My roots hurt real bad. Hank , Hank ! Roundup. No root, no weed, no problem.Farmers loved it because unlike 2,4-D, glyphosate killed every weed, not just broad-leaved ones, but grassy too.
And every time we play there, it's haunted with ghosts. Hank Williams and, oh, they're all there.You can just feel them all.
So it's really like a jumping off point for to do further research if you see something that's wrong. Hank Greenberg, who had built AIG into one the preeminent insurance companies, he had put $80 million into China Media Express.
Today, it's my great pleasure to introduce one of the most interesting and successful people I know, Hank Phillippi Ryan. Hank is the Anthony-, Agatha-, Macavity-award-winning author of five mystery novels--"Prime Time," "Face Time," "Air Time," "Drive Time," and now "The Other Woman," which is front of you, her first recent hardcover, which went back for a second printing, I
So I need to think, and maybe you can help me at some point, think of a better title for the third book. Hank Phillippi Ryan, "Really Good." Or Hank Phillippi Ryan, "Buy This Book." Or something like that, that is a little more encouraging.You know, this juxtaposition of title reminds me of a story that we did a couple of years ago.
And talked to him about this project and proposed the idea of doing something similar for black males. Hank 's work has been exhibited all over the world and some of the more famous places, like the Guggenheim, and the Museum of Modern Art.And one of his films along the way was featured at the Sundance Film Festival.
And I think Hank will pick up the story from here. Hank : yeah. So, I had I went to the California college of the arts for graduate school when I was photo major.And I was one of Chris's students.
That we can say makes us who we are? Hank : So we found this personality in Philadelphia Pennsylvania.And he asked this question.
But I think our beauty as black people is also in our diversity. Hank : And so at first we thought about just doing this as a simple one to one.Just one person asks the question, another person answered it.
And you know what word I'm talkin' about. Hank : And this is yet another Google employee, Bernardo Fernandez, was one of the first people to come and test out the mobile app, and was actually impressed by it, which we felt like
And you know what word I'm talkin' about. Hank : and then these ideas, one of the things that Chris really, was most moved by early
And you know what word I'm talkin' about. Hank : Whoa. Whoa. Oops.
And you know what word I'm talkin' about. Hank : So this is, and you saw that exchange between the heaviness of the crack questions and kind of the, I think the, we have so many other, my favorite answer to that particular
And you know what word I'm talkin' about. Hank : So, we have all of this content.
And you know what word I'm talkin' about. Hank : Especially when it's not even race or gender specific.
And you know what word I'm talkin' about. Hank : Thank you all.
To understand what that means, I think it’s time for some Sage Advice! Hey Hank , did you know that Pasteur himself once said, “Everything gets complicated away from the laboratory.” He must have been fun at parties. But not wrong. Right? And sure, Pasteur was able to create a super controlled environment by narrowing his experiment to this tiny little bit of sterilized liquid.
"About?" Hank sneered. "Trees," said Drucker, "I was thinking about what happens to them when they die." "Fascinating," scoffed Hank . "Not exactly the stuff plans to save a bank are made of though." He raised his right eyebrow high with skepticism. "Come to any groundbreaking conclusions?" "Yes," said Drucker, "they become desks.""
And he's gone on to do many other things but he's currently a professor of photography at the California College of Arts. So Hank found out about what Chris had done and talked to him. I guess a decade or more than a decade later.
And so as you might expect, I would be writing for Tom Hanks in his-- I'm 61 years old. Tom Hanks is late 50s, early 60s incarnation, for sure. And part of the audience is for this because we're asking questions about what you can do, given that your brain, the cognitive components of brain
Eventually, United States federal judge in Atlanta, Georgia, which sentenced me to 12 years in federal prison. Tom Hanks ' character was actually named Joe Shea, S-H-E-A.
Is there some type of pull that they have in particular? Tom Hanks said back in 1995-- and we're already talking about more than 20 years ago.
start telling us a little bit about yourself. Amanda Hankes : I can start. I actually came to ballet, my mother was a professional ballet dancer briefly and she took me to see the Nutcracker and the girl playing Clara had very pretty hair and I wanted pretty hair so I said, "Can you sign me up?" And I didn't end up with the same pretty hair she had but I'm not sure what she's doing now.
Meghan Kent: How 'bout you Amanda? Amanda Hankes : It was about 13. I had to make a decision whether I wanted to start going into New York City for ballet classes to go to the School of American Ballet which is a pre-professional school, it's the official school of the New York City Ballet. And if I was gonna to that classes were gonna be a lot earlier in the day and I would have
Meghan Kent: Oh. And did either of you know a lot about New York City Ballet before getting into this school or anything? What drew you to the company? Amanda Hankes : I had grown up going to see New York City Ballet and American Ballet Theater. I was very fortunate that my mom took me to see pretty much everything dance related in New York City growing up, so I was very familiar with it.
different than a typical work schedule for some people. Amanda, if you can continue and tell us about what's a typical day like for you when we're in season. Amanda Hankes : A typical day in season is a very, very busy day. It starts out you get to the theater probably 9:45, 10 o'clock to warm up for class; you have daily class which when we're performing is an hour long. So you do that every single morning, or six days a week and then you can have anywhere from an hour of rehearsals to six hours of rehearsals
of them over the course of 8 weeks. So like all of this choreography is like living in your body somewhere. We talked a lot about muscle memory -- Amanda Hankes : Which daily class sort of reminds you of, reminds your muscles of what the basic positions are and the steps, but then you've also got the ballets that the sequences of steps that have to go together and a lot of it never actually makes it to your muscles it stays in your brain and hopefully it gets there when it needs to.
I think that we have a really hard time pulling back like we have a really hard time marking and so so much of our day is like a 110 percent all the time. Amanda Hankes : I don't have that much trouble marking. No. Adrian Danchig-Waring: I don't believe that.
Adrian Danchig-Waring: I don't believe that. Amanda Hankes : Sometimes if I see an -- Adrian Danchig-Waring: Amanda Hankes : opportunity I'll take it. As far as company class goes if you have something that is gonna require great feats of technical wizardry you will work a little harder on that during class. If you have something where you have to do a lot
the self-imposed ones. Meghan Kent: How 'bout you Amanda, how do you feel about that? Amanda Hankes : It's a different process than trying to learn a ballet that's already been choreographed. Some choreographers come in very prepared, they know exactly what they wanna try out that day and that is always sort of delightful as a dancer because they can actually then tell you what they want and if it doesn't work out they'll
character development, a lot more room for explorations of the physical dynamic that exists in whatever idiom you're working. Amanda Hankes : I sort of disagree that in the corps there's no room for that. I think the staying in line becomes second nature, it becomes something that you just sort of automatic, well you should automatically do. You have peripheral vision and if it's your first time in a ballet you're gonna be a little more aware of everybody else. But if it's
Meghan Kent and Amanda Hankes : Adrian Danchig-Waring: I think there's room for growth in that way, I don't necessarily think it's encouraged. Amanda Hankes : No it's not encouraged. Meghan Kent: Dancers' Choice Program, can you tell us a little bit about the history of it? This is gonna be the third Dancers' Choice Program, Adrian do you wanna start?
Meghan Kent: And you mentioned the Dancers' Emergency Fund, can you tell us a little bit about that, the history about that, Amanda? Amanda Hankes : Dancers' Emergency Fund was something that was set up to sort of help out dancers if they find themselves needing some financial assistance outside of our salary or paycheck for something that's gone on in their life. And it has proven to be a very useful tool; several dancers have used it for things that really just reach beyond what
fund has been around I think a lot longer than Dancers' Choice has and they -- Meghan Kent: 1980 it was set up by Jerome Robbins. Yeah. Amanda Hankes : Thank you. Meghan Kent: Amanda Hankes : And so then this performance became attached to it and turned out to be very successful as far as raising money for that fund. So it's doing very well.
in an Internet cafe. So we're cautiously optimistic that we'll wind up with some content. Amanda Hankes : We have 15 hours left -- Adrian Danchig-Waring: Fifteen hours left to upload yeah. Amanda Hankes : they're in the middle of it.
Amanda Hankes : We have 15 hours left -- Adrian Danchig-Waring: Fifteen hours left to upload yeah. Amanda Hankes : they're in the middle of it. Adrian Danchig-Waring: They're in 15 hours left of a 40 hour -- Amanda Hankes : We're hoping it comes through by Sunday.
What was the process like? Amanda Hankes : I had sat on a committee for the first Dancers' Choice so I sort of knew what was going to get poo-pooed and also there is an enormous, active rep list like you said and it's daunting 'cause then there has to be rehearsal time and dancers donate their rehearsal time, ballet masters donate their rehearsal time, everything gets
Adrian Danchig-Waring: Great incentives for people. Amanda Hankes : Yeah. And we were actually very lucky that this year in the spring season were a lot of the ballets that sort of tied into this idea that Adrian came to me with which was this notion of the muse and how can we at least try to make a cohesive evening, put together a program that's not just a bunch of excerpts and snippets which sort of is
Adrian Danchig-Waring: They're amazing. Amanda Hankes : They're amazing ballets and the music's amazing and for us it's like home but if you're not used to seeing neoclassical -- Adrian Danchig-Waring: Or hearing.
Adrian Danchig-Waring: Or hearing. Amanda Hankes : or hearing neo-classical Stravinsky ballets, seven in a row would be really hard on the audience. So that sort of shaped our ? Adrian Danchig-Waring: Highly immersive is what I would call it.
Adrian Danchig-Waring: Highly immersive is what I would call it. Amanda Hankes : Highly. That shaped some of our programming. Adrian Danchig-Waring: Yeah. So ultimately we came up with something that we really felt like tied into this narrative of exploring the importance of these muse relationships.
dance what for this program? Amanda Hankes : There were definitely some people that I had been dying to see in some roles over the years so it became sort of an opportunity to do that. Sean Suozzi's gonna be doing the lead in Rubies and I am so excited. He is a fantastic dancer, very dynamic, very energetic, and I think will fit the role like a glove. So we're very excited to see that.
they expect by going to this performance? Amanda Hankes : Well I think that they'll see a very cohesive evening with a really good program and hopefully it is a program that will appeal to a younger audience and they will see that it's not all pink tutus and Black Swan and that there's a lot more to what we do that's interesting and dynamic and inspiring.
of their work collaboratively. Amanda Hankes : We had a lot of people help us dye red pointe shoes because we had hundreds of pairs and that's everybody's old, used pointe shoes that we started collecting a couple months ago and so there were a lot of those to spray. People have helped out Meghan Kent: How long did that take to dye all of these?
a couple months ago and so there were a lot of those to spray. People have helped out Meghan Kent: How long did that take to dye all of these? Amanda Hankes : You do it on your hour off or if you only have the last ballet you run up to the spray room with a can of spray paint, so we did it over the course of two or three weeks, but then they all had to have ribbons on them. We cut the ribbons off our pointe shoes when they're used to reuse them, so we had 200 pairs of pointe shoes with no ribbons,
Meghan Kent: Do you guys have any questions -- Adrian Danchig-Waring: Job creation. Amanda Hankes : Meghan Kent: do you have any questions for our artists while they're here? Yeah. female #1: So you said those two inspired you .
Adrian Danchig-Waring: I mean I think that's, in my mind they're mostly Balanchine works, Stravinsky Violin Concerto, Agon, Apollo -- Amanda Hankes : Serenade -- Adrian Danchig-Waring: Serenade -- Amanda Hankes : Serenade definitely. Adrian Danchig-Waring: Episodes. These things just like, it's also hard for us to put them in their historical context but they still just feel so incredibly visionary. And I think
moment on stage and a feeling. So I think that those works really embody that. Amanda Hankes : We're very lucky to be in a company where the bulk of what we do is really, really spectacular. To have these works available to us is kind of a gift. There are a couple doozies but there really aren't that many. We're very fortunate to be able to out every night and do great ballets.
Meghan Kent: Just so everybody could hear too just the impact that Black Swan, the movie, had and the effects of it. Amanda Hankes : I think our spring season last year sold very, our winter season, it was our winter season, sold very, very well. We had a run of Swan Lake that season that we actually ended up adding shows because there was such a demand. So the exposure was great -- Adrian Danchig-Waring: Right. And people calling in asking when Natalie Portman was
moving on to the next thing. Amanda Hankes : But if it brings people in and gets them interested then I think it's really good. Adrian Danchig-Waring: Can I say something?