- Only Kent has the revolutionary new Micronite filter you've heard so much about. Kent and only Kent filters best, filters best, filters best.- In the early 1900s, a young woman named Nelly Kershaw worked in a factory that spun asbestos fibers into threads.
set new boundaries and new dynamics in your life, which she's done. Kent helps out a lot at home.He is no longer a neverhard, if you know what I mean.
and it's not just the traditional kind of lip service that's been done around civic engagement. Kent , Mayor Bloomberg, former mayor of New York, famously was like, let's try these micro apartments, put people in smaller spaces.But even if there's a lot of interest, let's say, amongst 20-somethings in living in Manhattan or Brooklyn or downtown San Francisco or Cambridge
I know, and that's a major, major challenge. Kent , when you look at these issues, and you think about what we were talking about a little bit before, this sort of divergence between the people who oncelived in cities-- if you went back 40, 50 years and looked at who lived in cities, it was often the people who couldn't afford
Things actually get worse. Kent , is that widespread-- this idea of like putting sensors inside things, so that you can sit somewhere in a room and look at the state of all these sensors?
Kent : Good morning everybody.It's my honor to introduce Secretary Robert Reich to Google today.
Can you tell me was there anything about that date that struck you that might bear some light on how she would do as a President?" Kent : It was a Presidential Summit.Robert Reich: It was a President Summit; she was a president of her class at Wellesley, I was president of my class
Y'all got caught. Send them to the White House, send them right back to Texas. Kentucky. Anybody here from Kentucky? We'll bang on Kentucky then.
Your words, not mine. Kentucky-- you ever been to Mammoth Cave-- no, I mean the Mammoth Cave is just amazing, spectacular place in the Commonwealth of Kentucky.
Yes, what a deal. - Only Kent has the revolutionary new Micronite filter you've heard so much about. Kent and only Kent filters best, filters best, filters best.
whole piece criticizing that. But he notes in in what almost is like a throwaway line that he not only had liked Kent previously, but actively campaigned for the guy when he was running for Congress. Uh now Kent ran for Congress twice in 2022 and 2024 and lost twice in large part because of his
So Meghan you wanna take it from there? Meghan Kent : Yeah. >>Lee Stimmel : Introduce Amanda and Adrian. Meghan Kent : Sure. Hi, I'm Meghan Kent and we're very pleased to be here today. We have two dancers from the New York City Ballet, New York City Ballet Corps de Ballet member, Amanda Hankes, and
Meghan Kent : Yeah. >>Lee Stimmel : Introduce Amanda and Adrian. Meghan Kent : Sure. Hi, I'm Meghan Kent and we're very pleased to be here today. We have two dancers from the New York City Ballet, New York City Ballet Corps de Ballet member, Amanda Hankes, and soloist, Adrian Danchig-Waring.
to get the training I needed and get the exposure that I needed to actually get a job. Meghan Kent : And how 'bout you Adrian what was your experience like? Adrian Danchig-Waring: I was just always dancing and I started doing some Russian folk dance. I grew up in San Francisco and I performed with like a youth company and my parents just
and I started working for New York City Ballet. Meghan Kent : So at what age for both of you do you think that you really decided this is the career that I wanna pursue?
at that point a question mark. 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
you need to do. So you need to actually make the decision." And it was right before high school. 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.
Adrian Danchig-Waring: It's like you re-establish that fluency in the morning and then you speak it all day. Meghan Kent : And speaking of company class do you guys have if you're performing a certain role that evening do you have a different focus during on-class depending on what the rest of your day looks like or how do you approach class, I guess personally?
Adrian Danchig-Waring: I guess it really depends on like what the role is -- Meghan Kent : Yeah. Adrian Danchig-Waring: how physical it is, if it's a debut, if you have nervous energy. 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.
to sort of go from one mode to the other. Meghan Kent : Now let me ask you too when you're learning a ballet that's been in the repertory for a while, say it was choreographed in the '50s. You say you watch video tapes and you have ballet masters. How much of yourselves are you able to put into that role?
Adrian Danchig-Waring: I accept that, I accept what you're saying. 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.
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? Adrian Danchig-Waring: Yeah, so Dancers' Choice is this really interesting opportunity and challenge for us. It is traditionally, the model of it is this that our Ballet Master
lot of hidden responsibilities. Meghan Kent and Amanda Hankes: Adrian Danchig-Waring: And so we decided, I mean for a number of reasons we decided that we would kind of try to launch this some sort of guerrilla advertising campaign, the major motivator being that we had no budget. So we thought how brilliant would it be if
That this girl gang of ballerinas gets out of their working day of 12 hours of dancing and dances some more. Meghan Kent : They're unwinding. Adrian Danchig-Waring: They're unwinding. So we got in touch with some friends who make film and kind of cultivated this and this is the outcome of it and the hope would be
So this is an attempt at sort of bridging that distance. 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
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. Meghan Kent : It sounds like a thrilling opportunity for you both, but you also mentioned some unexpected challenges and responsibilities. Can you talk about some of those?
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. Meghan Kent : It sounds like a thrilling opportunity for you both, but you also mentioned some unexpected challenges and responsibilities. Can you talk about some of those? Adrian Danchig-Waring: Yeah, the most active one today is that we shot a documentary that will screen the night of this performance.
while in Hong Kong and then upload the file to Dropbox for me. And they couldn't find a fast enough Internet connection in Hong Kong which is weird because it's Hong Kong. Meghan Kent and Amanda Hankes: Adrian Danchig-Waring: And now they are backpacking in Thailand with a laptop under their arm trying to find some way to upload this film that will take less than 40 hours in an Internet cafe. So we're cautiously optimistic that we'll wind up with some content.
Adrian Danchig-Waring: It must be DSL. Meghan Kent : So now with New York City Ballet's repertory we have wide, vast, many pieces to choose from. How on earth did you pick what pieces you wanted to show for this program? What was the process like?
if we can. It was like what are the ballets like I just can't live without? Like what are the reasons I'm here doing this thing? And so that was a really massive list luckily. Meghan Kent : Adrian Danchig-Waring: And then we sort of wheedled it down -- Amanda Hankes: You weed it down by picking like who you would envision casting in these roles which is a huge incentive to even say yes to Dancers' Choice because you are always wanting to get your hands on the casting choices. So we actually had that opportunity.
amazingly dynamic work that's like sexy and fresh as the day it was made and all about New York and all about American promise. Meghan Kent : Now when you touched a little bit on the casting I think in another unique thing with this program as you mentioned, I mean almost all the dancers are going to be in debut roles for this, can you talk a little bit about that? How you chose who would
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. Meghan Kent : So when the audience goes and see this program what do you think they're gonna see that's gonna be different than going to a regular repertory performance? What can they expect by going to this performance?
like being present at the, I don't know, like the make or break moment of an artist's development. Meghan Kent : And now dancers are also involved in other ways as well for this program correct? Can you talk about a little bit of the other things that they've done. I mean Adrian you've done the logo, the Make Your Move --
how are we gonna tie them together so we put ribbons back on which seemed really counterproductive . 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 . >Meghan Kent : Just so everybody can hear, what are the shows that everybody can see? What are the shows that, ballets that you love and that you wanna put out 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 : And I guess just for some of you who may not have seen the company yet, can you in just a couple quick words how would you describe the aesthetic of New York City Ballet, just for someone who hasn't seen us before?
Adrian Danchig-Waring: Long, lean, exacting, voluminous, dynamic -- Meghan Kent : Any other questions from the audience? Yeah. female #2: It's just so fun to have you here You talked about Black Swan
I'm sure you get this question all the time you kind of mentioned it with a bad connotation. I'm thinking that probably 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
Adrian Danchig-Waring: Can I say something? Meghan Kent : Yeah, of course. Adrian Danchig-Waring: I think it's really interesting what you're saying about attending the ballet and that much of it stems from the fact that you were brought up doing that.
that context to appreciate this very rarefied art form?" male #1: Meghan Kent : So in terms of the marketing and Facebook you use social media what worked, what didn't, what did you learn from this?
who had no idea what you were doing or what you were up to, it seems to have generated a lot more interest with a different demographic. Meghan Kent : Questions? Yes. female #3: Adrian Danchig-Waring: In the Courts at Versailles --
female #3: Adrian Danchig-Waring: In the Courts at Versailles -- Meghan Kent : bringing -- Adrian Danchig-Waring: maybe not of the masses right so I guess it was never a populist thing. I think that if you, I don't know, I think that the most palpable sense of ballet being in the mainstream was very much embodied by Baryshnikov in the '70s and '80s. I think that because he had this sort of crossover appeal with Hollywood, made a couple films,
of what audiences want and what they're willing to pay for. Meghan Kent : Yes, one more. Meghan Kent : Ah. Meghan Kent : So what's next after your performing career, what do you see for yourselves? Has
Meghan Kent : Yes, one more. Meghan Kent : Ah. Meghan Kent : So what's next after your performing career, what do you see for yourselves? Has this experience impacted you any?
can't say at this time. Meghan Kent : Anything else you guys wanna say? Adrian Danchig-Waring: No, thank you guys for your -- Amanda Hankes: Thank you.
Adrian Danchig-Waring: afternoon interest. Meghan Kent : Thank you.
The group of children around the nation that most need public schools to serve them well are being failed across the board, Texas and Kentucky excluded. That's a national crisis if we are actually aiming to be a pluralistic, multiracial democracy.
Charter School in the lower floor uh beautiful uh connected to to open space and nature and then affordable housing Louisville Kentucky on my book tour called the compassionate schools program that takes some elements that were created at a not for-profit that my wife
It started when we were doing this thing called Kentucky Fried Theater. And Kentucky Fried Theater was live skits and also we had a video monitor. This was really in the early days of video with reel-to-reel video in this big machine.
And yet, almost every camp -- and actually examined kind of the alumni memories and this kind of thing of camps all over the country. And what I found was camps in central Kentucky had stories of Headless Hattie. This horrible sort of female demonic presence that was going to come after the kids. I learned about -- some of you maybe have seen the documentary about "Cropsey", this disfigured hermit in Staten Island but also camps around upstate