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Speaker 1: Hey, that folks say is Sunday, March eighth, one week away,

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Speaker 1: possibly from Timothy shallow May picking up an oscar for

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Speaker 1: Best Actor. But before he gets to that stage, he

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Speaker 1: is going to have to get through some pissed off

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Speaker 1: ballet dancers and opera singers. And with that, welcome to

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Speaker 1: this episode of Amy and TJ.

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Speaker 2: Roapes.

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Speaker 1: I'm not sure how they're coming after Timothy's shallo May.

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Speaker 1: This is a this is a beef in the arts.

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Speaker 1: Is this what it looks like?

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Speaker 2: Yes? Unfortunately, Look, I believe he said these comments a

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Speaker 2: couple of weeks ago, but they have just been trickling

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Speaker 2: out and now it's reached a fever pitch. And this

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Speaker 2: is a very important time for any actor who is

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Speaker 2: leading up to the Oscars. Of course, they're on these

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Speaker 2: campaign pitches and they're out there and they're doing interviews

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Speaker 2: because they're revving up excitement about their movie that's been

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Speaker 2: nominated or their role that's been nominated. And Timothy s

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Speaker 2: Challomay was just shooting it with Matthew McConaughey and at

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Speaker 2: town Hall and maybe just was a little too unguarded.

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Speaker 1: Well, it was in articulate, it was not well thought out.

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Speaker 1: But it's not the end of the world. But it is.

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Speaker 1: If you listen to a lot of folks in the arts,

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Speaker 1: we get it. So so back up here, you've probably

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Speaker 1: seen a lot of the headlines. I think some of

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Speaker 1: these things are cool. I haven't watched them, but some

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Speaker 1: of the pairings are cool. Variety started putting actors together.

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Speaker 1: It's called actors on actors, right. There have been some

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Speaker 1: cool pairings that I've seen that I haven't stopped and

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Speaker 1: watched any of them, but it looks what Adam Sandler

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Speaker 1: and Ariana Grande did one together. I remember the images,

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Speaker 1: but this is what this was. Timothy Chalamey and Matthew mcconnie.

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Speaker 1: That's kind of a cool pairing as well.

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Speaker 2: Yeah, I love it because when you have someone who

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Speaker 2: has been through it, or who knows what you've been through,

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Speaker 2: there's just a level of trust and a conversation that

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Speaker 2: can be at a different level than when it's from

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Speaker 2: a journalist or somebody who's trying to get answers. There's

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Speaker 2: a comfort level, there's a trust level, and you end

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Speaker 2: up getting really fascinating conversations because everyone feels comfortable. The

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Speaker 2: problem is when you feel comfortable, maybe you say things

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Speaker 2: that aren't politically correct.

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Speaker 1: And look, this is the first one I've seen Robes

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Speaker 1: that they had a studio audience for. They set this

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Speaker 1: one up kind of as a town hall. Yes, these

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Speaker 1: actors are a big enough deal that you would do that,

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Speaker 1: So it was very casual in this whole setup. Now, Robes,

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Speaker 1: you heard the comments. I think a lot of people

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Speaker 1: have probably more read the comments than listen to them.

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Speaker 1: We're going to let you all hear them here in

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Speaker 1: just a second. It's a fifty eight second clip. We'll

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Speaker 1: give you the right context. Let me get your opinion

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Speaker 1: first of all, Robes, just in hearing the whole thing

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Speaker 1: and the whole context, is the uproar, the criticism, the

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Speaker 1: outrage to a certain degree warranted.

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Speaker 2: I don't think so. I think people need to take

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Speaker 2: themselves a little less seriously and recognize that everyone is

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Speaker 2: entitled to an opinion, and it's okay even if it's

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Speaker 2: a fact that ballet audiences and opera audiences might be dwindling. Look,

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Speaker 2: I don't know the numbers. I don't know what it's

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Speaker 2: relative to. I know that I love the show The

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Speaker 2: Gilded Age, where everything is about the opera and when

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Speaker 2: the met came about, and that was the big highlight

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Speaker 2: of the week, The big social event of the week

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Speaker 2: was to go to the opera. Times have changed, and

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Speaker 2: I think he was referencing changing times, changing behavior. And

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Speaker 2: really they were specifically talking about the attention span of

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Speaker 2: younger audiences, how movies are getting shorter, and talking about

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Speaker 2: dying brands of art. I understand it in the context.

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Speaker 2: He was being honest and he had some facts to

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Speaker 2: back up what he was saying. For folks to get

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Speaker 2: so upset in the opera and ballet communities, Look, that's

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Speaker 2: one of those things where when you get triggered, you

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Speaker 2: have to, instead of being upset about the person who

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Speaker 2: said something, ask yourselves why you took such offense to it.

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Speaker 2: Why was that so offensive to you? Why were you

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Speaker 2: so triggered? I think both sides need to ask themselves

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Speaker 2: some questions.

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Speaker 1: That is okay when you put it that, that is

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Speaker 1: a very diplomatic and therapeutic way to look at this

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Speaker 1: whole situation. You're right, he struck the nerve robes because

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Speaker 1: he said something that's actually probably right. He said it

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Speaker 1: in the wrong way. Now, I will say he and

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Speaker 1: he didn't have to mention. This had nothing to do,

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Speaker 1: but he made a point and he used ballet and

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Speaker 1: opera to make it, and they probably don't appreciate being

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Speaker 1: that example for what he was saying.

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Speaker 2: And I think also to your point, I think where

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Speaker 2: you were going with is Timothy Chalomay is at the

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Speaker 2: top of his game. He is the it boy, he

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Speaker 2: is the goat. He is just kind of everything. So

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Speaker 2: when you're on top of your mountain, you have to

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Speaker 2: be very careful not to take shots at people who

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Speaker 2: might be in valley.

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Speaker 3: You know what.

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Speaker 1: Let's let you hear it and we'll get her on

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Speaker 1: the other side here. But this is him sitting talking

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Speaker 1: to Matthew McConaughey. They have a small studio audience around them. Again,

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Speaker 1: the conversation was about how I mean they were actually

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Speaker 1: saying Act two's are moving up. They're making a point

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Speaker 1: about movies and shows that producers and studios don't. They say,

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Speaker 1: people have short attention spans, so we don't have time

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Speaker 1: for building the story with an act one. We got

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Speaker 1: to get right to the action in act two. That

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Speaker 1: was the setup to this conversation. He was making the

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Speaker 1: point and I think is a good one robes that

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Speaker 1: if you have a higher piece of art, that if

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Speaker 1: you have a very serious movie, you almost have to

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Speaker 1: promote it as such and let people know what you're

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Speaker 1: going into otherwise you'll lose.

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Speaker 2: Them, correct, And I think that is a fair way

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Speaker 2: to look at it. We see our kids, We see

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Speaker 2: everybody with these short attention spans. They won't even finish

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Speaker 2: a song. My daughters will move on because they're like, eh,

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Speaker 2: I'm done with this song. You look and see how

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Speaker 2: people scroll. You watch half a video on board now

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Speaker 2: swipe up, And that is absolutely translated to what people

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Speaker 2: will and won't go sit through at a movie theater,

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Speaker 2: let alone a live theater event.

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Speaker 1: So he's making a point about his career and moving forward.

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Speaker 1: Do I want to be a guy who's doing these

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Speaker 1: more serious things and trying to keep an art alive

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Speaker 1: or keep a movie theater alive. That is the context

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Speaker 1: for the conversation. And this, though, is the comment and

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Speaker 1: the answer that you got mister Timothy Jaalam in Trouble No.

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Speaker 3: But point being, I think, even like Frankenstein, which is

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Speaker 3: like a hugely popular movie this year, I didn't think

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Speaker 3: that pacing was extraordinarily fast or anything, but it pulled

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Speaker 3: people in, you know, but it does take you having

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Speaker 3: a wave of flag of hey, this is a serious

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Speaker 3: movie or something, and some people want to be entertained

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Speaker 3: and quickly. I'm really right in the middle of Matthew

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Speaker 3: because I admire people and I've done it myself. Do

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Speaker 3: you want to talk to about, Hey, we got to

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Speaker 3: keep movie theaters alive, you know, we got to keep

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Speaker 3: this genre alive. And another part of me feels like

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Speaker 3: if people want to see it like Barbie, like Oppenheimer,

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Speaker 3: they're going to go see it and go out of

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Speaker 3: their way to be loud and proud of about it.

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Speaker 3: And I don't want to be working in ballet or

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Speaker 3: opera or you know, things where it's like, hey, keep

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Speaker 3: this thing alive. Even though he cares about this, all

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Speaker 3: respect to the ballet and opera people out there. I

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Speaker 3: just lost fourteen cents in viewership. But I just took

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Speaker 3: shots for no reason.

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Speaker 1: That's no shot.

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Speaker 3: I hear what you say.

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Speaker 1: Yeah, so okay, you see where he realized he misspoke,

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Speaker 1: He got uncomfortable, He did a fake little opera singing

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Speaker 1: at the end. There. The fourteen cents was a low blow.

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Speaker 1: That was a shot he shouldn't have said that, correct, Now,

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Speaker 1: that's the one I would say you should probably apologize.

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Speaker 1: But that's the one that was a shot.

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Speaker 2: I thought, can I can I tell you something funny

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Speaker 2: about that specific moment. I Look, we'll get into all

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Speaker 2: the response, and there has been a tremendous amount of it.

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Speaker 2: But the one I really appreciated came from the Seattle Opera.

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Speaker 2: They're offering fourteen percent off tickets for its production of Carmen.

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Speaker 2: If you use the promo code, Timothy, that is.

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Speaker 1: How you respond. That is the right way to respond.

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Speaker 1: They had fun with it. Who is there's another one

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Speaker 1: that invited him to a show giving her tickets. Right,

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Speaker 1: That is how you go about it, Seattle.

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Speaker 2: Right.

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Speaker 1: I applaud you all for doing it. People are talking

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Speaker 1: about ballet and opera right now in a way that

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Speaker 1: they don't get it. Take advantage of the moment, Take

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Speaker 1: advantage by being fun, making fun of your soulful of

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Speaker 1: being self deprecating, understanding how gets extending an invitation, robes

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Speaker 1: and the reactions you're talking about, going after him personally,

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Speaker 1: going after his character. This is the kind of person

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Speaker 1: he is. You need to apologize to your mother. These

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Speaker 1: are the high profile people. I'm not even talking about

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Speaker 1: regular responses his mother.

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Speaker 2: To that point, his mother was a ballet performer.

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Speaker 1: His family, he knows.

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Speaker 2: Look, there's a part of it. Yes, I loved the

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Speaker 2: tongue in cheek and I liked what you said. Take

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Speaker 2: advantage of a moment where people are talking about ballet

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Speaker 2: and opera. When's the last time people in the mainstream

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Speaker 2: have been talking about ballet or opera. So look at

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Speaker 2: it as an opportunity, a way for it to now

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Speaker 2: be something people are maybe either rediscovering or looking at

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Speaker 2: for the very first time, because there needs to be

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Speaker 2: an acknowledgment. This isn't some big art form that people

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Speaker 2: talk about going to often.

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Speaker 1: Look, we went to have access to by the way, correct.

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Speaker 2: I actually got tickets to the Met for the first

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Speaker 2: time when Annie was still in high school. It was

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Speaker 2: an auction and you and I went. Is the first

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Speaker 2: time I'd ever been to the opera in my life.

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Speaker 2: You and I both went and had one of the

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Speaker 2: best times of our lives.

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Speaker 1: And it happened to be a opera we didn't know that.

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Speaker 2: We didn't know I was and it was the first

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Speaker 2: black opera. Correct, Met, It was amazing. But the point being,

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Speaker 2: we we live in New York City, we can afford tickets,

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Speaker 2: We are exposed to the arts, and you and I

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Speaker 2: had never been in my adult life or at any

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Speaker 2: point in my life, I've never been invited to the opera.

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Speaker 2: I never even thought about going to the opera, to

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Speaker 2: be honest. So this is an option and an opportunity

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Speaker 2: for people to actually be exposed to something. Look at

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Speaker 2: it from that perspective and acknowledge it isn't on the

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Speaker 2: forefront of most people's minds when they think about what

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Speaker 2: they want to do for.

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Speaker 1: The weekend, and what do most people maybe think about

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Speaker 1: it when they think about ballet and opera something that's

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Speaker 1: not within my reach, not just as a matter of

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Speaker 1: getting there paying to get there, but it seems, quite frankly,

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Speaker 1: robes something for the elites.

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Speaker 2: It does because it has been because.

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Speaker 1: This isn't for me. This isn't something I'm invited to

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Speaker 1: or welcome to, or this isn't something that comes to

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Speaker 1: my neighborhood. And all the people on stage don't look

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Speaker 1: like me. Thank you, Missy Copeland. Right, That's why she

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Speaker 1: was such a big deal and a mainstream artist, because

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Speaker 1: she looked different and she made it more relatable. So

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Speaker 1: it doesn't help in my opinion. Robes. In some of

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Speaker 1: these answers and responses to Timothy Shallow, may I look

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Speaker 1: and go, oh, they are elites.

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Speaker 2: And it's so funny because they're calling him an elitist.

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Speaker 1: Hey, wait what some of the responses you have to

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Speaker 1: leave room, Robes. The talent of these folks is leus,

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Speaker 1: to be clear, is off the course freaking charts. And

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Speaker 1: they have been at this, most of them since they

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Speaker 1: were babies. We respect that and always want to respect

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Speaker 1: that art. Robes. It doesn't it now certainly doesn't seem

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Speaker 1: like a place that most of us would be welcome

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Speaker 1: unless you what we have to talk about it the

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Speaker 1: exact way we can respect and can't we respect that

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Speaker 1: art but also the respect there's a reality to it

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Speaker 1: as well.

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Speaker 2: Right, Yes, And I think that's the point. They're out

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Speaker 2: of touch with reality in the sense that they're what

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Speaker 2: he said isn't untrue, and so why not take it,

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Speaker 2: have a conversation about it, and try to find a

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Speaker 2: way to be more inclusive and to make it more

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Speaker 2: relevant and to have it be a part of something

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Speaker 2: that folks feel like Hey, this could be fun to

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Speaker 2: be exposed to. And here's why it's cool. Today people

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Speaker 2: think of it as a lost art form one hundred percent,

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Speaker 2: as something of days before, and also to your point,

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Speaker 2: just completely inaccessible and not something that is even considered,

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Speaker 2: and it isn't. It doesn't have anything to do with

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Speaker 2: the talent, the hard work, the beauty, the table the

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Speaker 2: respect of the art form, which is all of the above.

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Speaker 2: So yeah, this has taking a turn that is unfortunate

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Speaker 2: for everybody. It's unfortunate for Timothy Shalomey. It's unfortunate for

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Speaker 2: the ballet and opera world as well, because mostly because

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Speaker 2: of the reaction to Chala May's comments.

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Speaker 1: And let's start with I think the New York the

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Speaker 1: Met kind of got the ball rolling in a major way.

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Speaker 1: And I didn't think what they put out was necessarily

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Speaker 1: negative or going after him. But they put a video

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Speaker 1: rogues not highlighting the performers, but highlighting the people behind

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Speaker 1: the scenes and all the work that goes into preparing

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Speaker 1: for a show and say, hey, Timothy, this one's for you.

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Speaker 1: I get that, but he wasn't taking a shot at

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Speaker 1: those folks. I get that one wasn't so bad, but

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Speaker 1: he wasn't taking a shot at them, but that kind

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Speaker 1: of got things going in robes. From there, it seemed

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Speaker 1: like every opera house from here across the pond and

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Speaker 1: all some of the biggest names in that world started

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Speaker 1: to responding yes.

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Speaker 2: And the reaction has been swift. It's been fierce, fierce.

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Speaker 2: Even SNL took a shot at Chalo May as well

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Speaker 2: on Saturday Night Live last night, actually, which I was

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Speaker 2: kind of surprised, but they made a point to make

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Speaker 2: a joke saying Timothy Chalomey has been criticized by major

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Speaker 2: opera and ballet organizations after he said no one cares

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Speaker 2: about those art forms. Well, then they said Chalomey made

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Speaker 2: the comment on a press tour for his movie about

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Speaker 2: Ping Pong, and then they all started laughing, so you know,

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Speaker 2: they gave a little perspective and their point of view.

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Speaker 1: It's this whole conversation is making the point that he

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Speaker 1: was making in that we we don't value the arts.

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Speaker 1: That's true, we don't. Everybody we agree. He made that

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Speaker 1: point in a way that offended you, but he's making

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Speaker 1: a point that we all agree with. Case endpoint. Exhibit

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Speaker 1: A. A guy from a movie just mentions your art and

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Speaker 1: you're getting more pressed than you have in the past year.

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Speaker 1: That is how little we value your art versus his art.

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Speaker 1: That's the point. He said it wrong. Let's have that conversation, please.

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Speaker 2: That's such a good way to put it. He did.

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Speaker 2: It wasn't a well thought out response. I will say though,

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Speaker 2: it's interesting now. People are of course all everybody wants

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Speaker 2: to jump on and pile on and find someone to

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Speaker 2: blame because we don't want to talk about maybe what

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Speaker 2: should be discussed about how we can value the arts better,

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Speaker 2: how we can have a more inclusive community. Let's just

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Speaker 2: completely throw whatever we can on Timothy Shalome And people

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Speaker 2: are digging up other interviews that he's given in the past.

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Speaker 2: He has referenced this before. This isn't the first time

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Speaker 2: he's talked about opera or ballet being a dead art form.

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Speaker 2: He has said it multiple times in multiple interviews. For

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Speaker 2: some reason, this time was his undoing.

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Speaker 1: Yeah, people don't like it being said that away. Certainly,

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Speaker 1: people who are working and thriving, even very successful in

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Speaker 1: those arts, see it differently. He didn't have the numbers.

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Speaker 1: He didn't have right, if he'd come with some facts

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Speaker 1: to back it, up. Maybe they would have helped him out.

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Speaker 1: But stay here, folks. We'll let you hear some of

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Speaker 1: these words again from folks who are going after him,

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Speaker 1: saying he should apologize to his mother. Folks are saying

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Speaker 1: this shows everything about his character. Even stay here, all right,

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Speaker 1: we continue here on this Sunday, a week from Oscar Sunday. Right,

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Speaker 1: I got that right. Timothy Shallow may might be walking

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Speaker 1: across that stage to win an Oscar for Best Actor.

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Speaker 1: I hope he does a little ballet move as it

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Speaker 1: goes across.

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Speaker 2: You know. I wonder what he seriously though. I mean,

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Speaker 2: that would actually be kind of awesome, be perfect. But

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Speaker 2: he's gonna walk the red carpet. I would imagine he's

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Speaker 2: going to get asked about this by virtually every Maybe

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Speaker 2: some people will be respectful and the excitement of the

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Speaker 2: day and they'll back away. But I wouldn't be surprised

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Speaker 2: if someone goes there and calls him out and asks him.

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Speaker 1: About it, and maybe he has a better answer for

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Speaker 1: maybe he says it in a more articulate way. Maybe

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Speaker 1: whatever it may be, but the story is what it is.

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Speaker 1: When the first thing that got me, I just sometimes

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Speaker 1: it feels not necessarily authentic when it comes from certain area,

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Speaker 1: it feels like we're just taking advantage of a moment

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Speaker 1: and to beat up on the kid because we have

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Speaker 1: the attention right now and we can. Some of it

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Speaker 1: felt that way and some didn't. I think you can

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Speaker 1: genuinely be offended by what he said and hate the

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Speaker 1: you know, almost make your shoulders go down a little bit.

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Speaker 1: You're slunk down in your seat, like, oh, this is

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Speaker 1: the thing I dedicate my life to. And a guy

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Speaker 1: who's a really big deal just pointed out that my

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Speaker 1: art isn't a big deal. That stings like, hell.

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Speaker 2: Yeah, I think you know. If he had said, you know,

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Speaker 2: the dying art form hit a nerve, But to say

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Speaker 2: no one cares, that's that's tough. And he was being flippant.

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Speaker 2: I mean, he's in his twenties, his early twenties. He's

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Speaker 2: he's old enough to probably know better, but you could

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Speaker 2: also say young enough to not recognize how one missed

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Speaker 2: way of describing something can set off a whole chain

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Speaker 2: of events.

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Speaker 1: And we should say he does not get in trouble

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Speaker 1: as much as he is very much publican out there

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Speaker 1: and then MA cameras in his face, dating a Kardashian

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Speaker 1: and he has stayed fairly clean, has he not contramarkable?

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Speaker 2: But yes, and look, I think it's so important to

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Speaker 2: say everybody calmed down the ballet and opera world. I

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Speaker 2: think again, you can just you can be offended, you

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Speaker 2: can be sad, you can feel like, wow, he really

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Speaker 2: went there, and then maybe think, Okay, let's do better

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Speaker 2: at marketing ourselves. Let's do better at bringing this to

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Speaker 2: the world in a different way where people don't feel

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Speaker 2: like it's out of reach and out of touch. Perhaps

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Speaker 2: and not with the times there are. This is an

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Speaker 2: opportunity and not one necessarily to throw stones across the

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Speaker 2: way and to go to start pointing fingers. That's when

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Speaker 2: it gets ugly. But yes, even the roy then they

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Speaker 2: start going into defense mode about how important ballet and

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Speaker 2: opera is and that also isn't maybe necessarily gonna land

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Speaker 2: the way they want it to.

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Speaker 1: Who's the audience for it, exactly, I would ask. I

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Speaker 1: mean it might be their own audience. They're in their

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Speaker 1: own world, and that is also okay. Royal Ballet and

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Speaker 1: Opera coming out with this saying ballet and opera have

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Speaker 1: never existed in isolation. They have continually informed, inspired, and

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Speaker 1: elevated other art forms. Their influence can be felt across theater, film,

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Speaker 1: contemporary music, fashion, and beyond. For centuries, these disciplines have

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Speaker 1: shaped the way artists create an audience experienced culture, and

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Speaker 1: today millions of people around the world continue to enjoy

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Speaker 1: and engage with them. Well done, fine that it's always

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Speaker 1: worth pointing out the Royal ballet and opera. I have

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Speaker 1: not looked at your website in years, and I am

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Speaker 1: now paying attention. That's a good thing to remind us

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Speaker 1: all of that. I like that statement.

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Speaker 2: I do too, and it's just yes, it's an opportunity.

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Speaker 2: They took advantage of it to talk about how wonderful

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Speaker 2: opera and ballet are. Great. Opera, tonight wrote, opera has

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Speaker 2: been around since the sixteenth century and is still alive

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Speaker 2: and well today. They later added this, what a shame,

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Speaker 2: This is just Timothy Chalome. What a shame that you

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Speaker 2: don't have respect.

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Speaker 1: For other art forms?

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Speaker 2: Its top Okay, it's a little spanking right there. Oh,

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Speaker 2: you don't have unnecessary unnecessary.

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Speaker 1: That's how they feel. They feel they know him well

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Speaker 1: enough to know he doesn't respect any other art form

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Speaker 1: other than movie star.

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Speaker 2: Okay, okay. Isabelle Leonard big, big big.

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Speaker 1: She's a Grammy winner, three time Grammy winner, operation singly. Yeah,

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Speaker 1: she is a big deal.

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Speaker 2: So she went there.

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Speaker 1: Yeah, this was strong, she said.

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Speaker 2: Honestly, I'm shocked that someone so seemingly successful can be

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Speaker 2: so ineloquent and narrow minded in his views about art

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Speaker 2: while considering himself as an artist. I would only imagine

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Speaker 2: one would as an actor to take cheap shots at

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Speaker 2: fellow artists, says more in this interview than anything else

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Speaker 2: he could say, shows a lot about his character. You

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Speaker 2: don't have to like all art, but only a weak

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Speaker 2: person artist feels the need to diminish, in fact, the

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Speaker 2: very arts that would inspire those who are interested in

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Speaker 2: slowing down to do exactly that.

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Speaker 1: I didn't understand that last part. It was a little ineloquent,

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Speaker 1: she might say, but I didn't understand what she was saying.

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Speaker 2: It is interesting, do you think when people take shots

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Speaker 2: that other people don't recognizing that they're actually taking shots

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Speaker 2: for the exact same reasons the other person did so

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Speaker 2: to call him weak for taking a shot at an artist,

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Speaker 2: that is exactly what she is doing right back to him.

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Speaker 2: I just always think It's interesting in those moments where

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Speaker 2: you can't even see that your reaction is actually on

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Speaker 2: the same.

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Speaker 1: Level and to what you're saying here, I am I

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Speaker 1: am focused on it because she actually wrote it down.

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Speaker 1: This wasn't right. I don't think she wrote this out,

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Speaker 1: So there's no other way to kind of interpret or whatever.

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Speaker 1: It is the point she is calling him the exact

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Speaker 1: thing she's complaining about being called exactly. So what do

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Speaker 1: we do ro This is the problem. And some of

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Speaker 1: these are where it's difficult in these who gets to

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Speaker 1: be the adult who gets to if someone does something wrong?

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Speaker 1: Can you meet them not at that wrong level, but

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Speaker 1: up a little bit and possibly elevate them up with you?

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Speaker 1: Is it possible? We don't have to go down and

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Speaker 1: meet Timothy where he is. Let's bring him up a

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Speaker 1: little bit and elevate the conversation because it she took

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Speaker 1: it down.

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Speaker 2: Yeah, oh she was. She was hurt. She was angry

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Speaker 2: and hurt. People hurt, and that's exactly what she did.

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Speaker 2: And he wasn't meaning to personally offend or hurt any

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Speaker 2: of these folks. That is that is absolutely true. He

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Speaker 2: was trying to make a point about attention spans dwindling

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Speaker 2: audiences and wanting to be with with where future trends

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Speaker 2: are versus staying in the past, where we hold on

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00:22:29,560 --> 00:22:32,160
Speaker 2: to certain things because we want them to stay the same.

436
00:22:32,240 --> 00:22:33,560
Speaker 1: He said it the wrong way. He said it the

437
00:22:33,560 --> 00:22:34,800
Speaker 1: wrong absolutely.

438
00:22:34,520 --> 00:22:36,560
Speaker 2: So couldn't she have just been like I know that

439
00:22:36,600 --> 00:22:38,560
Speaker 2: in his heart, he couldn't have meant what he said.

440
00:22:39,160 --> 00:22:41,480
Speaker 2: I recognize we have some work to do on getting

441
00:22:41,720 --> 00:22:43,879
Speaker 2: the word out about how beautiful opera is. Like you

442
00:22:43,920 --> 00:22:46,520
Speaker 2: could just have taken that stance.

443
00:22:47,119 --> 00:22:50,080
Speaker 1: Or didn't have to go she had to say I'm

444
00:22:50,119 --> 00:22:52,320
Speaker 1: pissed and that hurt. If you would have said that,

445
00:22:52,359 --> 00:22:54,879
Speaker 1: I would have gone, Okay, I feel you and that sister. Yeah,

446
00:22:54,920 --> 00:22:58,000
Speaker 1: she attacked him. She attacked his character, She attacked who

447
00:22:58,040 --> 00:23:01,720
Speaker 1: he is, She attacked his passion, She had attacked his art. Right,

448
00:23:02,720 --> 00:23:06,159
Speaker 1: he just made a slip. She had a second to

449
00:23:06,240 --> 00:23:06,800
Speaker 1: hit delete.

450
00:23:06,960 --> 00:23:08,840
Speaker 2: I thought you made such a good point that I

451
00:23:08,880 --> 00:23:11,479
Speaker 2: had not thought about. Timothy Chalome was talking. And when

452
00:23:11,560 --> 00:23:13,840
Speaker 2: you talk and you're on a you got a microphone on,

453
00:23:13,920 --> 00:23:16,400
Speaker 2: you're talking to a bud. Yes there were cameras, Yes

454
00:23:16,440 --> 00:23:19,080
Speaker 2: there was a live audience. But you might you might

455
00:23:19,119 --> 00:23:21,320
Speaker 2: say things that you regret or you didn't mean to

456
00:23:21,320 --> 00:23:23,320
Speaker 2: say it a certain way. When you type something, When

457
00:23:23,359 --> 00:23:25,199
Speaker 2: you write something and you send it out, that was

458
00:23:25,320 --> 00:23:29,600
Speaker 2: thought through, probably read twice or several times, and you

459
00:23:29,640 --> 00:23:31,720
Speaker 2: made sure it was exactly what you wanted to say,

460
00:23:31,720 --> 00:23:34,760
Speaker 2: and then you hit send. It's a big difference. It's

461
00:23:34,800 --> 00:23:35,520
Speaker 2: a big difference.

462
00:23:36,480 --> 00:23:40,840
Speaker 1: Last couple here, another New York City ballet making fairchild said,

463
00:23:40,880 --> 00:23:42,600
Speaker 1: it's not even this one's.

464
00:23:42,280 --> 00:23:42,840
Speaker 2: This is tough.

465
00:23:42,920 --> 00:23:44,119
Speaker 1: Yeah, go ahead, you take it.

466
00:23:43,760 --> 00:23:46,520
Speaker 2: It's not even the idea that he dissed ballet and

467
00:23:46,600 --> 00:23:50,320
Speaker 2: opera that bothers me. It's the suggestion that he had

468
00:23:50,320 --> 00:23:53,840
Speaker 2: the talent and aptitude to pursue these Olympic level artistic

469
00:23:53,880 --> 00:23:57,679
Speaker 2: fields in the first place. Timmy, I didn't realize you

470
00:23:57,720 --> 00:24:01,480
Speaker 2: were a world class dancer or opera who simply chose

471
00:24:01,560 --> 00:24:05,560
Speaker 2: not to pursue it because acting's more popular. Exclamation point,

472
00:24:05,880 --> 00:24:10,679
Speaker 2: what wow? That would beyond anger? That was mean up.

473
00:24:10,960 --> 00:24:13,040
Speaker 1: This is their life, this is their art, this is

474
00:24:13,080 --> 00:24:15,920
Speaker 1: their passion, this is everything to them, and they have struggled,

475
00:24:15,920 --> 00:24:19,159
Speaker 1: I'm sure on their way up in ways that maybe

476
00:24:19,200 --> 00:24:23,400
Speaker 1: Timothy Shallo may didn't right at least in their mind.

477
00:24:23,560 --> 00:24:26,120
Speaker 1: So they're hurt. Maybe they're angry as hell, and I'm

478
00:24:26,160 --> 00:24:29,359
Speaker 1: trying to leave space for that. But man, this does

479
00:24:29,400 --> 00:24:32,679
Speaker 1: not help. It does not in picking a side. If

480
00:24:32,720 --> 00:24:35,960
Speaker 1: I didn't have a side at all, I mean, do

481
00:24:36,080 --> 00:24:38,440
Speaker 1: I go, I don't know who you put your arms around?

482
00:24:38,480 --> 00:24:39,879
Speaker 1: Do we have to pick a side? I just you

483
00:24:39,920 --> 00:24:42,280
Speaker 1: know how I am robes this always we have opportunities

484
00:24:42,280 --> 00:24:45,080
Speaker 1: in conversations, and we always fail, even when it comes

485
00:24:45,080 --> 00:24:48,000
Speaker 1: to freaking. A guy who played a ping pong player

486
00:24:48,440 --> 00:24:51,919
Speaker 1: in an opera singer even that, not even politics robes

487
00:24:52,240 --> 00:24:52,640
Speaker 1: I know.

488
00:24:52,960 --> 00:24:55,280
Speaker 2: I know, And I was just thinking. You know, Timothy Schallamey,

489
00:24:55,320 --> 00:24:57,280
Speaker 2: I know he went to LaGuardia High School here in

490
00:24:57,280 --> 00:24:59,800
Speaker 2: New York City and they you are exposed to all

491
00:25:00,080 --> 00:25:02,560
Speaker 2: the different arts. Is it's a school here in the

492
00:25:02,600 --> 00:25:06,040
Speaker 2: city where you've got acting and singing and dancing and

493
00:25:06,080 --> 00:25:08,720
Speaker 2: fine arts and visual arts, and you know, so he

494
00:25:08,720 --> 00:25:11,919
Speaker 2: he was around. Yes, it's the fame school he was.

495
00:25:12,080 --> 00:25:14,080
Speaker 2: My point is he has been exposed and has been

496
00:25:14,119 --> 00:25:18,240
Speaker 2: around artists, so maybe he felt more comfortable like talking

497
00:25:18,280 --> 00:25:22,960
Speaker 2: about the different types of uh way, the different ways

498
00:25:22,960 --> 00:25:25,520
Speaker 2: you express your art, and it just this is a community.

499
00:25:25,560 --> 00:25:27,760
Speaker 2: He knows he is a part of it. I just

500
00:25:27,960 --> 00:25:30,680
Speaker 2: I hate to see this get so divisive and people

501
00:25:30,760 --> 00:25:34,119
Speaker 2: get so offended, and I think, finally that ballet dancers, Sarah,

502
00:25:35,600 --> 00:25:37,960
Speaker 2: I'm trying to murn's okay, Yeah, sorry, I couldn't see

503
00:25:37,960 --> 00:25:41,760
Speaker 2: that again, just went low. I would like to challenge

504
00:25:41,840 --> 00:25:44,800
Speaker 2: Timothy chalome to get in a studio with me and

505
00:25:44,920 --> 00:25:47,520
Speaker 2: create and be a part of something that has stood

506
00:25:47,520 --> 00:25:50,600
Speaker 2: the test of time. Show your mother the respects she

507
00:25:50,760 --> 00:25:52,480
Speaker 2: deserves me.

508
00:25:52,560 --> 00:25:53,240
Speaker 1: Come after Mama.

509
00:25:53,320 --> 00:25:55,199
Speaker 2: That's a she went there on.

510
00:25:55,760 --> 00:26:01,080
Speaker 1: That was a choice. Lose on Mama there. Who knows.

511
00:26:01,119 --> 00:26:02,840
Speaker 1: I don't know how this is going to turn out road.

512
00:26:02,880 --> 00:26:07,160
Speaker 1: It's just even this got nasty. Even Timothy Schallo may

513
00:26:07,240 --> 00:26:09,520
Speaker 1: he played Ping Pong in a movie. He might win

514
00:26:09,560 --> 00:26:13,440
Speaker 1: an oscar. He's dating a Kardashian, for God's sakes. This

515
00:26:13,520 --> 00:26:13,960
Speaker 1: is the guy.

516
00:26:14,240 --> 00:26:17,160
Speaker 2: Take it. I mean, look, I do appreciate the folks

517
00:26:17,200 --> 00:26:20,760
Speaker 2: who did take advantage of his He is a phenomenon.

518
00:26:20,800 --> 00:26:25,560
Speaker 2: He is a global phenomenon. He just mentioned ballet an

519
00:26:25,600 --> 00:26:28,480
Speaker 2: opera now and the way you wanted him to take advantage,

520
00:26:28,800 --> 00:26:30,200
Speaker 2: to use it to your advantage.

521
00:26:30,320 --> 00:26:33,800
Speaker 1: We have never done a Timothy Schaalomey episode until this

522
00:26:33,880 --> 00:26:34,320
Speaker 1: came up.

523
00:26:34,800 --> 00:26:37,080
Speaker 2: I don't think we've talked about ballet or opera even

524
00:26:37,119 --> 00:26:39,320
Speaker 2: though we went. Maybe we talked about our fun time

525
00:26:39,359 --> 00:26:41,879
Speaker 2: at the mat that one night. But yes, I.

526
00:26:41,880 --> 00:26:44,840
Speaker 1: Haven't even seen a Timothy Chalomey movie. We're about to

527
00:26:45,119 --> 00:26:49,800
Speaker 1: try Dune. My plane landed before I could get through it.

528
00:26:52,000 --> 00:26:56,560
Speaker 1: So I'm a fan of this dude because of what

529
00:26:56,640 --> 00:27:00,400
Speaker 1: he's done, and now they're making me an even bigger fan.

530
00:27:00,840 --> 00:27:04,240
Speaker 1: Oh goodness. Sorry, folks, we appreciate you as always. Just

531
00:27:04,240 --> 00:27:06,560
Speaker 1: want to hop on and get this off my chest.

532
00:27:06,600 --> 00:27:08,479
Speaker 1: On a Sunday wherever you may be. Hope you are

533
00:27:08,520 --> 00:27:11,680
Speaker 1: having a good one. We'll talk to you so o