Podcast appearances and mentions of Misty Copeland

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A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. For this episode of “Obbligato,” a show dedicated to AAPI classical musicians, composers, and scholars, host Isabel Li interviews Indian American composer Reena Esmail, who blends Hindustani musical themes with western classical compositional styles. Music in this episode: – This Love Between Us “Prayers for Unity”: II. [Sikhism] – Lacrimosa (from Malhaar: a Requiem for Water) – Terra infirma: IV. roaming the ghost forest Transcript Isabel Li: I'm Isabel Li, here for a new edition of “Obbligato,” which explores the AAPI community in the classical music world. Today, we're featuring the Indian American composer Reena Esmail and her unique compositions that blend Hindustani music with Western classical styles and how she writes music about religion, spirituality, and even environmentalism. Welcome, Reena, to Apex Express. Reena Esmail: Hey! It's so great to be here. IL: My first question for you is one that's probably a little bit loaded, but how do you identify and what's your story? RE: I don't know, it's interesting because I work in many different situations, and I think I always identify as the thing that isn't whatever the dominant situation is that I work in. Right? So it's like when I'm in America, I identify as an Indian American. When I'm in India, I identify as an American. When I'm working in Western classical music, I'm the person who knows stuff about Hindustani music. When I'm working in Hindustani music, I'm the person who knows stuff about Western music. So really. Actually, I think of identity not as a fixed thing, but as how you, um, delineate yourself, how you're unique in the situation you're in. You know, it's interesting because especially in the case of Asian Americans, Asia is such a broad thing, right? There are so many more East Asians in Western classical music than there are South Asians. Certainly in my generation. You know, I was surrounded by Chinese, Korean, some Japanese people who were always, you know, playing the piano when I was playing the piano. And, um, there really was not many other Indian people. And, you know, I'll, I'll actually say that even within India, um, you know, if you look at me in America, I'm just Indian. If you look at me in India, I have a very unusual lineage, which is that my dad is from the region of Gujarat and his family is Muslim. My mom is from the region of Goa and her family is Catholic. And so because of that, when I was expressing interest in music, My mom was the one who had more of kind of a musical knowledge in her family, even though there's no professional musicians in her family. So because Goa was colonized by Portugal, there is this element of Western classical music in Goan culture. And so because of that, my mom was like, oh, let's give her guitar lessons, let's give her piano lessons. And so that's how I landed up in Western classical music as opposed to doing Indian classical music. Um, so yeah, I kind of went through the Western classical scene. I was very interested in being a pianist. And, you know, I'm glad that I'm glad I'm a failed pianist in all honesty, because I see what my colleagues who are real, you know, professional pianists have to go through. And I just don't think I have what it takes to do that. It's really an intense job. Um, but when I was in high school, um, one of my theory teachers kind of said, hey, you know, you might be a composer. It seems like you think like a composer thinks, why don't you try composing and why don't you try writing things down? and one thing led to another. And basically a year and a half to two years after studying, I got one of a very few spots in the undergrad program in composition at Juilliard. And that was a point where my parents kind of said, okay, you know, we don't know a lot about the music world, but it seems like if she got into Juilliard, she's probably like somewhat good at this. Maybe we should kind of see how this goes. And, you know, from there on, I pursued composition. IL: And when and why did you start to study Indian classical music, which is a big element in your compositions now? RE: Yeah, absolutely. So I think it's interesting because in every generation, I've seen so much change in how the diaspora views itself. And certainly when I was growing up, you know, I know this is hard to believe, but there were not if you were an Indian going to school, you were kind of the only one. If you were an Indian music, you were kind of the only one. So there was this element where when I went to Juilliard, um, there were I to my knowledge, two Indians in the entire school, me and an actress who had actually come from Calcutta. And so people were trying to, you know, make conversation with me and they'd be like, well, you know, do you do stuff with Indian classical music? And I would just be like, no, I'm trying so hard to even write music for orchestra and, you know, string quartet and all the things that my peers are trying to do. Like, is that not enough? Because I'm Indian, I also have to be doing all this other stuff. And so I resisted it for a long time because I was just trying so hard to do one thing well. But then, you know, I think what, what made me kind of unique is that, you know, I stood out, I was Indian and then, you know, when I was young, that felt really cool. The older I got, the more I thought, well, you know, I know I'm from this culture that has incredible music and I know it when I hear it, I know nothing about it, and maybe I should actually pursue it. And so I really separately kind of started meeting Indian musicians who lived in New York, and I would just ask them questions, and I got to know them. And I realized that while we didn't share a type of music, we did share a culture and we did share a love of music because it is interesting that the culture of Indian classical music is actually quite similar to the culture of Western classical music. You know, you study with a teacher over a really long period of time. You're practicing for hours a day. The kind of personality that would love Western classical music would also love Indian classical music. And so I just made friends with some of these Indian classical musicians. And of course, being a composer, I thought, why don't I put them in my music? You know, how do I do that? And so it was really just curiosity that led me down that path. And for many years, that path was very separate. Because again, I know it's very hard to believe now, but there was a time where people really did not want these cultures to be combined, and people just really looked down on cultures that were not, you know, the dominant Western European classical culture. And so I kept them really separate. And even when I started combining them, people were like, oh, that's sweet. She does stuff with Indian music, you know? And it was really not taken seriously. It's only really in the last decade that people have been embracing other musical cultures. And I mean, how glad I am that that's happening. But it was very, very hard fought and very separate at first. IL: And on that note, how do you navigate the unique challenges of composing with both these cultures in mind, but also being situated in the United States, where people come from all different backgrounds? And how do you as a composer approach that in this context? RE: I mean, I think it's interesting because first of all, I am musically bilingual now, so I can. I went to India, I studied Indian classical music. Seriously. I still work with Indian classical musicians very closely. And so, you know, I can be working on a piece that has Indian classical musicians in it, and I can turn to them and immediately speak in their language and their musical language. And then I can turn to the Western musicians and speak in their musical language. So every single piece I write, especially the ones that involve Indian classical musicians. There is a way through those pieces, both through the Western lens and through the Indian lens. And so I think I'm working in a position where I actually do know how to speak both those languages. And when you do speak both those languages, you know, just the way that if you speak any two, you know, verbal languages, you would know that there are sounds that are cognates. And so you're like, oh, I say the sound. So maybe and it means one thing in one culture and one thing in another culture. But you know that that sound is the same. And so with musical language, you can actually use those musical cognates to connect across cultures by saying, just listen for this thing. And when you listen for this thing, interpret it through the lens of your own culture. So that's certainly how I work. But, you know, I mean, again, I want to say that's not the only way to work. I don't think that you have to be, you know, I mean, again, there's probably most people who are listening to this probably have one musical culture and then maybe they know much less about the other musical culture. That is also fine. You know, you don't need to be an expert in order to want to explore and, and love a thing that's just, you know, where I am because it's the, the center of my musical practice. IL: Well, let's hear a selection from Reena Esmail's oratorio, “This Love Between Us.” This is the second movement titled Sikhism. David Hill conducts Juilliard415 with the Yale Schola Cantorum. [MUSIC: This Love Between Us “Prayers for Unity”: II. Sikhism] IL: That was Sikhism, the second movement from the oratorio This Love Between Us by Reena Esmail, who is here in conversation with me today on KPFA for APEX Express. Something that I really found interesting in especially your work — and I'm sure this has been asked many times, but This Love Between Us: Prayers for Unity. This oratorio that you wrote, beautiful work where you use words from the seven major religions of India. And each movement of the choral work is also named after a different religion. In what ways did you adhere to or challenge norms of spiritual music? Because religion is so religion and music are so deeply tied together. How did you challenge those norms or how did you express those norms when you wrote this work? RE: You know, I think it's interesting because my own spiritual background is very kind of multi spiritual multi-faith. But like I said, my, my father is, is my father's side of the family is Muslim. My mom's side of the family is Catholic. My husband is Hindu. All of them grew up in a very singular practice in each of their religions. But for me, I grew up, you know, around my mom and my dad and then, you know, my husband later. And just there's a part of me that takes in the essence of each of these spiritual traditions. And, you know, I'm trying to kind of find what feels true to me in each of those places. And so to me, you know, this love between us is, is a place where I'm trying to essentially say, yes, we express things differently through whatever cultural, uh, history, that language or that that religion emerged through. And yet we're all trying to get at that same numinous thing. And, you know, I mean, I'm not saying, oh, all religions are the same. Definitely not. You know, there's, there's many different ways to practice things. And, you know, your unique way into your spirituality is your own. And that's, that's amazing. But also, we all kind of our cultures form religions for a certain reason, and it's because we want to try to understand things that are beyond ourselves. And so that's essentially what the piece is saying. So I know I'm sure there are purists who are like, you shouldn't be combining these things, but, you know, there's always going to be purists who do that and there's a role for that. But that's not really my role. So, I mean, I picked the pieces and I picked the religion specifically because of the numbers of people who practice that religion currently within India. And so it is like the largest, um, populations, you know, like Hinduism, Islam, Buddhism, all, all of those things. And then there's one little tiny religion, Zoroastrianism. And while they are not, there's not many of them within India. They are the ones who are practicing Western classical music in India. So people like Zubin Mehta and all, they are Parsis that are Zoroastrians. So I thought, you know, it's important to include them too, because it's a piece that involves a lot of Western classical musicians. IL: I'm wondering now, as a composer who's working with music of different languages and religions and origins and also evoking a lot of these spiritual truths that are pretty universal in nature. What is your view on the function of music? There's the platitude that music is a universal language. Do you how to what extent do you agree with that? RE: You know, yeah, it's hard to, to, um, to think of music as a universal language. But I think sometimes we, how can I say this? It's such a broad question. When we are working in a form that isn't completely narrative, it gives us a little more chance to get at things that don't have to follow logically after one another. They're just feelings that we're able to feel. And I like working even when there are words, you know, there are certainly words in all of these, these, uh, pieces in this love between us. But I feel like sometimes we just feel something within us. And, you know, I experience this a lot when I have a piece performed, people will come up to me and say like, oh, this made me feel like this. And then the next person will come up to me and say, oh, this made me feel exactly the opposite thing. And I, I really love that we can have those experiences. And, you know, recently it's been really interesting because people have been asking these questions like interviewers, you know, before performances will be like, well, what do you want the audience to feel? And I'm like, oh, I don't want to answer that question. I want you to feel whatever you feel. There's nothing right to feel. And often, I mean, I'm not the one to ask. I'm so close to the music because when I'm listening, I'm thinking like, okay, was that C sharp in tune? Okay, you know, that's what I'm feeling. And I certainly don't want them to feel that. So I don't know. I think it's, it's just exciting to see how when we get out of these, what we should do this and this is the right thing to do. And this is the only way to do it. Um, how do we behave? And there are so few spaces left where if we don't say exactly the right words at the right time to the right people, you know, if we don't have exactly the right opinions that everyone around us has, We are so condemned and music might be one of the last places that we're allowed to feel whatever's inside of us. IL: Mhm. That's really interesting to think about. I think art in general is very beautiful because it allows people to interpret it in many different ways. I think for your music, you really draw on cultural specificity in terms of Hindustani music. What advice would you give to other young composers or also maybe artists of different mediums in creating that balance between specificity and universality? RE: Yeah, I think the thing is that the way into a deep practice is specificity. You know, I know people have asked me like, oh, you've done stuff with Indian music. Are you going to do stuff with other music? And I'm like, gosh, there's still so much to explore. I could have like three lifetimes and still not explore everything I want to explore just in the relationship between Indian and Western classical music. I mean, goodness knows I have four degrees in Western classical music, and I still am barely scratching the surface of it. Right. So I kind of feel like specificity is important because it allows you to access depth. And yet, you know, when you are specific about a certain thing, um, like for instance, like a scholar who only speaks Italian, I mean, they're going to know more than someone who maybe speaks five words of each language, right? So they can transfer over at a higher level and make more sophisticated points and understand the world with a more universal lens if they've gone really deep on one thing. So I would say, you know, to young composers, to young musicians, pick one practice and know it really, really well and deeply become go as far as you possibly can and then, you know, try to see if you can find relations between your primary practice and a different practice. Um, and I mean, some people, you know, I know in this generation that's coming up, that's like in their teens and twenties, there are South Asian, uh, kids who are here whose parents have come from India that are learning Indian and Western classical music side by side. And I think that's great. I mean, that's awesome. But I would also say make sure you don't just learn halfway. Both of those things, you know, if you're going to learn them, if at least with one thing, try to go as absolutely far as you can. IL: Let's hear another example of Reena Esmail's bilingual musicality with her work, Malhaar: A Requiem for Water, which was recorded fairly recently. The vocalist is Graycen Gardner with the choir conducted by Amy Fogerson. [MUSIC: Lacrimosa (from Malhaar: a Requiem for Water)] IL: Composer Reena Esmail used Indian classical instruments in that work, titled Malhaar: A Requiem for water. The vocalist was Graycen Gardner, with the choir conducted by Amy Fogerson. Percussionist was Rohit Panchakshari. I'm Isabel Li in conversation with composer Reena Esmail on this edition of Apex Express here on KPFA 94.1 FM. So when you integrate Hindustani classical Hindustani music, Indian classical music and those instruments into your scores, did you happen to did you have to develop a way to translate the notation of those notes in Western classical music notation, or vice versa? RE: Yeah, it it begs the greater question of what is notation for? Right? Because notation is essentially a way for Western musicians who read notation to look at a thing and be able to associate sounds with that thing. And so when I'm notating for Western classical musicians, I'm saying, okay, what is a cellist typically seeing and what are they doing based on what they're seeing? And then how can I take that language that they know really well that they play in Bach suites, that they play in Elgar, Cello Concerto, whatever it is, how can I take that language and just move it, you know, a couple degrees outward so that they're able to express different things, right? And so it's very much a psychological thing. You know, it's not a science the way that we think of it as and we learn it as this, oh, you know, eighths and sixteenths, and they divide this way. There's a lot you can do just to make someone feel a certain way with notation. On the other hand, if I'm writing for a sitar or tabla, the question is what? What is the role of the notation? Because the role of the notation for tabla player who has only Hindustani training and doesn't read music. It's certainly not for the tabla player that I'm doing the notation. Usually what I'll do is sit down with the tabla player in a, you know, more Hindustani style and say, hey, this is what I want. I want you to have like six overtones of teental. It should be at this tempo, blah, blah, blah. And they're like, oh, got it. I see what you want me to do. Right? And so all you need to figure out is the alignment points with the Western classical musicians. And so then the notation I put in the score is not really for them. It's for a conductor, for the Western musicians to be able to understand what they are doing and to be able to cue them in and help them kind of be in dialogue to one another. So it's interesting because, I mean, these days now I'm finding that there are tabla players who are both Indian and Western classical trained, and they want a part, but parts are not a thing. When I first wrote This Love Between Us, there were no parts for the tabla and sitar player. I actually had a cue sheet that I would actually point to as they were going, so that they knew, you know, what the different cues were because a part, you know, counting rests and stuff is not going to help them at all. So I think it's mostly trying to understand how is someone perceiving something and how can you give them the information they need in the most seamless way possible so that you can express what you want to express? IL: I love how technical that entire rundown was. I also wanted to talk a bit about your work, Terra Infirma, which is pretty recent. I had the honor of attending the premiere of Terra Infirma, a harp concerto that you composed based on your experiences with the Los Angeles fires in January of 2025. Um, it was such a wonderful work. I personally really loved hearing how you musically depicted the progression of a wildfire from despair to hope. It's also not the first environment based piece that you've written. YYou've written, for example, Earth Speaks in 2015. How do you approach composing works that are so rooted in environmentalism? And of course, have, have the undertones of speaking to the larger climate crisis at hand? RE: The thing that is interesting is, you know, someone was asking me about that piece, you know, you, you're, they're asking like, how do you kind of deal with activism in your work? And I was saying like, you know, I don't really think of myself as an activist because I think these issues are so fundamental to all of us, right? It's like you turn on your tap and you're just afraid that there's only going to be so long before water stops coming up. That's not, um, it doesn't feel like activism. It just feels like, you know, fear and it feels like we're tapping into these human emotions where people are so worried about what's going to happen. We don't really know what to do. And I think, you know, with anything, most people who have fear about things, you're going to just clam up if you feel that it's too, um, too much to deal with. And it is I mean, the environmental crisis is so huge that I think most people are just clamming up. And I guess, you know, what is our role as musicians? I think it's maybe to have some moments where we're not just like on our phones, seeing pictures of things burn down and freaking out where we can actually take some time to just reflect and be with one another. Because if we're going to solve this, it's going to be together and we need to come to some kind of like calm understanding of what is happening. And so a lot of my pieces are not accusatory. They're not, you know, pointing a finger. They're not supposed to rile people up. They're supposed to actually depict that experience of what it feels like to really sit with a hard thing for a long time and come to terms with it and then figure out how to move forward. And that's certainly the case with Terra Infirma and certainly the case with my Requiem. Certainly the case with curiosity, like you were saying, it's from Earth Speaks, which is many years ago. And that piece actually talks about the, the Pasadena institution's. It was actually for an organization called Pasadena Master Chorale. They commissioned the work many years ago. And what's so funny is I now live in Pasadena. I live in Altadena, up in the hills. So it's I wasn't living here at the time, but it is, you know, a place where many scientific institutions like the U.S. Geological Survey, you know, JPL, Caltech, all these places that are really exploring the environment in important ways are based. And so the piece kind of honors that and honors how we can interact positively with our environment. We can get data, we can find ways to do things that are, I mean, beyond my understanding, you'd have to ask a scientist, but but I just love that that we're in this place that sees the environment as something to understand more deeply instead of something that's just going to turn on us at a certain point. IL: Certainly. And I'm really curious, because Terra Infirma is also a work that was paired with multimedia animation and performance. Was there anything in your compositional process that differed when you're collaborating across these different mediums? RE: Yeah. So it's interesting because so the, there was, there were projections that were happening. And also in addition to that, it was a harp concerto, but a harp concerto where the harpist was also playing percussion. And so there were some elements that were so different than what would be typically like if harpist was like, I want a concerto. You would just be like, okay, you know, she sits there, she plays these notes. They're in that one position. That's all fine. Um, there was so much more, you're right with this piece than with, um, with my normal pieces. Um, and to me it's both, how can I say this? There's, there's such a different way I have to think about it, but I think that way starts with collaboration. So Yolanda Kondonassis, the incredible harp player, and Camilla Tassi, who was the production designer. These are people I know well and I've had multiyear relationships with. And so when you're thinking about how to build something, you're totally aware of what their work is like. I knew kind of the not even what Camilla's projections were going to look like, but the way that they interact with things. We've done projects together before. And so I pretty much had the sense of how she was going to respond. And I knew what she needed to know in order for her to do her work and make things kind of match up with one another. And then also with Yolanda, a lot of the stuff I put in that was like harp and percussion together. It wasn't something that I was making her do, right? It were things that we came up with together. We've spent so long workshopping things in percussion studios in, um, you know, we've met in all these different cities and we're basically like banging things against a harp and doing, you know, just so much experimentation. So for every technique you see in the concerto, you, um, you basically there's like ten things that we didn't do that didn't put in. So you're really only seeing the best of all the kind of crazy stuff that we tried. So I do think the thing is that when you're trying to invent something new and you're trying to invent new styles and new techniques, I mean, you can think of anything, but you're trying to find the things that A practically work and B allow the performers and the artists to really express themselves. So I found that I was actually choreographing the piece before I was composing it, um, that I had to figure out, okay, where are these percussion setups going to be? What are the instruments that I want? Okay. Are these chimes going to be like over her head? Or is she going to have to reach really far to get them? Are they going to be near the low end of the harp? Things like that that seem so practical. But the difference between having to reach out far and slowly versus having to like, quickly swat something near your ear, right? It makes a different choreography. And so I thought that way first. And then I kind of put the notes and rhythms and melodies and stuff in. IL: Let's now hear a selection from Reena Esmail's Terra Infirma. This is the fourth movement titled “Roaming the Ghost Forest.” Yolanda Kondonassis is the harpist with the Interlochen Center for the Arts Orchestra. [MUSIC: Terra infirma: IV. roaming the ghost forest] IL: The harpist was Yolanda Kondonassis with the Interlochen Center for the Arts Orchestra, playing the fourth movement of Terra Infirma by composer Reena Esmail. I'm Isabel Leigh, and in this episode of Apex Express, I'm joined by Reena Esmail, the composer, in conversation about her music and her approach to making art. Something else that I really was fascinated with on your on your Instagram account. You actually made a post a while back that I found to be very powerful. It's pinned as the letter to the young artists' immigrant parents. It's such an empathetic message that I also really relate to as a daughter of immigrants in the arts. And you kind of argue that these children's pursuit of the arts is a tribute to their parents immigrant struggles. Um, what motivated you to write this letter? RE: You know, I'm so glad you asked about that because so much has changed since I wrote that letter in a really good way. You know, first of all, I will say that when I wrote that letter, if you weren't a child of, you know, like Asian immigrant parents, you. And actually, I think this is true for most immigrant parents who, you know, have kind of given up everything to move to America so that their kids can explore all these opportunities they wouldn't get in their country of origin. When I first wrote this letter, it was really just, I felt like I was saying something really new. And now I think what's really interesting is that we have both parents who understand this and, um, kind of almost this parody way of seeing what Asian parents are like. Right. For me, one thing that I, that just makes my heart sing is the comedy of Zarna Garg. I don't know if you know who she is, but she is like an Indian American comic and she plays this role of being like this very typical Indian parent. And I will say, my parents weren't really like this because again, they were two different religions and married one another. So they were already quite open minded. But like 99% of Indian parents and even my parents, sometimes they have this thing of like, well, ‘why are you going into this?' Like you should make money, you should do this stuff. And I feel like, um, since Zarna's comedy came into the world, it's such an easy way to just point a finger at that and say, hey, this is what we're really dealing with as Indian immigrants. And, you know, we all just laugh at it. And I find that, you know, sometimes my friends who are just, you know, white Americans who have been in this family has been in this country for many generations. They don't get it. But like anyone who's a child of immigrant is like, oh yes, I completely understand what she's saying. So we have that. And I think that's really healthy and awesome. And she's very talented. Um, and on the other hand, I found that when I was first going into music and I mean, I, you know, when I was 18 and I was going to go to Juilliard, my parents were certainly supportive and curious and wanted me to do whatever they thought I might be good at enough to make a living and didn't want to optimize for, oh, you need to earn the most money or you need to, etc. but most other Indians around us were like, oh my God, she's so smart. Why is she like wasting her life doing music? You know, that was kind of the dominant narrative. And so I had to become very good at explaining why. And imagine my complete disbelief when I would go to conservatory and meet people whose parents had encouraged them to do music. I was like, what is happening? Like, we're like, there'd be four siblings and all of them would be in the arts. And I was like, oh wait, you're not the black sheep of your family. Like, I mean, half of my family, I don't think really knows what I do still even. Right? And so to me, it was so important to provide some kind of context. And like you said, it's like to, to come to this country and be an immigrant and to come with a lot of skills, but to have to just work in silence for so many years with no congratulation, with no one just constantly propping you up. That is what being an artist is. And you know, it's only maybe the past 10 years of my career that I've even been visible to people. Before that, it was just me doing my thing and like, no one cared about it. It was not not glamorous at all. And for me, that's what built the kind of strength in me to be able to sustain the career that I have now. And so I think if it had been a little too easy, I don't know that I would be able to handle, um, the, what I have now. So I think what's great though is that the Indian parents of kids who are teenagers and in their twenties nowadays are not coming to me being like, oh my God, what do I do with this kid who wants to be a musician? I've failed as a parent. Which again, for those of you who are not Asian, this is totally a true thing out there. They will come to me and say, hey, look, my, my child doesn't wants to be a musician. I want to help them. I can't tell like, are they good at this? Where should they be? Can you help me understand things? And that is really what my parents did. And I will, you know, kind of go further to say — PBS did a special on me a number of years ago, and I insisted on putting my parents in this special because I wanted people to see what it looked like to have really encouraging Indian parents who, again, they weren't going in blind. They were. They would go to my teachers and be like, well, I mean, is she good? Can she do this? We don't know what these answers are. Can you help us understand? And they really relied on the right people to be able to help me get to places that they couldn't get, but they also weren't just immediately dismissive of it. And that's what allowed me to kind of have a massive advantage, because I didn't have to also go back to school and do a medical degree. Or like most of my my peers of my age actually did. So I wanted to put them on that special to actually show that that is possible. And I'm seeing more and more that it is. There are many more parents like that now. And oh my goodness, I love every one of them. IL: That's wonderful. When you look back at your compositional career and how everything has changed since then, how do you think your work has evolved? RE: Oh, so you mean like since I began being a composer? IL: Yeah. Or maybe in the past ten years, even. RE: Yeah. It's interesting because I think one of the big inflection points in my work was when I did my Fulbright in India. So before that, I really didn't know very much about Indian classical music. And then the year before that, I really started to get deeper and started to integrate my Indian and Western classical world with one another. And then, you know, I from 2011 to 2012, I went to India and what was so different was actually seeing the music in its culture and actually getting to participate as an Indian in India, studying Indian classical music. Right. Because there's no filter. You're not going through a Western filter. You're just there in this culture. And I know that many of my Indian teachers, they kind of had this attitude of like, look, we don't know what kind of music you were doing before, but we're so glad you're here and studying your own music. And this is great. And so there wasn't this sense of having to go through another culture to get to their, their music. And to me, that really changed things because I don't see myself as writing music. That's one through the conduit of the other. I just see it as two streams that are equally incredible and equally independent, and they just meet each other in these interesting places. IL: And looking ahead into the future, is there an ensemble or an artist who you haven't worked with before that you'd love to work with? Ooh. It's interesting because, like, almost everyone who comes to mind is not a musician. Um, I've worked with so many. I mean, truly, I've been so lucky to work with musicians like Gil and Orli Shaham. Yolanda Kondonassis. I'm writing a piece for Hilary Hahn and Matthias Goerne right now. It's I mean, just like literally anyone who I could ever ask to work with, I have. I don't know. I mean, to me, it's like, gosh, someone like Misty Copeland would be amazing. Like, you know, there are so many actors like the world of Indian/South Asians in comedy and in drama and stuff like that is just incredible. People like Mindy Kaling who have done incredible things to me, people like that are just going outside of just music would be fascinating to me. IL: Absolutely. And I will put a link to your website, as well as the links to the music that will also be aired on this in this episode on KPFA.org, so our listeners can learn more about you and your wonderful work. Well, Reena, thank you so much for your time and thank you for talking to me today. RE: Absolutely. The post APEX Express – 8.06.26 – Obbligato – In Conversation with Composer Reena Esmail appeared first on KPFA.

Misty Copeland is the truest definition of the trailblazer, most notably making history as the first Black woman to be promoted to a Principal dancer at American Ballet Theatre. After 25 years with the company, she took her final bow last fall...and yet her life's work has only just begun. Through the Misty Copeland Foundation and her role on the boards of Lincoln Center and other arts institutions, Misty today has a seat at the table to drive change and create a more inclusive future for all dancers. She joins us to share how, and takes us through her singular career journey.0:00 - Introduction2:18 - Healing from Hip Replacement3:40 - Growing Up In Survival Mode6:50 - Discovering Dance at 1310:33 - My First Ballet Teacher Changed My Life16:30 - Pursuing a Career & American Ballet Theatre23:15 - Moving to New York at 1724:24 - Do Dancers Get Career Advice?29:12 - Injured The First Year at ABT33:14 - How Prince Became Her Champion37:32 - Pancaking Ballet Shoes40:29 - Advocation For Yourself43:46 - Promoted To Principle Dancer52:32 - Taking a Final Bow58:01 - Advice For Future Trailblazers55:07 - The Misty Copeland Foundation & Retired Life58:40 - Advice For Future Trailblazers1:00:03 - Would You Rather?On Sali: Argent Double Breasted Blazer, Tank, and Single Pleat TrouserOn Misty: Argent Slim Blouse and Soho TrouserHosted by Sali Christeson @salichristesonProduced by Gina Marinelli @ginaalilbitEdited by Ryan Woldoff @c__bizTheme Song by Karina DePiano @sheplaysdepiano & Melanie Nyema @melanienyemaRecorded at Podstream Studio @podstreamstudio

If you are a brand experiencing massive growth, your first instinct might be to just keep doing exactly what you've been doing.  Luckily for Thorne consumers, Mary Beech, the brand's chief growth officer, and Ivan Kayser, the CEO of Redscout, refuse to do anything but. In this episode, we're taking a fly-on-the-wall look at how Beech, Kayser and their teams worked together to define Thorn''s brand identity based on two key insights stemming from their joint brand research: the importance of Thorn''s clinical, scientific rigor and the consumer's deep desire for personalization.  They also share the secret behind their highly successful client-agency partnership, which starts with early morning breakfasts in Brooklyn, creating crystal-clear briefs and a simple golden rule: Don't hire jerks. Both Beech and Kayser also discuss their take on the brands that have successfully transitioned from challenger brands to innovative leaders within their industries simply by "breaking the rules.” The sound bite "Authenticity comes first versus fame." The stories Lana Condor and Misty Copeland tackle once-taboo topics in Thorne's new campaign Ciara and Thorne ‘level up' creatine marketing with new stigma-busting campaign Thorne debuts on-the-go products through cinema-esque ad featuring Ben Shelton The key takeaways Don't settle for complacency. Innovate for the benefit of the consumers. When a brand is experiencing high growth, the instinct is often to just repeat the exact same tactics. However, marketers should take the time to extract the underlying strategic lessons of why those tactics worked, which allows the brand to diversify its marketing mix and experiment with intentionality. Differentiate between category table stakes and true brand differentiators. Consumers will often state that certain product features like scientific excellence and rigor are essential. But what's important to the consumer does not always fuel brand differentiation. Marketers must position the brand against the insights that actually drive preference and interest. Define the brand's “vibe” for the upper funnel. Lower funnel marketing can easily rely on specific claims, product stats or transactional hooks. However, when shifting spend to upper funnel awareness, the messaging gets "vibier," requiring the brand to be crystal clear on exactly what they are communicating to the consumer. Design brand strategy for daily execution. A strategic positioning is useless if it just looks great on a wall or sits in a drawer. Brand strategy must have an orientation toward execution, providing tangible guardrails, messaging guidelines and tone directions so the creative teams can actually run with the work. Establish a strict “order of operations” for messaging. To maintain a cohesive strategy across all touchpoints, establish clear rules for how the brand speaks. For Thorne, the strategy was “know me, show me,” meaning the brand had to prove it had an understanding of the consumer first, and only then provide the scientific proof points in response. Target potential advocates, not just viable buyers. When conducting audience research, the goal should not just be finding out who you could target, but who you should target. Marketers should look for consumers whose behaviors, identities and motivations make them natural advocates and referrers for the brand. Prioritize relatability over sheer fame. When choosing brand ambassadors, avoid using celebrities simply as a stamp of quality or relevance. Thorne tapped into talent including Misty Copeland, Lana Candor and Ben Shelton, who have authentic stories and personal journeys of product discovery that the target audience can relate to and feel seen by. Build the brand foundation before bringing in talent. Launching a foundational brand campaign without a celeb forces the marketing team to crystallize their tone and message independently. By not letting talent become the foundation, the brand builds a strong core that subsequent ambassador campaigns can securely build upon. Treat agencies as an extension of your internal team. Brands should approach hiring agency partners with the same mindset as hiring internal employees. Rather than just chasing agencies with awards, hire nice, smart people who will make the team and the work better. As Beech states, “I don't hire jerks.” Avoid “garbage in, garbage out” briefs. Agencies cannot be expected to work miracles if the client hasn't defined the core problem first. Marketers must take the time to thoroughly prepare a brief, defining exactly what they want out of the work and what the expected business impact should be before handing it off to creative partners. campaignlive.com Music - Take you Out by Lucid Tides, courtesy of Triple Scoop. What we know about advertising, you should know about advertising. Start your 1-month FREE trial to Campaign US. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Diadie Bathily is on a mission to share his culture. Born in Ivory Coast, he's taken his knowledge of traditional West African dance around the world. That love for dance and culture led him to call St. Louis home and thrusted him into the spotlight at the 98th Academy Awards, alongside ballet star Misty Copeland, for a performance of “I Lied to You” from the “Sinners” soundtrack. Bathily shares what the Oscars performance means to him, his mission to share West African cultures and leading his dance company Afriky Lolo for 20 years.

Learn when you listen. Know your strengths can be weaknesses. Take your space before someone takes it for you. This 200th 'Best of' episode collects hard-won lessons learned and one-of-a-kind moments from this podcast's past 6 years. Listen to the late Jane Goodall recall a transformative run-in with a grumpy cabbie or hear the critical question that helped AWS teams get future-ready. It's a hit parade of top names, from IKEA to Microsoft, from Misty Copeland to Matt Damon, drawing insights and turning points that have shaped CEOs, startup founders, actors, activists, fashion designers, AI pioneers, best-selling authors and more find solutions and drive meaningful change.  In this episode: Unexpected turning points Jane Goodall, Jane Goodall Institute, on connecting with people you disagree with (Recorded 2021) Al Gore, Former US Vice President and founder of the Climate Reality Project, on his climate  communication turning point (Recorded 2021) An AI Powered Future Swami Sivasubramanian, AWS, on the question that got teams future-ready (Recorded 2024) Adam Grant, organizational psychologist and Wharton professor, on how to practice the soft skills an AI era will need most (Recorded 2025) Suleika Jaouad, best-selling author, on thinking beyond our 'resume virtues' (Recorded 2026) Bringing people together: Diane von Fürstenberg, fashion designer, on a habit she swears by (Recorded 2024) Misty Copeland, ballerina and activist, on unlocking potential (Recorded 2025) Jagan Chapagain, IFRC, on why effective listeners are learners (Recorded 2024) Brad Smith, Microsoft, on having a personal sounding board (Recorded 2024) Seeking innovation Matt Damon and Gary White, founders - Water.org, on the value of experimentation and failure (Recorded 2026) Nela Richardson, Chief Economist - ADP, on thinking outside the box (Recorded 2024) Gail Whiteman, Rainn Wilson, Arctic Basecamp on rethinking communication (Recorded 2023) Advice they swear by Daphne Koller, AI pioneer and insitro founder, on how strengths can become weaknesses (Recorded 2024) Fidelma Russo, CTO - Hewlett Packard Enterprise, on knowing yourself (Recorded 2024) Ulrika Biesèrt, CHRO - Inkga Group / IKEA, on taking your space (Recorded 2024) Meeting the moment Jonathan Reckford, Habitat for Humanity, on how serving others to bridge division (Recorded 2024) John Amaechi, psychologist, leadership expert and author, on finding your inner giant (Recorded 2021) David Miliband, IRC, on how leaders can navigate an increasingly disordered world, and the change that will be needed next (Recorded 2025) Related episodes:  Meet The Leader - Adam Grant: Future leaders won't succeed without this key trait Watch here - YouTube: https://www.youtube.com/watch?v=buVVIpttzUA Meet The Leader - Ballerina Misty Copeland: Unlocking potential and a leader's most 'vital' role Watch here - YouTube: https://www.youtube.com/watch?v=qNwmJJMRt4o&t=1s IRC's David Miliband: How leaders can meet the moment in an increasingly disordered world Watch here - YouTube: https://www.youtube.com/watch?v=ABadygYvsZ0&t=16s Listen here - Spotify: https://tinyurl.com/42hzpvvmRead here - Transcript: https://tinyurl.com/3vk4723b Matt Damon and Gary White: Why the Global Water Crisis Is Really a Finance ProblemWatch here - YouTube: https://www.youtube.com/watch?v=d95kccQuFUk Listen here - Spotify:  https://tinyurl.com/ybwhf395 Read here - Transcript: https://tinyurl.com/b8a2sr34

Ladies, we have another very sexy episode for you today...all about Kristin's latest medical developments. After all, according to Misty Copeland, hip replacements are the hot new thing...(right?). SEE US ON TOUR:https://www.imomsohard.com/Get our sponsor DISCOUNT CODES here!https://linkin.bio/imomsohardpodcastIf you are interested in advertising on this podcast email advertising@pionairepodcasting.comTo request #IMOMSOHARD to be on your Podcast, Radio Show, or TV Show, reach out to talent@pionairepodcasting.comFOLLOW US:Facebook: https://www.facebook.com/imomsohardInstagram: https://www.instagram.com/imomsohard/Twitter: https://twitter.com/imomsohardThis podcast is for entertainment purposes only. Views expressed on this podcast solely reflect those of the host and do not reflect the views of Pionaire.

These women changed the world. Nobody told you about them.In this Women's History Month special, Dali Rivera takes you on a personal journey from her childhood dreams of becoming everything from a pilot to an architect, through 10 years of military service as a mechanic and drill sergeant, all the way to her calling as a bullying prevention educator. Along the way, she spotlights the women from her 2017 book "Embracing Differences: 21st Century Women Debunking Stereotypes" and the trailblazers who deserve a seat at every dinner table conversation this March.You will learn about:Olga Custodio, the first Latina to complete U.S. Air Force military pilot training and the first Latina captain of a commercial airliner at American Airlines.Simone Manuel, the first Black American woman to win an individual Olympic gold medal in swimming at the 2016 Rio Olympics.Peggy Whitson, a biochemistry researcher who applied to become a NASA astronaut for 10 years before becoming the first woman to command the International Space Station.Misty Copeland, the first African American female principal dancer with a major American ballet company.Isabella Springmuhl Tejeda, a Guatemalan fashion designer with Down Syndrome who became a prominent figure in the global fashion industry at just 19 years old.Aja Brown, the youngest and first female mayor of Compton, California, elected at 31 after defeating 12 candidates.Shayla Rivera, an aerospace engineer and former NASA rocket scientist turned keynote speaker, author, comedian, and TV host.Graciela Tiscareno-Sato, a Mexican American Air Force veteran, KC-135 aviator, award-winning entrepreneur, and author of the Goodnight Captain Mama book series.Stella Prezeres, a researcher who successfully grew passion fruit in desert conditions through a USDA experiment in Riverside, California.Erin Schrode, the youngest woman to run for Congress at 25, and co-founder of the nonprofit Turning Green.And Dali herself, a Nicaraguan-born Army mechanic turned bullying prevention educator, who found her voice through women and gender studies and never stopped using it.This episode is for every parent raising kids who need to know that women have always been builders, leaders, inventors, and pioneers. Share it with them.Connect with DaliTalks: Website: https://www.DaliTalks.comSubscribe for weekly episodes on conscious parenting, family leadership, and raising empowered kids.

Ballerinas and Basketballs! Welcome back to an EXCITING new episode of The Weekly Sports Show. Pepper Persley is here to talk about Misty Copeland coming out of retirement and the Oscars and she gives us a sneak peek at her Final Four picks for WBB!  Catch new episodes every Thursday as we bring you all of the news in Women's Sports.

The internet was all in on Timothée Chalamet's Oscars run last year for “Marty Supreme” (guilty as charged). The Academy? Not so much. The ping-pong flick struck out, Chalamet walked back his ballet take, and he left empty-handed. Meanwhile, ballerina Misty Copeland had a front-row seat, performing onstage during Sinners' “I Lied to You.” She joins us on Well Played to talk about getting the call from Ryan Coogler, what society gets wrong about women's strength, and her journey back after hip replacement surgery. In this episode of Well Played, we also cover: Chloe Kim and Myles Garett's unlikely matchmaker  Boston Legacy's record-breaking home opener – and why the record won't last long Misty Copeland on how she gained a newfound strength post-retirement How Oksana Masters went from orphan in Ukraine to most decorated Paralympian Where to find our March Madness brackets Send Its:  Dua Lipa, Callum Turner, and Jannik Sinner give us a lesson in body language: https://www.instagram.com/reel/DV4oi-7D4DV/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==  Indian Wells' Whitney Houston challenge: https://www.instagram.com/reel/DV1Xi3GigJ7/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==  Learn about Chandler Bing: https://vucommodores.com/roster/chandler-bing/  Christian McCaffrey goes to (fashion) jail: https://www.instagram.com/reel/DV0Apt5jR1j/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==  Bonus: Oksana Masters article from “The Player's Tribune” https://projects.theplayerstribune.com/oksana-masters-the-hard-part-out-loud/p/1  Follow Misty Copeland: @mistyonpointe Learn about Aveeno x Togethxr's "The Strength Issue":  @aveeno   @Togethxr  Follow Well Played: @wellplayedbytheskimm Follow Blake: @blaaakkkke Follow Caroline: @cghendy Learn more about your ad choices. Visit megaphone.fm/adchoices

We're rooting for everybody Black! In this episode, Shelby and Laura review the 98th Academy Awards celebrating the best in film! We break down and review cinema's biggest night, so you don't have to. One Batte After Another and Sinners had a big night, despite some production flops!We dissect the Timothee Chalamet ballet and opera drama, rave over Misty Copeland's cameo in the "I Lied To You" performance, and argue why One Battle After Another is deserving of Best Picture. We reviewed many of the 2025 and 2024 Oscar nominees and winners. Check out our podcast episodes on ⁠Wicked⁠, ⁠Gladiator II⁠, ⁠Inside Out 2⁠, and ⁠Cannes Film Festival 2024⁠.Interested in more awards content? Check out our podcast episodes on ⁠The Grammys 2025⁠, ⁠The Oscars 2024⁠, and ⁠The Oscars 2023⁠. ⁠⁠⁠⁠⁠To stay up to date on all things SWW:Follow @SistersWhoWatch on all social media channels (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠LinkedIn⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠)Subscribe to our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ channelCheck out our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and fill out the contact information formWhat should we watch next? Email us at ⁠⁠⁠⁠⁠sisterswhowatch@gmail.com⁠⁠⁠⁠⁠ or DM us on ⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠ with your suggestions.Thank you for listening and we appreciate your support! Please rate, subscribe, download, share, donate, and leave us a review :)

Leonardo DiCaprio has brought a 27 year old to the Oscars!!! The Bridesmaid's reunion, Actors who were snubbed and Misty Copeland cameo. Target is saying goodbye to Toys and Dolly Parton is fine! Jen Kaluza - Executive Director, Memorial Blood Center joins the show as a part of our She Speaks Series. Find a location near you for Memorial Blood Centers HERE.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

As promised, MacKenzie Green and I share our Oscars reactions, and thoughts on just about everything:  - Awards season and Oscar campaigning  - Timothée Chalamet discourse  - Misty Copeland's performance  - Sinners on Broadway??  - Criticism of Sean Penn winning Best Supporting Actor  - The historical context of Black Oscar winners, and why Michael B. Jordan's win is so HUGE - Comparisons to past controversial Oscar wins (think Green Book vs Black Panther)  - Distinctions between authentic cultural storytelling (like Sinners) and films by those outside the culture for performative or superficial benefit  Check Out Author Social Media PackagesCheck out the Bookwild Community on PatreonCheck Out My Stories Are My Religion SubstackGet Bookwild MerchFollow @imbookwild on InstagramOther Co-hosts On Instagram:Gare Billings @gareindeedreadsSteph Lauer @books.in.badgerlandHalley Sutton @halleysutton25Brian Watson @readingwithbrianMacKenzie Green @missusa2mba

It's Pop Culture Thursday! Jared riffs on the wildest celebrity headlines of the week

Timothée Chalamet has come for ballet and opera. In an interview with Matthew McConaughey ahead of the Oscars he said… “I don't want to be working in ballet or opera or things where it's like, ‘Hey, keep this thing alive even though it's like, no one cares about this anymore.'” And, well, it turns out he was wrong, because lots and lots of people have been defending the industries with tons of passion. And it did get us thinking - how do ballet and opera sales compare to how they have done in the past? Do many people watch them? What are people in the industry, like Misty Copeland, doing to get more people into theatres? We get into it with Chelsea from the What in the World team (she's also a ballet dancer, but sadly has never made it to a professional stage). And we hear from people who love ballet and opera, including two professional ballet dancers for The Australian Ballet and The National Ballet of Canada.Instagram: @bbcwhatintheworld Email: whatintheworld@bbc.co.uk WhatsApp: +44 330 12 33 22 6 Presenter: Iqra Farooq Producers: Emily Horler, Chelsea Coates and Ash Mohamed Video producer: Baldeep Chahal Editor: Verity Wilde

We are delighted to share the 11th episode of the SHE Talks podcast, presented by the Beazley SHE Network, just in time to kick off Women's History Month. Join our host, Gaby Martineau and special guests Melanie Carter, Denis Panariti, and Tammi Bedolla as they spotlight the first Black female principal dancer at the American Ballet Theatre, Misty Copeland.  Topics and questions discussed in this podcasts include:How important is it to have advocates and allies coaching you in your career journey?What does it really take to “get ahead” for someone who is ambitious about their own career trajectory?Our discussion panel's experiences with ballet as an art form and entertainment, and which of us might have taken dance classes growing up?Support the show

Virginia Johnson of Dance Theatre of Harlem and Misty Copeland of American Ballet Theatre discuss their own training, the universality of performing classical ballets, the responsibilities of role models before and after the emergence of social media, and how dance skills can prepare young people for careers beyond the stage. Recorded during a 2014 PillowTalk moderated by Maura Keefe.

Big Books and Bold Ideas host Kerri Miller interviews a lot of authors over the course of a year. But some conversations stand out for being especially fascinating, delightfully fun or unexpectedly candid.Last week, we unveiled three of Miller's top five favorites from 2025. This week, the final two — plus one surprise. 2025 Best Book Roundups MPR News staff picks The 43 best books MPR News staff read in 2025 From NPR Hunker down with these 13 mysteries and thrillers from 2025 From U.S. libraries Genre fiction and female authors top most-borrowed lists in 2025 If you want to hear the full episodes, you can find them here: Misty Copeland at Talking VolumesCatherine NewmanKate DiCamillo Big Books and Bold Ideas is produced by Kelly Gordon and engineered by Cliff Bentley. Here's to more great books and more fascinating interviews in 2026.

Misty Copeland is one of the most famous ballerinas in the world—the first African American woman promoted to principal dancer at American Ballet Theatre and a cultural icon whose influence reaches far beyond the stage. In this inspiring conversation with Ginny Yurich, Misty reflects on her unlikely beginning: a shy, introverted thirteen-year-old living in motels who found her way into a free ballet class on a Boys & Girls Club basketball court. Movement became her lifeline, offering stability, confidence, and a sense of belonging she had never known. Misty reveals how discovering ballet “late” became her superpower and how exposure, encouragement, and one adult who says try this can alter the entire trajectory of a child's life. Ginny and Misty explore what embodied, hands-on experiences give children in an era dominated by screens including resilience, emotional release, friendship, leadership, and a much bigger sense of what's possible. Misty shares the mission behind her Bunheads series, Firebird, and the Be Bold Foundation, as well as her new Be Bolder program for older adults, each designed to expand access to movement and the arts. This episode is a powerful reminder that childhood doesn't need to be accelerated; it needs to be lived in motion. When we give kids space to move, explore, and follow their curiosity, we're not just filling their time—we're opening entire worlds. Get your copy of Life in Motion here Get your copy of Bunheads, Act 2 here Learn more about your ad choices. Visit megaphone.fm/adchoices

How did Misty Copeland break barriers and become one of the world's most famous ballerinas? In this powerful talk, she charts her rise from childhood adversity to history-making dancer at the prestigious American Ballet Theatre — and gives a peek at what she plans to do next. Hosted on Acast. See acast.com/privacy for more information.

Ballet superstar Misty Copeland reflected on her groundbreaking career, the power of representation in the arts, and her journey to becoming the first Black principal dancer at American Ballet Theatre. Next, bestselling author Rebecca Yarros shared the story behind her Fourth Wing series, the impact of BookTok, and how her life as a mother, military wife, and advocate for chronic illness shapes her writing. Conversation recorded on Thursday, Nov 20, 2025. Event sponsored by AARP.

Misty Copeland broke barriers in 2015 when she became the first Black woman to be named Principal Ballerina at the American Ballet Theatre. She didn't begin dancing until she was 13—and once she found ballet, she leapt fearlessly into her future. Now, Misty is opening doors for girls who never saw themselves represented in ballet, proving that talent, passion, and courage—not background—determine who belongs on stage. This podcast is a production of Rebel Girls. It's based on the book series Good Night Stories for Rebel Girls.This episode was narrated by Jasmine Wilson. It was produced and directed by Danielle Roth, with sound design and mixing by Marina Piaz.The story was written by Danielle Roth and edited by Haley Dapkus. Fact checking by Sam Gabeur. Production coordination by Natalie Hara. Haley Dapkus is our senior producer. Our executive producers were Anjelika Temple and Jes Wolfe.Original theme music was composed and performed by Elettra Bargiacchi.A special thanks to the whole Rebel Girls team, who make this podcast possible! Until next time, stay rebel!

It's all politics and bull**** in these streets and we are here for it. The blue wave was in effect but will it last? Also, we give Misty Copeland her much deserved flowers. And, Hip-Hop stay winning. If you want to join us on an episode? Drop a topic you'd like to discuss with the hashtag #TalkMyIsh in the comments. If you are chosen, you must be ready to be on the podcast. Don't be scuured!!Become a Habitual Ish Talker and follow us on The App Formally Known As Twitter: twitter.com/TalkinIsh_PodJoin in on the conversation! E-Mail us at ⁠talkinishpod@gmail.com⁠Listen to the audio version: https://linktr.ee/TalkinIshPod

Before he was directing box office hits or launching the careers of comedy superstars, Judd Apatow was a kid writing fan letters to his heroes, collecting autographs, and obsessively documenting everything. He's now opened his personal archive for a new book of photographs, letters, scripts, and journals that shaped movies like ‘The 40-Year-Old Virgin,' ‘Knocked Up,' and ‘Trainwreck.'  Also, we hear from Misty Copeland, who captivated audiences as the first Black woman to become a principal dancer with American Ballet Theatre. She also performed with Prince, who helped change her perception of herself. “He was my biggest supporter. He showed what it was the be one of a kind, to be unique and to use that as a power.”Ken Tucker celebrates 50 years of Patti Smith's album ‘Horses.'Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Copeland says her final performance with American Ballet Theatre was a thank you to the communities that had supported her. "What I represented is something far bigger than me," she says. She spoke with Tonya Mosley about her final bow, her relationship to pain, and the legacy of Black ballet dancers. Also, David Bianculli reviews the new Peacock thriller series ‘All Her Fault,' starring Sarah Snook. Follow Fresh Air on instagram @nprfreshair, and subscribe to our weekly newsletter for gems from the Fresh Air archive, staff recommendations, and a peek behind the scenes. Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

This week Jeremy and Reid are discussing the remarkable Misty Copeland's retirement performance at ABT. Other topics include Martin Scorsese, Ezra Klein, Frankenstein, and Lentil Soup.VOTE MAMDANI: NYC Mayoral Election ◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠➩ WEBSITE⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ◦⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YOUTUBE ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠◦⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠INSTAGRAM⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠➩ SUPPORT:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠✨VIA VENMO!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠✨ or  ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠PATREON⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠➩ REID⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ◦ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠JEREMY⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ◦ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠JACK⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠➩ withdanceandstuff@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

Ozman The Wizard and Na'imah talk about the perception of certain movies and tv shows changing as you age, whether or not Kid was the villain in House Party, Debbie Allen getting her own Barbie doll, Misty Copeland retiring from dancing, NBA season opening, and much more!!! Please subscribe, share, rate and review.

Ahead of the start of the college hoops season, the Hartford Courant’s Emily Adams joins Sarah to discuss UConn’s championship offseason, the Huskies’ chances of repeating, and the teams most likely to challenge them. Plus, a skier creating new peaks, a race reaching new heights, and a coach making WNBA history. Follow Emily Adams here Read the full AIU release regarding Ruth Chepng'etich here Read the New York Times story on the history of Kenyan runners and doping here Check out Misty Copeland on the first digital moving cover of Harper’s Bazaar here Leave us a voicemail at 872-204-5070 or send us a note at goodgame@wondermedianetwork.com Follow Sarah on social! Bluesky: @sarahspain.com Instagram: @Spain2323 Follow producer Alex Azzi! Bluesky: @byalexazzi.bsky.social Instagram: @AzziArtwork See omnystudio.com/listener for privacy information.

Welcome to the Bamgboshe Happy Hour – Film & TV Edition with Peju Bamgboshe Rothlisberger and Naomi Bamgboshe! In this episode, we spotlight Misty Copeland's historic final performance with the American Ballet Theatre, the latest celebrity tour buzz from Brandy & Monica to Ray J's viral One Music Fest moment, and Ciara's 40th birthday bash. We also break down Netflix's A House of Dynamite starring Idris Elba, major TV recaps (The Morning Show, Slow Horses, Reasonable Doubt), and take you on a global journey through fascinating Halloween traditions—from Ireland's Samhain to Mexico's Día de Los Muertos. Stay tuned for hot takes, laughter, and a little chaos—Bamgboshe style.

October 26, 2025 7am: The New York Times reports that while plans are not finalized, the ICE proposal stems from frustration from Donald Trump and within the Department of Homeland Security over the pace of deportations, which are lagging behind the President's goal of more than a million at the end of his first year back in office. Meanwhile Democrats are speaking out about the Trump administration's immigration crackdown. Rep. Mary Gay Scanlon joins The Weekend to discuss what she observed while visiting Chicago.For more, follow us on social media:Bluesky: @theweekendmsnbc.bsky.socialInstagram: @theweekendmsnbcTikTok: @theweekendmsnbcTo listen to this show and other MSNBC podcasts without ads, sign up for MSNBC Premium on Apple Podcasts.   Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

President Trump says declaration of war on drug cartels by Congress is not needed. Mr Trump said his government is just going to kill people smuggling drugs instead. Thirty-seven people have been killed so far, with no evidence provided that the boats were used for drugs-running. Also, the US Department of Defense publishes its "new generation" of approved journalists, after the mainstream media walked out in protest over stricter rules. Stars from the NBA are among those who've been arrested in an investigation into alleged illegal gambling. A record-breaking heat wave in 2023 left two vital coral species "functionally extinct" in Florida's vast Coral Reef, according to a new study. There are calls for Prince Andrew to travel to the US and testify about his links to the convicted sex offender Jeffrey Epstein. There has been a drastic spike in the number of fishermen being killed at sea in South Korea. Trailblazing black ballerina Misty Copeland has retired from the American Ballet Theatre.The Global News Podcast brings you the breaking news you need to hear, as it happens. Listen for the latest headlines and current affairs from around the world. Politics, economics, climate, business, technology, health – we cover it all with expert analysis and insight. Get the news that matters, delivered twice a day on weekdays and daily at weekends, plus special bonus episodes reacting to urgent breaking stories. Follow or subscribe now and never miss a moment. Get in touch: globalpodcast@bbc.co.uk

Criminal justice professor and author Sean Patrick Griffin joins "CBS Mornings" to discuss the arrests of Chauncey Billups and Terry Rozier and how the league's latest gambling controversies echo the 2007 referee case he chronicled in "Gaming the Game." Robin Lawrence was with her 2-year-old daughter in Springfield, Virginia, when she was murdered in 1994. After the killing, her daughter was home alone at the crime scene for two days until Lawrence's body was found. Decades later DNA left on a washcloth led investigators to a suspect in the cold case. In a CBS News exclusive, ballet icon Misty Copeland sits down with Gayle King ahead of her farewell performance at Lincoln Center. At 43, Copeland reflects on becoming the first Black woman to rise to principal dancer at the American Ballet Theatre and what her historic journey has meant to her. Ahead of Sunday's matchup between the Atlanta Falcons and the Miami Dolphins on CBS, Kris Van Cleave goes behind the scenes to meet the culinary team serving up thousands of meals — and the passion fueling their game-day rush. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

New Monkeypox strain cases...  FBI gambling bust NBA and the Mafia…  Prince Andrew in hot water again…  Sunday Louvre Heist not the first time…  JP Morgan new headquarters and security…  Email: Chewingthefat@theblaze.comwww.blazetv.com/jeffy   $20 off annual plan right now ( limited time )  Ronaldo and Love Contract…  Who Died Today: Jeff Cheen 80…  MTV almost dead…  Misty Copeland retires from Ballet...  Joke(s) of The Day… Learn more about your ad choices. Visit megaphone.fm/adchoices

Southwest Airlines, long known for its open boarding policy, is rolling out assigned seating for the first time. The change marks a major shift as the carrier caters to growing demand for premium travel options, allowing passengers to pay for seat upgrades starting next year. In his first comments since the NFL announced Bad Bunny as the Super Bowl halftime performer, commissioner Roger Goodell expressed confidence in the highly-anticipated show and defended the league's decision amid some political blowback. Trump administration policies like the trade war with China are threatening the survival of many U.S. farms. The White House says billions in bailout money is on the way, but some farmers say the help is not nearly enough. At 102 years old, Dick Baughn is dominating the tennis court, busy keeping up with players decades younger than him. The decorated fighter pilot who commanded the skies in three wars, picked up tennis in his 50s. CBS News' Janet Shamlian has the story. Celebrity chef Tom Colicchio, known for his role on "Top Chef," joins "CBS Mornings" to discuss the 25th anniversary edition of his landmark cookbook "Think Like a Chef." The updated release features new recipes and fresh reflections on how his approach to cooking has evolved over the years. Actors Dave Franco and Mason Thames join "CBS Mornings" to discuss their roles in the new film "Regretting You." The story follows two generations navigating love, loss and second chances after tragedy brings their lives unexpectedly together. Misty Copeland talks to Gayle King about her groundbreaking career and the "Firebird" performance she says changed her life and the world of ballet. More of Copeland's interview with Gayle King will air Friday on "CBS Mornings." In this week's "Mornings Mixtape," Simple Minds lead singer Jim Kerr joins "CBS Mornings" to reflect on the band's iconic hit "Don't You (Forget About Me)," which helped define the 1985 film "The Breakfast Club." Kerr shares how the band almost turned down the song that became a timeless anthem. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Even before Misty Copeland became the first Black woman to be named a principal dancer at the illustrious American Ballet Theatre, she electrified the world of ballet. A prodigy who didn't start dancing until she was 13, she grew up in a transient and often chaotic home. But after she was discovered in a Boys & Girls Club in Los Angeles by a ballet teacher who wanted to expose more kids to the art form, she quickly shot into the national spotlight. As a teen, she studied at the prestigious San Francisco Ballet School and American Ballet Theatre's Summer Intensive. She joined American Ballet Theatre in 2000 and was promoted to principal just five years later, becoming the first Black woman ever to earn the title in the company's 75-year history. Talking Volumes: Misty Copeland Copeland stepped away from the stage in 2020, after an injury and then the pandemic forced a pause. She officially retires this October, but as she told Kerri Miller at Talking Volumes in September, she's eager to enter the next chapter of her life where she can focus on giving back.“Bunheads,” her book series for young dancers, is just one example. At Talking Volumes, a warm and playful Copeland talked about her love of ballet, how dance transformed her life and what comes next. Musical guests for this special Sunday matinee Talking Volumes were Aby Wolf and Eric Mayson.

After 25 years with American Ballet Theatre, Misty Copeland is taking her final bow this October. Just ahead of her last performance, the groundbreaking ballerina – who made history as ABT's first Black female principal dancer – joins Sophie to reflect on her journey. From a shy girl nicknamed “Mouse” who grew up without a home for much of her childhood in Southern California, to a stunning career on the stages of Lincoln Center and beyond, Misty's is a story of defying the odds. In this episode, Misty opens up about her tumultuous upbringing, dancing through six stress fractures, finding love at a nightclub, and the music that has carried her through it all. Here are her songs. Aretha Franklin - Ain't No Way Mariah Carey - Looking In N.E.R.D. - Run To The Sun Wolfgang Amadeus Mozart - Piano Concerto No 21 in C Major K 467 II Andante J. Cole - Be Free Sade - Kiss Of Life Drake - Nice For What

She's a world-famous ballerina, a bestselling author, and a history-maker as the first Black woman Principal Dancer at American Ballet Theatre—but Misty Copeland just told me she's… clumsy. And yet, that didn't stop her from becoming great. Listen to this episode and come and get some of this Black girl magic!In this episode of BACKtalk, Misty opens up about her new children's book Bunheads, Act 2: The Dance of Courage, how she's raising brave kids, and what it really means to shine—even when life knocks you out of the spotlight. From stage to motherhood, Misty gets real about resilience, girl power, and how to keep dreaming through disappointment.If you've ever had to tell your child, “This isn't your time to shine,” this conversation will speak to your soul.#MistyCopeland #DanceOfCourage #BlackGirlMagic #RepresentationMatters #BunheadsBook #BlackMomsRaisingLegends #ParentingThroughDisappointment #BraveGirls #BacktalkPodcast #BlackExcellence #BlackParenting #GirlPower #BalletForEveryone #ResilientKids #BooksForBlackChildren #MistyCopelandInterview #RaisingCourageousKids #BlackAuthorsMatter #BalletStories #DreamBigLittleOne

Dr. Ian Smith, author of Eat Your Age: Feel Younger, Be Happier, Live Longer, shares simple diet adjustments for healthier living. Plus, trailblazing ballet dancer Misty Copeland discusses her new picture book, Bunheads, Act 2: The Dance of Courage, which tells the story of young ballerinas finding community together. And actor Garrett Hedlund stops by to talk about Season 3 of the Paramount+ series Tulsa King and the mentorship he's received from co-stars Sylvester Stallone and Samuel L. Jackson. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Tyler Robinson, the 22-year-old suspect in the assassination of conservative activist Charlie Kirk, is not cooperating with investigators, Utah's governor said. As officials continue to search for a motive, we're learning more about the alleged gunman. CBS News' Carter Evans reports. In a rematch of last season's Super Bowl, the Philadelphia Eagles beat the Kansas City Chiefs on Sunday to keep the Chiefs winless to start their season. The NFL Today host James Brown breaks down the rematch and other highlights from around the NFL. HBO's medical drama, "The Pitt" beat out heavily-favored Apple TV's "Severance" for outstanding drama series at the Emmy Awards. Meanwhile, Apple TV's "The Studio" walked away with 13 awards and broke the Emmy record for the most wins by a comedy in a single season.The 2025 Emmy Awards delivered red carpet fashion, candid moments and first-time nominees alongside veteran stars. "CBS Mornings" co-host Gayle King caught up with some of the stars. Ballet star Misty Copeland joins "CBS Mornings" to discuss her new children's book "Bunheads, Act Two: The Dance of Courage." The sequel to her bestseller introduces readers to the ballet "Don Quixote" and inspires young dancers to persevere through setbacks. David Begnaud introduces the team behind CBS News Atlanta as the station launches its first newscasts. Built in just 12 weeks, the newsroom combines startup energy, immersive technology, and a mission to serve the community with heart. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Hey lady! This week Dr. Dom and Terri are thrilled to welcome a legend who needs no introduction. Misty Copeland is known around the world as not only as a trailblazer and groundbreaking ballet dancer, most notably as the first African American female Principal Dancer with the prestigious American Ballet Theater, but also philanthropist, author, and mother. She joins Terri and Dr. Dom to discuss her upcoming final bow with the theater after a storied career and her plans for her exciting next chapter.Copeland's introducing the latest installment of her Bunheads, Act 2: the Dance of Courage, a picture book series offering a realistic and fun view of dance life. The series' characters embark on wonderous tales of adventure and this latest addition to the series follows them as they learn about the glorious tale of Don Quixote. By the end of the episode you'll want to grab a copy for the young dancers in your life.And, lady, Misty gives us a peek into her life that you can only catch on Patreon. Girl, are you on Patreon yet? It's our special area where we dive deeper and give behind the scenes of how we create this podcast and other cool things you won't want to miss. Join us! Quote of the Day:"I'll always be committed to opening doors, creating space, and making ballet a place where everyone belongs." – Misty Copeland  Goal Map Like a Pro WorkbookCultivating H.E.R. Space Sanctuary  Where to find Misty Copeland:Website: Misty CopelandBook: Bunheads, Act 2: The Dance of CourageTwitter: @mistyonpointeInstagram: @mistyonpointeFacebook: Misty CopelandYouTube: @MistyCopelandLifeInMotion  Resources:Dr. Dom's Therapy PracticeBranding with TerriMelanin and Mental HealthTherapy for Black Girls Psychology Today  Therapy for QPOC  Where to find us:Twitter: @HERspacepodcastInstagram: @herspacepodcastFacebook: @herspacepodcastWebsite: cultivatingherspace.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/cultivating-h-e-r-space-uplifting-conversations-for-the-black-woman--5470036/support.

The Fitzgerald Theater was filled to the rafters Wednesday night for the season launch of Talking Volumes. Activist and novelist Stacey Abrams joined Kerri Miller on stage and began the evening with a moment of silence to mark the political assassination of Charlie Kirk, who had been shot and killed only hours earlier. Abrams, herself a national political figure, said dark moments such as these need to be met with determined unity — to stand for and with one another. She got those values from her parents, she said, who always emphasized the need to be in church, in school and in service to others. She also reflected on how failure has worked in her life as a catalyst for growth and how books have led her to develop a deep moral consciousness. It's no surprise to readers who love her novels — including “Coded Justice,” the latest thriller in the Avery Keene series, which finds Avery relying on her friends to investigate the morally murky world of AI-powered medicine. Abram's books are filled with memorable characters who exhibit the same kind of determination and hope that Abram's embodies. Don't miss Abram's warm and inspiring conversation with Kerri Miller, rounded out by the musical styles of Minneapolis' own Lady Midnight, as the 2025 Talking Volumes season begins.And get your tickets for future shows, which include Patricia Lockwood on Sept. 25, Misty Copeland on Sept. 28, John Grisham on Oct. 23 and Kate Baer on Nov. 17. Guest: Stacey Abrams is an activist, an entrepreneur, a political leader and a bestselling author. Her new novel, the third in the Avery Keene series, is “Coded Justice.” Subscribe to the Thread newsletter for the latest book and author news and must-read recommendations.Subscribe to Big Books and Bold Ideas with Kerri Miller on Apple Podcasts, Google Podcasts, RSS or anywhere you get your podcasts.

McKay explores the pervasive lies that shape our lives, from media misinformation to self-deception in this latest instalment of the Open Your Eyes podcast. Throughout the episode, he argues that, in an age of rampant falsehoods, developing critical thinking is essential for personal growth and success.To illustrate this, our host dissects such viral hoaxes as a fake Disney World policy change and a deceptive TikTok diet scam, showing how easily falsehoods spread. McKay also examines the profound gap between public perception and the reality of declining crime rates, revealing how political narratives can create powerful, albeit false, beliefs. Finally, he shares the inspirational journey of ballerina Misty Copeland, whose success came from rejecting the lies of her difficult circumstances and embracing the truth of her potential. Join McKay today and learn how biases and emotional responses make us vulnerable as he shares his guide to challenging limiting beliefs and seeking empowering truths. Main Themes:Misinformation in media guides our behavior.False perceptions directly influence our actions.Emotions and cognitive biases make us vulnerable to lies.Critical thinking is essential for discerning truth.The lies we tell ourselves are the most damaging.Surround yourself with truthful, supportive people.Facing the truth frees you to change and grow.Replace false narratives with empowering truths.We project our views, creating a false consensus.Faith and positive inputs are stable sources of truth.Top 10 Quotes:"With so much mistrust and confusion in the news today, how many lies do we believe?""We end up taking action or not taking action based on those misperceptions that we hold.""Some of the most dangerous lies we encounter are the ones we tell ourselves.""Proximity is power.""The people you spend time with will affect your dreams, mindset, and motivation.""People who really love you don't rejoice or focus on your wrongdoing, but they rejoice in the truth that you can be someone better.""The truth will set us free.""Recognize that the news sources we feed our mind will alter our beliefs and actions.""When you're surrounded by people who encourage and uplift you, believing in yourself becomes easier.""If we're going to walk with God, we need to be in agreement with Him, learning to think as He thinks with the truth."Show Links:Open Your Eyes with McKay Christensen

The first time a ballet dancer attempts a pirouette, they can't expect themselves to do so with the perfection and elegance of Misty Copeland. An aspiring screenwriter with innate talent can assume the first draft of their first screenplay won't be The Shawshank Redemption. And while we're at it, newlyweds – and those married for decades – may get a lot right, but they will most certainly get a lot wrong. In every case, each needs to have grace for themselves. But they also must put in the work to grow and get better because of that grace. Our series Unshakable brings us to one of the most important ideas in the entire Bible. It's a truth that can free us from the shame of our past, empower us in the present, and change our future.

Misty Copeland, the first Black woman Principal Dancer at American Ballet Theatre, has transformed her groundbreaking career into a platform for equity, access, and storytelling. In this episode of the Women on the Move podcast, with host Sam Saperstein, Misty shares how her experiences in ballet inspired the creation of the Misty Copeland Foundation. Through its BE BOLD program, she is nurturing community, leadership, and confidence in young people from underserved backgrounds. Her journey is a testament to the power of using your voice to create space for others and build lasting change.   Disclaimer: The speakers' opinions belong to them and may differ from opinions of J.P. Morgan Chase & Co and its affiliates. Views presented on this podcast are those of the speakers; they are as of August 6, 2025 and they may not materialize.  

In 2015, Misty Copeland became the first Black woman to become principal dancer at the American Ballet Theatre. Her heartfelt memoir “The Wind at My Back” pays tribute to her mentor and fellow dance pioneer Raven Wilkinson, who performed in the segregated South as a member of the Ballet Russe de Monte Carlo in the 1950s. A few years back, Misty joined guest host Talia Schlanger to talk about Raven's incredible life and legacy.

This week on reCappin', we open with a quick catch-up on time away—including Ashley's dreamy trip to Italy! In Headlines, we discuss Misty Copeland's official retirement, Coco Gauff's historic French Open win, the serious accusations against Jared Leto, Aaron Pierre, and Teyana Taylor going public with a kiss, and we pay our respects to the late Sly Stone and Ananda Lewis. (12:07) In Hot Topics, we touch on the highlights we caught from the Tony Awards and BET Awards. (35:10) Stay tuned for our next episode! We recap Netflix's Hit Show “Forever”. We are available on all podcasting platforms, but please follow, rate, and review us on Apple Podcasts and Spotify apps. We greatly appreciate the support! Follow us on social media: IG: @recappinpodcast Twitter: @recappinpodcast FB: ReCappin' with Delora and Ashley Contact us: Email: recappinpodcast@gmail.com    

In Misty Copeland's 10 years as the American Ballet Theater's first Black woman principal dancer, she has inspired others to see themselves in ballet shoes and on stages across the world — and St. Louis is no exception. Erica Hill, founder of the Florissant-based dance company Pointe of Surrender, speaks to Copeland's influence — on herself and the Black dancers who come to her studio. Hill also describes Healing Humanity Through Arts, her dance company's nonprofit arm, and its work to make dance accessible to youth through school-based programming and scholarships.

The American Ballet Theater's first Black female principal dancer on everything she's fought for and the decision to end her historic career with the company.Unlock full access to New York Times podcasts and explore everything from politics to pop culture. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify.

The American Ballet Theater's first Black female principal dancer on everything she's fought for and the decision to end her historic career with the company.

Elizabeth Chambers on hosting new true crime series, 'Toxic.' Also, delicious Cinco de Mayo dishes and cocktails. Plus, ballerina Misty Copeland discusses her new book, 'Letters to Misty.' And, a behind-the-scenes look at luxury fashion company Balmain.