his experiences at Juilliard, and his time as artistic director of the iconic Alvin Ailey Dance Theater. Robert shares insights on the importance of mentorship, the creative process in choreography, and the significance of celebrating humanity through art. The conversation highlights the challenges and triumphs of a career in dance, emphasizing the value of connection and community in the arts.Robert Battle's journey to the top of the modern dance world began in the Liberty City neighborhood of Miami, Florida where he showed artistic talent early and studied dance at a high school arts magnet program. From there he attended Miami's New World School of the Arts and then the dance program at The Juilliard School where he met his mentor Carolyn Adams. He danced with Parsons Dance from 1994 to 2001, and set his choreography on that company starting in 1998. Mr. Battle founded his own Battleworks Dance Company in 2002 which performed extensively at venues including The Joyce Theater, American Dance Festival, and Jacob's Pillow. A frequent choreographer and artist in residence at Ailey Ailey American Dance Theater since 1999, he set many of his works on the Ailey Company and Ailey II. In July 2011 he was personally selected by Judith Jamison to become Artistic Director of Ailey, making him only the third person to head the Company since it was founded in 1958. During his 12 years as Artistic Director he expanded the Ailey repertory with works by artists as diverse as Kyle Abraham, Mauro Bigonzetti, Ronald K. Brown, Rennie Harris, and Paul Taylor. He also instituted the New Directions Choreography Lab to help develop the next generation of choreographers. He stepped down from the position in 2023.For more information about Robert Battle and the Paul Taylor Dance Companyhttps://paultaylordance.org/“Dance Talk” ® with Joanne Carey wherever you listen to your podcasts. ⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠https://dancetalkwithjoannecarey.com/Follow Joanne on Instagram @westfieldschoolofdanceTune in. Follow. Like us. And Share.Please leave a review!“Dance Talk” ® with Joanne Carey"Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

There is no city like New York City! This week Jim welcomes the Chief Marketing Officer of New York City Tourism and Conventions, Nancy Mammana. Just before joining Jim for the recording, Nancy was also named the Interim CEO of the company.Nancy's organization is a private, non-profit entity, earning about half of its funding from the city of New York through a contract, and the other half from membership fees, sponsorships, and ad revenue on its digital properties. NYC Tourism and Conventions aims to invite the world in and energize New York City—building equitable, sustainable economic prosperity and community through tourism for the mutual benefit of residents, businesses, and visitors.Nancy fell in love with dance early in her life; she started a dance company while at Syracuse University, which is still running today. After college, her passion for dance led her to a marketing job with the Alvin Ailey Dance Theater. From there, Nancy worked in a variety of roles on both the client and agency side of the business–including stints at the Cunard Line and the NBA. Nancy has worked at NYC Tourism and Conventions for about six years and–as you will hear–loves her job. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Ballet traces its origins to the 15th century and the Italian Renaissance. But the art form has continued to evolve, with choreographers and dancers creatively incorporating new interpretations reflective of contemporary culture. Despite its evolution, today's ballet still lacks dancers of color, especially in principal roles.Trailblazer Lauren Anderson was one of the first Black dancers to climb the ranks to become the principal dancer at a major ballet company. Though it's been 34 years since she made history in that role, Anderson tells I SEE U that while progress has been made, more needs to be done so that young people of color can feel like they belong in this industry. She admits that more ballerinas of color are, indeed, taking lead roles – but too often, preference is given to light-skinned dancers. Anderson, who is dark skinned and has a muscular physique, was told as a teen that she didn't fit the right look of a ballerina – despite being recognized as a huge talent at a young age.Stay tuned as host Eddie Robinson chats unguarded with the first African American Principal Dancer with the Houston Ballet, Lauren Anderson. Born and raised in Houston's Third Ward, the iconic dancer reveals how she dealt with discrimination, which led her to unhealthy coping mechanisms due to the pressures of perfection. While she almost lost her way because of addiction, Anderson is now celebrating 14 years of sobriety as she continues to educate and mentor students on their quest to achieve their own hopes and dreams.

Dancer Isaiah Day took the stage for his Chicago debut last week with the Alvin Ailey American Dance Theater. Established in 1958 by renowned dancer Alvin Ailey, the dance company has been a beacon for dancers of color for more than six decades. During a residency at Chicago's Auditorium Theatre from April 17-21, the company showcased the skills of its dancers with a lineup of contemporary works and Ailey classics. Just hours before he took the stage on April 17, Day sat down with Vocalo host Nudia Hernandez to discuss his Chicago roots and how he got involved with the company. This interview was edited and produced by Nudia Hernandez. To stay up to date with Isaiah Day, follow him on Instagram @isaiahdemarcus.

A lovely conversation to kick off the New Year with our friend, Angie Hubbard!  We get into the mechanics of dance physically and how we can better train our young dancers and ourselves!   Thank you Angie, for sharing your knowledge and passion with our listeners.  ANGELIA HUBBARD-OWNER/INSTRUCTOR: NASM-CPT, NCPTAngie has had a lifelong love of movement. Ranging from a career as a professional dancer and educator, to teaching Pilates, Yoga, Barre and Personal Training.  She has been teaching children and adults for over 20 years throughout Pittsburgh, South Florida, and Bermuda. She is a former company member of the National Dance Theatre of Bermuda, Bermuda Dance Company and has also performed works by Nathan Trice, Keira Martin and Gia T Productions. Her dance study has included the Martha Graham School, Alvin Ailey Dance Theater, Koresh Dance, Doug Verone, ABT and the incredible Arthur Mitchel of the Dance Theater of Harlem to name a few.  In 2018, she became a fully Certified NCPT through the Pilates Method Alliance, and has been an instructor of all aspects of the method since 2001. In 2020 Angie  also became a  YUR back certified instructor through PHI Pilates. A program dedicated to those with back issues. She trains Pilates clients ranging from kids to seniors as well as Pre/Post Natal woman,  special populations and those with injuries and during recovery. Through her studio, she offers programing on Pilates Mat, Apparatus, CoreAlign and Garuda Technique on the Reformer.  In 2003 she began her journey to become a Yoga instructor. Currently she has completed her training in Levels 1,2,3, Pre/Post Natal, Kids, Seniors and Anatomy and Alignment. Most recently, Mrs. Hubbard also holds  certifications as an instructor in Tracey Mallet's BootyBarre, BootyBarre Sculpt Programs as well as Alixa Flexibility Level 1 and 2. She is a certified teacher in Progressing Ballet Technique, Progressing Contemporary Technique as well as Sugarfoot Therapy which is a program designed to prevent injuries in dancers. Mrs. Hubbard is also a certified personal trainer through the National Academy of Sports Medicine. At 41, she has gone back to college to study for her bachelor's degree in Exercise Science from PennWest University in Pennsylvania. She is continually improving her knowledge so she can offer the most up to date and beneficial programs to her students. With her studio Three Little Lotus, LLC, Mrs. Hubbard offers private, semi-private and small group classes.  Her studio specializes in Pilates, Yoga, Dance coaching in all styles of dance (ballet, pointe, jazz, tap, contemporary and hip hop), Strength/Conditioning and Flexibility training, Barre, Personal Training and Injury Prevention and Recovery. You can find her busy teaching, being a student herself, and best of all a full-time mom to her three girls. Thank you for listening Jam Fam! Make sure you follow us across social media and don't forget to like and subscribe anywhere you listen to your favorite podcasts!Facebook: JAM Joe and Michelle's Dance PodcastInstagram: jam_dance_podcastTwitter: @jamdancepodcastEmail: jamdancepodcast@gmail.com

Special Guest: Jacqueline Green Miller  In this episode,  “Dance Talk” ® with Joanne Carey, you'll listen in as Jacqueline Green Miller takes us through the journey of her dance career, recalling to mind her own mentors and teachers as well as the schools where she studied that laid a strong foundation for her career and who shaped her as an artist. She aspires to offer this same love and inspiration as she now guides the future generation of dancers as co-director with her husband of TDA Prep (The Dance Artist Prep) a cutting edge performing arts school based in Chicago.  Listen in, as we can't help but geek out! about all things dance! And Jackie, as she is referred to by her friends, indulges me with a discussion about performing the iconic piece, "Revelations" , a legendary ballet created by Alvin Ailey for the Alvin Ailey Dance Theater in 1960, that is still transforming audiences all over the world. Find her on Instagram @jagreen711 or @TDAPrep You can also listen to Jackie's previous IGLIVE interview with Joanne Carey @westfieldschoolofdance Jacqueline Green began her dance training at the age of 13 at the Baltimore School for the Arts. From there she trained at the Ailey School, Pennsylvania Regional Ballet, the Chautauqua Institution for Dance, and Jacob's Pillow Dance Festival. In 2011, she joined the Alvin Ailey American Dance Theater, where she performed as a principal dancer. In her career, she has performed works by a range of choreographers, including Alvin Ailey, Wayne McGregor, Judith Jamison, Ronald K. Brown, Aszure Barton, and Kyle Abraham. In 2016 she performed as a guest artist with The Royal Ballet in London.  Ms. Green is a 2018 Bessie nominee, a 2014 Dance Fellowship recipient of the Princess Grace Foundation-USA, a 2015 Clive Barnes Award nominee, a 2009 recipient of the Martha Hill Fund's Young Professional Award, and a 2010 recipient of the Dizzy Feet Foundation Scholarship.  She has modeled for Nine West, Dior, Temple St. Clair, and Ralph Lauren. In 2018 she performed on BET's Black Girls Rock honoring Judith Jamison. She is also seen dancing in the 2020 film Really Love. Ms. Green is a two time New York Times featured dance artist. Along with her husband Preston Miller, she is currently co-director of TDA Prep (The Dance Artist Prep), an in person and virtual pre-professional dance school dedicated to providing training for both dancers and dance parents navigating dance educational institutions, dance colleges, and the professional dance industry.   “Dance Talk” ® with Joanne Carey  "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real. " Tune in. Follow. Like us. And SHARE! 

Ivan Hampden Jr. , Founder and President/CEO of Hamptown Music Institute, was born and raised in New York City, and grew up in Harlem's musically diverse neighborhoods to the rhythms of R&B, Salsa, Caribbean, Jazz, Blues, Pop, Funk and whatever else trickled in. This saturation of music inspired Hampden to start playing the drums at the age of eight, with the local Catholic school marching band. By age 13, he was playing in local clubs in and around New York City, with Blues musicians who helped instill in him a sense of timing and groove. The musical diversity of his early youth set the foundation for Hampden's future work with percussion and keyboards. Hampden started his formal training in 1973, studying at the Jazz Mobile with Charlie Percep, and at Mannes College of Music with Norman Grossman. He went on to attend Bronx Community College in 1977, where he received private lessons at the Metropolitan Opera with Richard Horowitz. During his first semester at Bronx Community College, a friend told him about the Dance Theatre of Harlem. Hampden had to be involved and joined the orchestra—a position he still holds today. While at the Dance Theatre of Harlem, Hampden was also a drum and percussion instructor at the Harlem School of the Arts, and at Seton Hall University in the Black Music Department. But his talent reached far beyond Harlem. Hampden has touched and enhanced the New York theater community as well, performing for various shows on Broadway, The Alvin Ailey Dance Theater, and many more.. Not only an accomplished drummer and percussionist, Hampden is also a producer and songwriter who collaborates with such artists as Luther Vandross, Nick Ashford, Chaka Khan, Eartha Kitt, and many others. Along with being Luther Vandross' drummer and co-writing partner for 17 years (which earned him recognition four(4)times from the Grammy Awards as a Musician, Arranger and Programmer on a number of Vandross's platinum recordings) until the time of the consummate musician's death , Hampden currently records and tours with other notable artists such as Stephanie Mills, Ashford & Simpson, Roberta Flack, Phil Perry, Vanessa Williams and Jennifer Lopez. In 2001, Hampden relocated to the south, where he continues to write and produce in between touring around the country and world. In fall 2007, Hampden signed on as an adjunct professor at North Carolina Central University in Durham, North Carolina, teaching recording production I and II, and audio postproduction. In the Fall of 2010, Ivan also accepted an offer to teach Drums and Percussion at Johnston Community College. After 10 years of teaching as a music educator in North Carolina, He is now Founder and CEO of The Hamptown Music Institute in Clayton, North Carolina, where his mission is to “Develop the next generation of music industry professionals and Artists.” While continuing to be in demand as a music Producer, Ivan is also working with new local talent around the country. Live Performance credits: Bonnie Raitt, Al Jarreau, Dionne Warwick, Maceo Parker, El Debarge, Kenny Lattimore, Aretha Franklin, Stevie Wonder, Michael MacDonald, India.Arie and Joe—the list goes on and on. New and accomplished talent alike seems to gravitate toward Hampden. Recording Credits: Hampden's recording resume includes such artists as Diana Ross, Akiko Yano, Ann Nesby, Doc Powell, Jocelyn Brown, Mavis Staples, The Temptations, Nestor Torres, Marcus Miller, Cathy Dennis, Howard Hewett, Luther Vandross, Beyonce Knowles, Ashford & Simpson, Sy Coleman, Tramaine Hawkins and Roberta Flack, just to name a few.Listen and subscribe to the BAAS Entertainment Podcast on Spotify, Amazon Music, Apple Podcasts, Google Podcasts, Deezer, iHeartRadio, Pandora, Podchaser, Pocket Casts and TuneIn. “Hey, Alexa. Play the BAAS Entertainment Podcast.”

We take a captivating look back with pioneering dance legend Nat Horne – from performing on Broadway in 1957's "Jamaica" to helping found the Alvin Ailey Dance Theater and beyond. But first, Adam and guest co-ho Ryan Frostig discuss the death of musical key changes, Tenoch Huerta's mysterious bulge and why lab rats dance to Lady Gaga. Baby, they were born this way. Visit https://linktr.ee/AdamSank

Ja'Malik says, “I don't remember dance ever not being a part of my life.” From being inspired by Michael Jackson's Thriller to being moved by Ulysses Dove's Urban Folk Dance performed by the Alvin Ailey Dance Theater, Ja'Malik knew as a child that he wanted to become a dancer and choreographer. As the new Artistic Director of the Madison Ballet he is one of three Black people in the US that runs a ballet company not founded a Black person.  In this episode of Black Oxygen, Ja'Malik discusses his journey to Wisconsin, honesty and truth in dance and in the US, and the role of dance in resilience and joy. #BlackOxygenPodcast #BlackinWisconsin #BlackBallet #BlackBalletDancers #JaMalik #Madison365 #DopeBlackPodcasts #MadisonBallet #BalletInWisconsin #UrbanFolkDance #BalletBoyProductions #BlackBoysDanceToo #Ballet #ArtisticDirector #BlackArtisticDirector #Dance #BlacksInBallet #BlackDanceStories #Choreography #JaMalikChoreography #MadisonContemporaryArt Resources and Articles: https://www.madisonballet.org/about/staff/ja-malik https://www.balletboyproductions.com https://www.youtube.com/watch?v=WVTPMwSMwsg https://www.dancemagazine.com/ja-malik-choreographer/ https://madison365.com/madison-ballet-names-ja-malik-artistic-director/ https://pointemagazine.com/racism-in-ballet/

“There are few things that can cause joy, shame, contentment, anxiety and stress the way that money does,” says Korrena Bailie, Consumer Finance Editor at Forbes. “If your finances cause you stress and anxiety, it's natural to want to keep this to yourself because you might feel embarrassed or ashamed about the decisions you made.” (NY Times) Well, one artist who is trying to break down that wall of fear or shame when it comes to money is lighting designer and fellow podcaster Ethan Steimel. And in this episode we both confront the stigma around such discussions. He shares three specific stories of his own financial journey, including how he paid for college and one important money issue that's come up between him and his wife.  Subscribe to WINMI and get bonus episodes with Ethan on Supercast --------------- Why I'll Never Make It is a top 25 theater podcast hosted by Off-Broadway actor and singer Patrick Oliver Jones and is a production of WINMI Media, LLC. It is a part of Helium Radio Network and a member of the Broadway Makers Alliance.  Background music in this episode is by John Bartmann (Public Domain) and Blue Dot Sessions (Creative Commons Attribution-NonCommercial 4.0 International License).     Artist Spotlight: Abundance Bound Miata Edoga is a former guest of WINMI (Season 4) and is the CEO and Founder of Abundance Bound. For over two decades, she has been helping individuals of all backgrounds establish a healthier, more compassionate relationship with their money – whether they are just starting out, starting over, or starting to wonder how they should handle their growing wealth. Lear more about her Financial Empowerment Program.     This week's BIG NEWS... Why I'll Never Make It is now an award-winning podcast, having been recognized by the Academy of Interactive and Visual Arts at their 28th Annual Communicator Awards. WINMI was given the Award of Distinction in the area of Featured Episode for producing a Tribute to Alvin Ailey. He was dancer & choreographer who founded the Alvin Ailey Dance Theater and spent his life preserving the African-American cultural experience through dance and music. With over 5,000 entries received from across the US and around the world, the Communicator Awards is the largest and most competitive awards program honoring creative excellence for communications professionals. So it is such a thrill to be recognized for the work that went into this celebratory episode on the life and career of a luminary like Alvin Ailey.     Follow Ethan - Website / Podcast / Instagram     

Matthew Rushing - Former Dancer and current Associate Artistic Director at Alvin Ailey Dance Theater. The dance theater returns to in-person performing for the first time in two years. The Los Angeles performances will be a homecoming for Matthew, it will be the first time in his role as Associate Artistic Director in his hometown of LA (Hour 2)

On this episode of the Healthy, Wealthy and Smart Podcast, I welcome Tricia Brouk to talk about how to land a TEDx Talk. Tricia is an international award-winning director, author, speaking coach, and podcast coach.  In this episode, we discuss: What is a TED talk? How do you get chosen? Why do you need to vet organizers? What makes an exceptional TED talk? How do you prepare?   Resources: Round Table Talks   Tricia's Website: Tricia Brouk   www.TheBigTalkAcademy.com   www.speakersalonapplication.com   Tricia's Social Media:    LinkedIn   Facebook   Twitter   Instagram   YouTube   Podcast   More About Tricia:  Tricia Brouk is an international award-winning director. She has worked in theater, film, and television for three decades. Her work includes the writing of two musicals, both produced in New York City, a one-woman show, and four documentaries, two eligible for Academy of Motion Picture Arts and Sciences nominations. She had an extensive career as a dancer performing all over the world. In addition to her work in the entertainment industry, Tricia applies her expertise to the art of public speaking. Tricia founded The Big Talk Academy where she certifies speakers in the art of public speaking. She was the executive producer of Speakers Who Dare and TEDxLincolnSquare and now The Big Talk Live. She has shepherded more than fifty speakers onto more than fifteen TEDx stages in under three years. She is currently being featured in a new documentary called Big Stages, which highlights the transformation of her speakers. Tricia’s commitment and devotion to inclusion is a priority as all of her shows, events, and communities are diverse. She curates and hosts the Speaker Salon in NYC, The Big Talk, an award-winning podcast on iTunes and YouTube. She directed and produced The Big Talk Over Dinner: Race and Immigration that premiered at the Be Your Best Self Expo in 2020. She was awarded Top Director of 2019 by the International Association of Top Professional and is relentless about her vision of amplifying voices all over the world. Her book, The Influential Voice: Saying What You Mean For Lasting Legacy was #1 New Release on Amazon in December 2020. Tricia lives in New York City with her husband, Joe Ricci, and their two cats, Lola and Bella. Their building faces the Alvin Ailey Dance Theater where she gets to watch young dancers realize their dreams every single day.   Subscribe to Healthy, Wealthy & Smart: Website:   https://podcast.healthywealthysmart.com Apple Podcasts:       https://podcasts.apple.com/us/podcast/healthy-wealthy-smart/id532717264 Spotify:                      https://open.spotify.com/show/6ELmKwE4mSZXBB8TiQvp73 SoundCloud: https://soundcloud.com/healthywealthysmart Stitcher:  https://www.stitcher.com/show/healthy-wealthy-smart iHeart Radio: https://www.iheart.com/podcast/263-healthy-wealthy-smart-27628927   Read the full transcript here: Speaker 1 (00:01): Hi, Tricia. Welcome back to the podcast. Third time. Third time on I'm so excited to have you here. Speaker 2 (00:08): I am so excited to be birth. Third time, Karen, it's always awesome to talk with you. Speaker 1 (00:14): Agreed, agreed. Awesome to talk to you. Not to me. Now this month we're talking all about TEDx talks, how to get on that stage. We've spoken to, we're going to speak to a couple of TEDx speakers, which I'm really excited about and you help prepare speakers for the TEDx stage. So we've got a lot to talk about. My number one question is what is a Ted talk? Speaker 2 (00:43): This is such a great question. And for anybody out there who really wants to dig deep and go into the world of Ted Chris Anderson's book, the official guide to public speaking, Ted talks, the official guide to public speaking is really the place that you need to go. A Ted doc is an 18 minute or less talk. And Chris Anderson actually says, 12 is the new 18. It is a gift, not an anus. It is an idea, not an issue. And you want the audience to adopt your idea as their own. At the end of this talk, a Ted talk is an idea worth spreading, and it is really meant to get the audience to think differently. And there's very specific format and outline when it comes to what a Ted talk is. And I highly recommend you dig deeper with Chris Anderson's book. Speaker 1 (01:37): Yeah. And for those who are watching here, it is. I just happened to have it coincidentally right on my bookshelf next to me. So this is the book. Great. And, and because I do want to differentiate that a Ted talks, not a keynote talk, Speaker 2 (01:54): Right? A Ted talk is 18 minutes or less, and it's really all about getting the audience to think differently. A keynote is 45 to 60 minutes long, and the keynote is going to start out by you telling the audience why you're the credible expert to talk about this idea. You're going to share with us what you're going to cover. Then you're going to cover it. Then you're going to summarize what you covered. And then there's a very clear call to action, which is buy my book, sign up for my program, donate to a worthy cause. And when you're thinking about that in relationship to a Ted talk, it is so different because literally you can open a Ted style, talk with music. This is how I see the world though, through Spiaggia trickle lens, you can open with music with video, with compelling slides. And it's really about taking the audience on a journey from where you start. What is the idea worth spreading that you want the audience to think about, taking them on a personal journey, your personal story, or someone else's personal story, and then wrapping up so that they think differently and potentially walk out of that theater, adopting idea, adopting your way of thinking as their own and maybe even behaving differently in the world. Speaker 1 (03:06): Yeah. And I, a great example of that is a Ted talk from Ted X, Lincoln square that you produced on forgiveness. You know, the one, I mean, right. Speaker 2 (03:18): I do Sarah Montana, one of the most compelling speakers I've ever had on my stage, she applied to TEDx Lincoln square with a talk about forgiveness. The idea was about forgiveness and how do we teach people to forgive? We all know forgiveness is important. It's good for our health. It's really important, but nobody teaches you how to do it. So in her application, the written application, she submitted her talk about forgiveness with a personal story that her mother and brother were murdered on Christmas Eve. And I thought, how in the world is this woman going to be able to share an idea worth spreading from the stage where I don't feel bad, the audience doesn't feel bad. We are not just sad hearing her talk about this horrible tragedy in her life. So I gave myself the challenge Garren, I thought, okay, I'm going to challenge myself and ask her to submit a video because I could not imagine how this story could be shared in a way that was an idea we're spreading. Speaker 2 (04:22): That would get me to think differently. All I could focus on was the trauma. So she submitted this incredible video and what was wonderful about this, and this is really an important takeaway here. She was healed from the trauma. She did not share a vulnerable story before she was ready. And she was able to tell us the story. So she set up context and then take us on the journey of her journey of forgiveness and how she ended up forgiving so that we could potentially put into motion, her practices of forgiveness into our own lives. And that is an incredible example of someone who is sharing a powerful idea, worth spreading, also giving context and her personal journey so that we can observe as the audience member not feel bad, but observe and adopt this idea as our own. Speaker 1 (05:19): Yeah, I, it was such a powerful story. We'll have a link to it in the show notes. It was just so wonderful. And that actually leads perfectly into my next question is how does one get chosen? So you gave us a little bit of the backstory of how she was chosen, but for the listeners who are thinking, Oh, I really want to do a TEDx talk or a Ted talk one day, how does that happen? Speaker 2 (05:41): This is really great. You have a million search engines looking for Ted talks all the time. The best thing to do is start with cities, TEDx, Philadelphia, TEDx, New York, TEDx, Dallas, TEDx St. Louis TEDx, all cities. It doesn't have to be where you live, but there will be amazing Ted X events in major cities, TEDx, Los Angeles. That's where you want to start, because the reason you want to start there is that they will have been around for a while and they will know what they're doing. And we'll get into that leader of the next step is universities, TEDx, university of Nevada TEDx case Western reserve, university TEDx rush, you universities put on TEDx events all the time. And the other reason that's a great place to start is because they will have the support of the school. They will have the support of the, of the university. Speaker 2 (06:38): Tedx UCLA is an Epic event. It's really hard to get into that one. And it's wonderful. And that's because they've been around for awhile, they know what they're doing. So cities, universities, and then you can actually go to ted.com and they have a map of all the TEDx events in the world. So if you want to speak in Ghana, if you want to speak in the UK, if you want to speak in New Zealand, you can search the map and it will identify where those TEDx events are happening. And then you just get in touch with the organizer. So the next thing you want to do is subscribe to all of the TEDx events that you can get on their mailing list so that you are notified when the applications open applications are rolling for many events, meaning you can apply all year and many have a specific window. So you want to make sure that you don't miss that six, eight week window where their applications are open. And this happened to one of my clients. She lives in Chicago. I gave her the application information. We worked on her application for months, months so that it would be right. She knew the deadline and she missed the deadline Speaker 1 (07:55): For heartbreaking. It was Speaker 2 (07:57): So heartbreaking. There was a little bit of is this self sabotaging thing happening right now. So just know that they do close. So make sure that you understand if you're notified, get those dates on your calendar, create a spreadsheet for yourself. Because if you believe you're going to apply to one event and land that event, you're a unicorn. I Speaker 1 (08:18): Have had unicorns. Trust Speaker 2 (08:21): Me. I haven't had unicorns. I currently have a unicorn, Dr. Kristin Donnelley, we just started working together and her first application was accepted. So she's going to be speaking itself, Lake Tahoe in may, which is super exciting. It does happen. However, she'd got my support. So if you are working on applications, apply to as many as possible. And if you are chosen for more than one, guess what you can do more than one, or you can determine which one you actually prefer. And you can take that stage. So making sure that you start with cities, moved universities, go to ted.com and search that way. Google is not your friend here. There's a million million, million ways that you can go around that and find the actual events that you want to speak out. And Speaker 1 (09:07): Let's say, I, there are three TEDx events that I want to speak at. Can I submit the same talk to all three? Or should I have a different talk for each one? Speaker 2 (09:18): Submit the same idea. We're spreading to as many applications as possible. And when, and if you're chosen for more than one, you can determine with the organizer. When you want to switch your idea, most organizers, 99.9% organizers are not going to let you do the same talk at multiple stages. You can absolutely speak at multiple stages, but you want to speak with the organizer about, Hey, I just accepted TEDx South Lake Tahoe, and I'm talking about tolerance. Can I talk about empathy at your event? It's similar, but I want to talk about something different and you can have that conversation with the organizer. Speaker 1 (09:56): And when it comes to the applications themselves, is there, are there any tips or tricks or to make yourself stand out? Speaker 2 (10:08): Yes. Very, very important that you do not pitch your business. This is not about how to get sales. This is about an idea worth spreading. So if you have a business where you are connecting rescue animals, to people who need support and that's your business, that is not your idea. We're spreading. You have to dig deeper and find a reason to talk about why animals can serve us in humanity. The other thing is, if they're asking you a little bit about yourself, go, go above and beyond. Don't cut and paste your bio. Tell us who you are. Tell us that you love cooking. Tell us that you absolutely that you've been married. And then you have two cats or personal things. The reason that is going to make you stand out is because nobody else is doing it. I coach all of my speakers to incorporate who they are in that question. Speaker 2 (11:05): Tell us more about who you are. And that is because you want to be a human being. When producers are choosing their speakers, it starts with the idea worth spreading, and then it moves into do I want to work with this person for nine months? And if you are high maintenance or lazy by cutting and pasting a bio into the application, we take cues. We are looking for who you are in those applications, which means if I say, I want one line for your idea worth spreading, and you write three, you can't read directions. You're not going to follow the rules, which means you're going to be difficult to work with once I book you. So I'm not going to, I'm not going to choose you. If you submit a video. And I say, I want a two minute video and it's two minutes and three seconds. You just disqualified yourself because I have hundreds of other people who are actually following the rules. So it's really important when you apply to these events that you answer the questions they're asking, you do not pitch your business and do not cut and paste a bio because that tells us you're lazy or somebody else supplied for you. Not you. Speaker 1 (12:15): Ah, I love the rule following thing. I'm a rule follower, but it, you know, I think that's great for the listeners here because that's how specific TEDx talks are because hundreds of people are applying. So like you said, if I say one sentence, you give me three. They're not even, they're not, you're not going beyond that. It's a next Speaker 2 (12:38): That's right. That's how I do all of my operations. It, we don't have, but not brutal, but smart, efficient, efficient. Yeah. We don't have time to handhold. We want to work with speakers who we know are going to show up prepared. And if we say you have eight minutes that they're going to actually deliver eight minutes. Because ultimately, if you are working with an exceptional TEDx producer who knows how to produce a show, they are putting on a show. There is a journey here. There is an arc and a through-line to that performance, to that show, to that event, which means you're going to put you in specific orders as speakers so that the audience goes on a journey. And I say specifically, a good TEDx producer. And that's something that is really, really important to remember. Not all Ted TEDx events are created equally. Not all TEDx events are going to give you the support that you need. So it's really important that you understand that as well, when you're looking for events Speaker 1 (13:41): And how can you pick that out? Like if you're like a newbie to the TEDx world, this is your first time applying, how do you, how do you know who's good and who's not good. Speaker 2 (13:53): First thing you want to do is go to the YouTube channel and watch the videos from past events. If the sound is bad, if the set is wonky, if the lighting is terrible, you can't trust that event's going to be improved. If you decide you do want to speak, there, have a conversation with the organizer, making sure that they have the proper audio and video. That's the first place you want to start. The next thing you want to do is get in touch with people who have spoken at those events. And this is the thing that people are afraid of, or have not been given permission to do. Karen, it's reached out to other speakers who had the experience. They will tell you the truth. They, if it's a good event, they will tell you it's a good event. And they may even put you in touch with some of the organizers, some of the, the the volunteers, so that you can talk with them about the process. Speaker 2 (14:45): So make contact, reach out, ask all the questions you want to ask. Were the organizers micromanaging your script. If they were think about that, did they take your voice out of your talk and make it their voice? If they did, you need to think about that. You need to create boundaries immediately, which means I'm so excited that I'm going to be speaking at your event. I am very, very competent in terms of writing my script. I will absolutely take your feedback, but the final script is mine. Not yours, set boundaries right away. People are afraid to actually tell organizers what they want. And that's something that I want to invite you and all of you to give permission so that you take back the control. It's your talk. Now let's be real. You do not own that. Talk. Once you take a Ted stage, head owns it. It is forever there's you cannot do it anywhere else. So be, be mindful, your image and your script will belong to Ted for the rest of eternity, which is also why you do not want a bad video to end up on YouTube for the rest of your life, because you have zero control over it. You cannot take it down. So really important that you vet organizers and that you're clear on how they work, what the process is. And if it's something that you are willing to champion or risk. Yeah, I would be safe. Speaker 1 (16:15): So nervous to say that to a Ted organizer. I mean, just because that's my personality, as you know, I would be like, Oh, well, you know, I mean, this is, this is what I want to do. And if it's okay with you, I'd like to do it this way. So to be able to set those boundaries, but not be dismissive of them. Yeah. Speaker 2 (16:37): Right. Their event, you want to honor, it's their event and Bay. They are the producer of this particular TEDx event. And you can absolutely respect all of that. And I encourage you to take that very seriously. They're in charge and reminding them that it's your idea worth spreading. They chose you for a reason and they need to allow you to be your amazing self and not try to infuse you with something else in that moment. Speaker 1 (17:06): Yeah. And, and that makes perfect sense. And you just have to keep your, have your confidence in yourself Speaker 2 (17:12): And in what you're doing. Absolutely. And I've had speakers who are extremely seasoned that I've worked with, who have come back to me because the TEDx events will, will provide you with a speaker coach for free. And I've had clients come back to me and say, the speaker coach thinks we need to do it this way. And they want to take this out of our script. And I'm really freaking out right now. It's two weeks before the event and all these nerves. And like all this panic, my talk is terrible. All that happens until you say, thank you so much for your feedback. I really, really appreciate it. And I'm going to do the talk I've written and they all say, no problem, no problem. They all say no problem. Speaker 1 (17:53): Excellent. Well, that is great advice for, for those folks out there, like me who are like, Oh, I don't, you know, want to offend anyone. And so that is really, really good to know. And the other thing that you said earlier that I just want to circle back on is when you're vetting these TEDx producers, you said that this might be someone you're working with for nine months. What can you explain that Speaker 2 (18:20): If you are going to work with a TEDx producer or say yes to an event, it needs to be yes. To an event that is not two weeks from the day you're accepted my event applications, whether it was TEDx Lincoln square or speakers who dare applications opened up in September, I made the decision in December and then the event was in March. So January, February, there was three months of speakers preparing. Now. They were also submitting in September. So September, October, November, December, January, February, that's eight months where I was spending time with these speakers, watching their videos, reading their applications. So you will want to have at least three months no less to prepare for your event. If you're being asked to speak in an event that happens in less than four weeks, I would gracefully decline because you are not going to have enough time to write a powerful talk and memorize it so that you can be your best self on that stage. And trust me, it has happened many organizers. This is really important. The one question Ted X does not ask on the application to become a licensed holder and organizer is, do you know how to produce an event? Speaker 2 (19:52): Anyone can get a TEDx license if they go through the process and they're granted a license, not everyone knows how to produce an event. And that is why vetting is important. And it's also important for you to know that this is an opportunity for you to share a very important message that you care deeply about in order to serve in order to reach people. The Ted brand is a massive platform. You have an opportunity to end up on ted.com and reach millions of people, which is why you want to set yourself up for absolute success and have a runway so that you can write an amazing talk, get the coaching you need, and then perform it beautifully. And that leads Speaker 1 (20:39): Perfectly into my next question. You answered it a little bit just then, but what makes an exceptional Ted talk? Speaker 2 (20:48): If the talk is really truly an idea worth spreading, that's the audience to think differently. And if you are activating from the stage, which means, you know how to deliver this content in a way that is how is MADEC in control in command while also sharing the idea worth spreading. And it doesn't mean teaching. It means sharing the idea worth spreading gifting, this idea, making sure that it's not an issue. And it's truly an idea. For example, teachers in public schools do not get enough support financially. We all know that to be true. It is an issue. If we reframe that as teachers are the GPS of our children's future, that is an idea. So really be clear that you are sharing an idea worth spreading, that you were in command of the material that you care about it, and that you are gifting this material to the audience so that they adopted as their own. Speaker 1 (21:56): And that was a great example, just switching the, the framework of the title makes all the difference. And, and I like that. It's, it's an idea, not an issue, an idea worth spreading, not an issue that we all kind of know, or maybe take for granted or something, right? Yeah. And that makes a big difference. Okay. How do you prepare for a Ted talk or a TEDx talk? It seems so daunting. Speaker 2 (22:25): It's the same preparation. If you are a speaker for any kind of stage, you are about to take, you begin with the writing process. You write and you rewrite and you write and you rewrite and you edit and you kill your darlings and you end up hating your talk and you think it's terrible. And you get past that part of the process. And now you have your, your final talk, your script. Then you begin to memorize. There is nothing sexy about memorization. It is boring. It is wrote. It is hard work. It's bicep girls it's plays. It is over and over and over start with the first sentence, move to the second, finish that paragraph. If you cannot prevent yourself from glancing down at the script, you are not memorized in that first paragraph. Do not do not cheat yourself. You want to make sure that first paragraph is memorized before you move on to the next, once you have the next paragraph, go back to the burst and tie those two together with the transition. Speaker 2 (23:27): So the last sentence of the first paragraph with the first sentence of the second paragraph, connect those dots. Once you have that and you are in complete control of those two paragraphs, then move on once you've done that through the whole talk, start in the middle and go to the end. Then mistake speakers make again. And again is they have the first half memorized cause they keep starting at the beginning and then they get on stage and nerves happen and they can't remember the second half. Once you have it all memorized, go back to the middle and work on the middle to the end. Once you are truly memorized and you can also record yourself doing the talk and listen to it in the car and listen to it on the treadmill, listen to it outside. When you're walking, when we're listening to songs, we memorize them because we're doing it while we're doing something else. Same thing applies here. Listen to yourself, give the talk over and over and over and over once you're memorized and really memorized, then do what I call an Italian run through. And this is from the world of theater, fast as possible, no emotion at all. You just want to give the talk as fast as possible. So your synapses are firing and you know that, you know the words, the moment you don't know the words, that's the section you're not memorized. Speaker 1 (24:35): Yes. And I remember doing this in the speaker salon, and I will say everyone, all you people listening that what Tricia just said, how to prepare, how to memorize. It works. Like, don't think your way is better. It's probably not. This is what works. Trust me. I did this when I had to give a keynote talk a couple of years ago. And the other thing that you cannot just glance over is the writing process. Because Trisha, remember when I first came out and gave my talk and Trisha is so wonderful because she'll say, Oh, you know, I really thought this was very strong, but Mike, you think about, and then she'll give her feedback and it's such a gentle way to give feedback. And you can, you can expand on that in a second. But I remember giving my talk and you were like, is this about you? Speaker 1 (25:30): And I said, well, yeah, it is. And you were like, why are you doing it in the third person? So I have this clever talk. It was, I mean, it was all written out. I was ready to go. I was prepared. And like Trisha said, you're gonna edit, edit, edit. You're going to feel uncomfortable with it. And then you're going to do it. And that's exactly what happened. And it was all the better for it. So the other thing I would say is get feed back from a coach from a trusted person, because when you're in it, it's hard to see out of it. Speaker 2 (25:58): And we are not comfortable being vulnerable right away. We often need permission. We often need to have a safe place to become vulnerable. And that's what I witnessed with you. Karen, as you walked up on stage, super confident sharing the story, it was very compelling story and zero vulnerability. And the moment you told us it was about you and that it was about your chronic pain. We all leaned in and could not take our eyes off of you. It was the most powerful transformation. One of the most powerful transformations I've seen. And I've seen a lot when you're talking about feedback and this is really, I'm great. I'm really grateful that you brought this up. Karen feedback is paramount. And you also need to know when you're asking for feedback and from you. Many of my speakers in the past have asked for feedback one or two weeks before their Ted talk and we're not specific. Speaker 2 (26:58): And all of a sudden they're getting feedback from random people. I think you should change the beginning. I don't really like what you're doing with the choreography and the blocking is not good. And all of a sudden they have absolutely no confidence. And that's because they weren't specific in asking for feedback three months before the event ask for feedback from somebody you trust a coach, whomever, because you have time to make those adjustments two weeks or one week before your event. Let's say two weeks. I'd like to know if there's anything about this specific talk that you love week before. You're a warm body. I don't want you to say anything afterwards, except thank you for giving this talk. Right? So get really specific when you're asking for feedback so that you don't derail yourself a week or two before, you're about to deliver a talk that you have memorized and no longer have time to make adjustments. Speaker 2 (27:57): Yeah. And that is great advice. And it reminds me of advice that jazz, who we both know, lovely, lovely, jazz set on this podcast. She said, you know, cause we were talking about asking for feedback from people and she's like, you wouldn't leave your apartment to go get a cup of coffee and ask every person you passed on the street. What kind of coffee you should get? Because you're going to get a different answer. And it's just crazy-making. It is crazy-making and nobody needs crazy-making two weeks before they're set to give a Ted talk. No, that's the visualization making needs to be happening. You need to be visualizing what it looks like to walk out onto that stage. You need to be visualizing what it looks and feels like to be delivering perfect mandating, powerful idea, worth spreading. You need to be visualizing what it's going to feel like when they applaud and when they rise to their feet and give you a standing ovation, you need to be visualizing what it means to walk into an out of that red circle. Speaker 2 (29:01): And this is part of the deep preparation work that I do with my TEDx speakers and with my community and clients is it is a big deal to walk out onto that stage and deliver your powerful message. You can change and save lives by speaking, whether it's in the red circle or not. So taking the role of speaker seriously and understanding the magnitude of your responsibility requires you to go above and beyond. It's not just about memorizing and talk and going and doing performance. Think about how powerful it is when that person is going to be watching your video. And they're going to think differently. They're going to potentially behave in their lives and that ripple effect can reach every other person in their life. So it is a very big responsibility when you are speaking from any stage. So give yourself permission, set yourself up for success by going through the process. Speaker 2 (29:58): And that's why I say nine months, because you really want to give yourself enough time to identify that idea, cultivate that talk, frat that beautiful, powerful talk, memorize it in a way that is so solid. You, if the chandelier falls on your head, you could absolutely continue and then give yourself the success set up by visualizing, by knowing what you're going to eat. And at what time you're going to eat it before you take that stage so that your body is not using energy to digest, but it's using energy to support you as a performer. This is about being an athlete and any and everything that you can do. You want to shoot that ball into the, into that hoop over and over again so that your muscle memory is ready to go. It is game on and Kyrene did this so beautifully. We worked like an athlete, works repetition over and over mindset. Self-Sabotage we did every possible trick and, and practice in order to have her walk out onto that stage and own it. She got a standing ovation. Speaker 1 (31:06): Yeah, she's amazing. It was an amazing talk. And again, we'll have that in the show notes here as well. Well, you know, I was going to ask you, would you like to sort of wrap things up, but you already did it. That was a perfect way. Now, before we before we end the podcast where can people find you? And if you don't mind, can you talk about your new book? Speaker 2 (31:28): Oh my goodness. I would love to talk about my new book. I'm a new author and it is so exciting. It's all the influential voice saying what you mean for lasting legacy. And it is on presale now@theinfluentialvoicebook.com. And you can find me at Tricia, brooke.com. I'm on Instagram, LinkedIn, and the influential voice is really a book about how to be a good human being while also teaching you to effectively communicate on stage and off. And I wrote it in June of 2020 instead of going to Mexico for 10 days with my husband, because we were all quarantining inside. I decided to use that time to write a book about how to teach people, to communicate with dignity, respect, curiosity, and love. And it is my hope that it will teach people that their voice matters and how to use their voice for good in the world. Speaker 1 (32:25): Amazing. And what a great use of time during quarantine. Geez. I feel like I just like rearranged my apartment. You wrote a whole book. That's amazing. Amazing. Yeah. And so we'll have links to that as well. Now, Trisha, before we leave I've asked you this question a couple of times already, but you're going to get it again. At what advice would you give to your younger self knowing where you are in your life, Speaker 2 (32:51): In your career? You can not imagine what is waiting for you. So keep taking those forward steps, excellent Speaker 1 (32:59): And advice. And Tricia, thanks so much. This was fabulous. I think everyone here will be inspired. They will start looking up those TEDx stages and, and again, get your book, get Chris Anderson's book, Ted talks. I think there are two great resources to sort of set you up for success in your speaking career, regardless of you get on a Ted stage or not. So thank you so much for coming on. Thank you, Karen and everyone. Thanks so much for listening. Have a great week and stay healthy, wealthy and smart.  

On September 12, 1992, Mae Jemison, became the first Black woman to fly into space. This Black woman genius, who can trace her family roots back to the plantations of Talladega County, Alabama, flew 190 hours, 30 minutes, 23 seconds, and orbited the earth 127 times. Listed among the items that she carried with her was a poster of the Alvin Ailey Dance Theater, a West African statue, a picture of pilot Bessie Coleman, and a banner reppin’ Alpha Kappa Alpha Sorority, Inc. Mae Jemison is truly her ancestor’s wildest dreams. Her life is a masterclass in excellence, sprinkled with Black stardust. Come to this walk with anticipation. There is much to learn from this pioneer! Join GirlTrek’s Black History Bootcamp - 21 Cosmonauts at blackhistorybootcamp.com to receive specially curated emails with survival tips, speeches + dedicated songs to listen to for each episode. Together we will discover the stories of 21 women who were ahead of their time.Disclaimer: We do not own the rights to the music played during this broadcast. Original content can be found here:Alvin Ailey "Cry" with Yolanda Adams "Right on Be Free" | Black Girls Rock 2018:https://www.youtube.com/watch?v=xIAbeGLbXlcSaturn | Stevie Wonder:https://open.spotify.com/track/5RgWdJs6H52nMyZFQspQWH?si=ad8c70fbe3a84a20

'Tis the season to watch virtual dance and music shows from your sofa. During the Christmas period, there are many to choose from. In December the Alvin Ailey American Dance Theatre began its groundbreaking new season – completely online – called "Ailey Forward", with new pieces created, choreographed and performed during the pandemic with Covid-19 and social distancing in mind. One of the people behind this giant leap for the company is Associate Artistic Director Matthew Rushing.

Guest Bio: Dr. Tracy Timberlake is a Multi-Award Winning Business Coach, million dollar Course Creator and Online Influencer. Over 3 million people have watched her YouTube videos, more than 10,000 people have heard her speak and have taken her online training programs, it's no wonder her clients appropriately titled her "The Entrepreneur Whisperer." Dr. TT’s hope and vision for millions of Entrepreneurs, Leaders and Influencers all over the world is to understand the massive impact they can create by showing up fully in the digital space and to give them the tools that empower them to do so. She does this through her motivational speaking, teaching, digital courses and training programs, and regularly curated content on social media. Dr. TT has spoken on the Tedx stage, collaborated with Forbes, been featured on NBC, CBS, iHeart Radio, The Huffington Post, Entrepreneur Magazine, and more. She has also worked with brands such as the Alvin Ailey Dance Theater, Turkish Airlines, Herbal Essence, Marc Jacobs, and Cosmopolitan Magazine. A native of Miami, Dr. Tracy Timberlake earned a Doctorate in Education from Nova Southeastern University, a Master of Arts from John Brown University, and a Bachelor in Business Administration from the illustrious University of Miami (Go ‘Canes!) Recommended book: The Game of Life and How to Pay It, Florence Scovel Shinn Ways to Connect: Website: http://drtracytimberlake.com/ Facebook: @DrTracyTimberlake Instagram: @TracyTimberlake Twitter: @TracyTimberlake YouTube: Dr. Tracy Timberlake Women of ImfluaXion and Kingdom Girls Rock Conference VIP Combo Package Get Tickets --- Support this podcast: https://anchor.fm/trasetta-alexander/support

(0.5 General California MCLE)  For a spectacular dance performance, many elements have to come together - choreography, dancers, music, the set, costumes - and surprisingly a good deal of lawyering. Elena Paul of Alvin Ailey Dance Company discusses the legal issues involved in running a premiere dance company and the intellectual property rights in dance. Elena Paul is the director of legal and business affairs for Alvin Ailey Dance Theater, a premier modern dance company based in New York. Prior to joining Alvin Ailey, she was the executive director for Volunteer Lawyers for the Arts where she represented clients on a pro bono basis, acting as general counsel and a legal advisor to arts and cultural organizations and individuals artists.

Dr. Tracy Timberlake is an Award Winning Digital Business Strategist and YouTuber. Dr. Tracy Timberlake is an Award Winning Business Coach and Digital Strategist. In the online world she has been called “The Entrepreneur Whisperer,” “Business Wizard,” and an answer to the prayers to the tens of thousands who follow her work. Dr. TT's hope and vision for millions of Entrepreneurs, Leaders and Influencers all over the world is to understand the massive impact they can create by showing up fully in the digital space and to give them the tools that empower them to do so. She does this through her motivational speaking, teaching, and regular content she curates on social media. She is also an online educator and course creator creating courses such as Nameless to Famous, YouTube Yourself and her exclusive 6-Mentorship Program for high-level achievers looking to build wildly successful, sustainable businesses and brands in the online space. It is the first program of it's the first of it's kind to be backed by empirical evidence AND actual experience as 7-figure brand. Dr. TT has collaborated with Forbes, been featured on NBC, iHeart Radio, The Huffington Post, Entrepreneur Magazine, and more. She has also worked with brands such as the Alvin Ailey Dance Theater, Turkish Airlines, Herbal Essence, Marc Jacobs, and Cosmopolitan Magazine. A native of Miami, Dr. Tracy Timberlake earned a Doctorate in Education from Nova Southeastern University, a Master of Arts from John Brown University, and a Bachelor in Business Administration from the illustrious University of Miami (Go ‘Canes!)

Since the 1980’s, the partners and loved ones of drug addicts and alcoholics have been called codependents and enablers. They’re told their behavior is causing or exacerbating the addict’s behavior and to search out what’s wrong inside themselves. Rob Weiss, a longtime addiction professional and psychotherapist has turned this notion of co-dependence on its head, claiming that these people should be commended for their ongoing love and support, and should be provided with a number of coping skills.Later we hear from Robert Battle. He’s the artistic director of the Alvin Ailey Dance Theater. The company is celebrating its 60th anniversary, and Battle talks about the past and future of this groundbreaking dance troupe.

Part 2 with FSU Percussion Professor John W. Parks IV as he talks about growing up in Gastonia, NC, info about Wake Forest, UNCG and the Eastern Music Festival, and getting the percussion bug (01:10), going to Furman University (SC) for undergrad and his student teaching experiences (19:40), going to Northwestern for his Master’s and FSU’s Ethnomusicology program (33:15), getting his doctorate at Eastman, taking Comps there, and his first job at Samford University (AL) (52:40), his 3 years working at Kansas University (01:11:40), and he handles the Random Ass Questions (01:18:00).Finishing with a Rave on the Alvin Ailey Dance Theater (01:34:10).Links:Part 1 with JohnBeethoven: The Ninth Symphony (Revised) - David LevyJohn ShawEric SchweikertEastern Music FestivalJames WorthyLeonard Hamilton“Separate Ways” - Journey“Tom Sawyer” - RushCarmina Burana - Carl OrffGrant DaltonAngie Zator NelsonBrian ResnickMatt Gold“Merlin” - Andrew ThomasKrebs CycleClif WalkerDan McGuireJohn PaynterPatsy DashEd HarrisonMichael BurrittMichael UdowJohn H. Beck“Colas Breugnon” Xylophone ExcerptBlake TysonPayton McDonaldSteven OwenMegan ArnsAbby RehardMichael BakanDale OlsenDonald HunsbergerGwen DeaseNate BartlettLee VincentMcCoy TynerGirolamo FrescobaldiTracy WigginsKevin Bobo“Billie Jean” - Michael Jackson/Tony SuccarHellraiser trailerAlien trailerJaws trailerManos: The Hands of Fate trailer The Disaster Artist trailer“It’s Halloween” - The ShaggsConcerto for Marimba - Tomas SvobodaPiano Concerto in G Major, 2nd movement - Maurice RavelRaves:Alvin Ailey Dance Theater

Jessica Castro's Absolute Beginner Heels Class at Alvin Ailey Dance Theater was magical. Jessica magically uncovered our power in heels. Castro helped us understand how to find our center, classic lines, walks and ended classy choreography to "Darling Nikki" by Prince. After class, Jessica Castro and I talked about her part in giving back to the dance community, exploitation of women and why she created Lipstick Diaries NYC produced by women and taught by women. Photo credit: Julien Benhamou

Colette Brandenburg talks to us about grit, consistency, her "The Artist's Way" practice, and deciding to read more in this episode. Enjoy the show! Show Notes: 7:42 - How did Colette learn how to belly dance? 10:53 -  Why Colette still loves "The Nutcracker". 13:30 - Colette's experience with the Alvin Ailey Dance Theater. 19:21 - "When I am working on my business, I am working on my art." 23:01 - Lessons learned from starting 'The Federation'. 28:40 - How Colette draws inspiration on a regular basis.  30:12 - What is "The Artist Way" and how does Colette follow the practice? 34:30 - Why artists should not look at past artistic practices to determine the business strategies of the future. 40:10 - "The Cane Breaker" 42:24 - "Grit and consistency" 49:38 - "I would read more ..." 53:42 - Reading a non-fiction book first thing in the morning has helped Colette grow. How to reach Colette: Website | Instagram | Twitter | Pinterest  Book Recommendations: Raising the Bar and Closing the Gap: Whatever It Takes by Richard Dufour The Artist's Way by Julia Cameron Grit by Angela Duckworth The Golden Rules: Finding Work Class Excellence in Your Life And Work by Bob Bowman and Charles Butler Smarter Better Faster by Charles Duhigg Get Clients Now by C.J. Hayden

In this weeks episode, award winning  dancer, educator, choreographer and speaker Hope Boykin, 18 season dancer at Alvin Ailey Dance Theater takes the guest chair. Hope shares about forgiveness, fear and the power of grace. Hope was an original member of Complexions. She was also formerly a member of The Philadelphia Dance Company, PHILADANCO. As dancer, she has received many award and honors, including the acclaimed “Bessie”, a New York dance and performance award. Hope continues to travel the world performing for audiences and following the mission and legacy of the great Alvin Ailey- “bringing dance to everyone.    Connect with  Hope:  Website: https://www.hopeboykindance.com instagram: https://www.instagram.com/hbdance/ https://www.youtube.com/watch?v=YNFNRPvVFqI https://www.facebook.com/HopeBoykin2/   She’s Got Drive is produced by Cassandra Voltolina and music by Blonde. Artwork by Natasha Merrifield  Listen on iTunes, Podbean, Stitcher and Google Play and SoundCloud   Go to  shirleymcalpine.com  for a free download of my ebook ‘3 Top Tips on How to be a Woman with Drive’ and the P.I.E download.    To connect with me and the She’s Got Drive community  Instagram: https://www.instagram.com/shirleymcalpineconsulting/ She’s Got Drive Facebook page: https://www.facebook.com/shesgotdrive/?ref=aymt_homepage_panel @shirleymcalpine on Twitter:https://twitter.com/shirleymcalpine #shesgotdrivepodcast   

All the people clamoring to get into Broadway shows like "Wicked" and "The Book of Mormon" – or museum shows like the Rain Room at MoMa – are apparently the exception, rather than the rule. That's the conclusion of a new survey of public participation released last week by the National Endowment for the Arts. It shows an overall decline in arts consumption by Americans, with a particular drop-off in museum and theater attendance. There were smaller dips in classical music and ballet audiences too. But it wasn't all gloom and doom: Audiences are growing more racially and ethnically diverse.  And there are hints that technology is playing a larger role in how we consume culture. On Oct. 3, Conducting Business brought a group of prominent arts leaders to The Greene Space to explore these recent findings and their implications. Joining us were Oskar Eustis, artistic director of New York’s Public Theater; Robert Battle, artistic director of the Alvin Ailey Dance Theater; Jesse Rosen, president and CEO of the League of American Orchestras; Anne Midgette, classical music critic of the Washington Post, and Graham Parker, general manager of WQXR. Naomi Lewin hosted the event, of which the archived video is below.   What do you think is behind the decline in audiences? What can arts organizations do to attract new patrons? Please leave your comments in the box at the bottom of this page, or Tweet us at @WQXR. Below are three salient findings from the NEA's Survey of Public Participation in the Arts: Please leave your questions in the comments box below, or Tweet us at @WQXR #NEASPPA.