MetroFocus

EXCLUSIVE: MISTY COPELAND

Transcript

>>> THE INCOMPARABLE MISTY
COPELAND, SHE WILL BE BACK
CENTER STAGE THIS SPRING FOR THE
AMERICAN BALLET THEATER'S
UPCOMING SEASON AT LINCOLN
CENTER WHICH GETS UNDER WAY IN
MAY.
YOU WILL REMEMBER THAT SHE MADE
HISTORY BACK IN 2015 WHEN SHE
BECAME THE FIRST
AFRICAN-AMERICAN BALLERINA TO BE
NAMED A PRINCIPAL DANCER IN THE
COMPANY'S 75-YEAR HISTORY.
SINCE THEN THIS BOLD BALLERINA
HAS BROUGHT PLENTY OF NEW FANS
INTO THE THEATER, WHILE PUSHING
TO MAKE THE WORLD OF BALLET MORE
DIVERSE AND INCLUSIVE PLACE.
AS PART OF THAT PUSH, SHE'S
LOOKING BACK AT THE BLACK
DANCERS WHO PAVED THE WAY FOR
HER RISE FROM POVERTY TO
SUPERSTAR DOM, INCLUDING ONE OF
HER MENTORS, RAVEN WILKINSON,
THE NEW YORK DANCE LEGEND DIED
IN DECEMBER AT THE AGE OF 83
FOLLOWING A CAREER THAT SAW HER
OVERCOME DISCRIMINATION AND
SEGREGATION, TO BECOME ONE OF
THE FIRST AFRICAN-AMERICANS TO
PERFORM WITH A MAJOR BALLET
COMPANY.
SHE PASSED DOWN HER KNOWLEDGE TO
MISTY COPELAND, WHO NEXT MONDAY
IN HARLEM WILL HOST A
CELEBRATION OF WILKINSON'S LIFE.
TONIGHT, IN HONOR OF WOMEN'S
HISTORY MONTH, WE'RE TAKING A
CLOSER LOOK AT THE REMARKABLE
CAREERS OF BOTH OF THESE TRAIL
BLAZING BALLERINAS.
AND TO HELP US DO JUST THAT, IT
IS OUR PLEASURE TO WELCOME MISTY
COPELAND BACK TO "METROFOCUS."
THERE'S NO SO MUCH I WANT TO
TALK TO YOU ABOUT.
>> OKAY.
>> WE'LL GET TO CHANGES, WHAT
YOU'VE SEEN, IN TERMS OF
DIVERSITY ON STAGE AND IN FRONT
OF THE STAGE, BUT I WANT TO
FOCUS FIRST, ON RAVEN WILKINSON.
HOW DID YOU FIRST LEARN OF HER.
YEAH, IT'S REALLY INTERESTING,
IT IS SOMETHING THAT I'VE
DISCOVERED, AND FOUND, I FELT
LIKE IT WAS SOMEWHAT A PART OF
MY PURPOSE, AND YOU KNOW, NOT
JUST TO BE A CLASSICAL DANCER,
NOT JUST TO BE A BALLERINA, BUT
REALLY TAKING OWNERSHIP AND
RESPONSIBILITY IN MY POSITION AS
A BLACK BALLERINA, AND HOW I'M
SEEN, AND I THINK THAT REALIZING
THAT I DIDN'T HAVE THAT TO LOOK
AT, GROWING UP.
THEY WERE THERE, AND THEY
EXISTED, BUT I WAS NOT SHOWN IT,
IT'S NOT SOMETHING THAT YOU CAN
EASILY ACCESS.
I REMEMBER THE FIRST TIME I SAW
A BLACK BALLERINA, I THINK SHE
WAS ON THE COVER OF POINT
MAGAZINE, OR DANCE MAGAZINE, ONE
OF THOSE, AND IT WAS SHOCKING.
LIKE I DIDN'T KNOW EVEN LIKE
WHAT IT WAS, I COULDN'T
IDENTIFY --
>> SOMEBODY WHO LOOKS LIKE ME.
>> THE FEELINGS I HAD.
BUT IT WAS RAVEN, THE FIRST
TIME, IT ALL CLICKED.
I WAS ALREADY A PROFESSIONAL
DANCER.
I WAS IN THE COURT OF BALLET, I
BELIEVE.
AND I WAS WATCHING A DOCUMENTARY
ON THE BARLEY ROUTA MONTY KARLO,
THE COMPANY SHE DANCED WITH THAT
IS NO LONGER IN EXISTENCE NOW IN
THE 1950s, AND SHE CAME ON TO
THE SCREEN AND SHE STARTED
SPEAKING AND I IMMEDIATELY JUST
STARTED BALLING MY EYES OUT.
IT WAS JUST IMMEDIATE
RECOGNITION THAT I NEVER
EXPERIENCED --
>> HERE IS SOMEONE WHO PAVED THE
WAY AND I DIDN'T EVEN KNOW IT.
>> EXACTLY.
I COULDN'T TRULY ARTICULATE OR
UNDERSTAND WHY I WAS SO
EMOTIONAL AND THAT'S WHY I
UNDERSTAND THE IMPORTANCE OF ME
BEING IN THIS POSITION, JUST
SIMPLY TO HAVE A YOUNG PERSON
LOOK AT ME AND SEE AN
OPPORTUNITY THROUGH ME, LIKE
THEMSELVES THROUGH ME, AN
OPPORTUNITY FOR THEMSELVES,
WHETHER IT IS TO BE A DANCER OR
NOT, BUT THAT THERE IS SOMEONE
SUCCEEDING THAT LOOKS LIKE THEM.
AND RAVEN WAS THAT FOR ME.
AND IT LITERALLY CHANGED MY
WORLD RIGHT THEN IN THAT MOMENT.
>> WHEN YOU LEARN ABOUT HER
LIFE, AND YOU LOOK AT HER
TRAVAILS, WHAT DID YOU LEARN
ABOUT HER, WHAT CONFRONTED HER,
AND HOW SHE HANDLED IT?
>> IT WAS EYE OPENING.
WHEN I THINK ABOUT CLEARLY IN
THE PAST AND THROUGHOUT HISTORY,
JUST BEING AFRICAN-AMERICAN,
YOU'RE GOING TO HAVE EXPERIENCED
JUST SO MANY HURDLES, AND
OBSTACLES, THAT HAVE CLEARLY
GOTTEN EASIER FOR US NOW,
THOUGH, THEY ARE, WE STILL HAVE
SO MANY ROAD BLOCKS, AND TO FEEL
THAT, YOU KNOW, I WAS THE ONLY
BLACK WOMAN IN AMERICAN BALLET
THEATER FOR OVER A DECADE AND
I'M SITTING THERE THINKING LIKE
THIS IS SO HARD FOR ME, AND I'M
FIGHTING, AND THEN I WATCHED
THIS AMAZING WOMAN SHARE HER
STORY.
SHE DANCED FOR A SHORT PERIOD OF
TIME WITH THE BALLET ROUSE
BECAUSE HER LIFE WAS THREATENED
BY THE KKK AND THAT IS WHAT
THREATENED HER CAREER AND TO SEE
HER STRENGTH AND SHE WAS SO
CLEAR ABOUT HER IDENTITY AND WHO
SHE WAS AND WANTING TO BE
PERCEIVED AND WANTING TO DO WHAT
SHE LOVED, AND IT IS VERY EASY
FOR A BLACK DANCER ESPECIALLY
DURING THAT TIME TO BE PRESSURED
INTO, YOU KNOW, PASSING, THEY
SAY.

>> AND THAT WAS NOT SOMETHING
THAT SHE, SHE WAS GOING TO DO.
AND I JUST RESPECT HER EVEN
MORE.
AS A DANCER, AND ABSOLUTELY THE
PERSON I GOT TO KNOW, AND I
NEVER IMAGINED THAT I WOULD
ACTUALLY BECOME LIKE A VERY
CLOSE FRIEND OF HERS.
>> WHAT WAS THAT LIKE FOR YOU,
WHEN YOU FIRST MET HER, WHEN YOU
FIRST HAD THAT OPPORTUNITY AND
NOW YOU KNEW WHO SHE WAS, AND
WHAT SHE HAD DONE AND YOU SAW
WHERE YOU HAD GOTTEN NOW, WHAT
WAS THAT FIRST REACTION TO HER?
>> WELL, IT WAS JUST, I FEEL
LIKE EVERYTHING HAPPENED SO
QUICKLY, YOU KNOW, TO GO, MY,
YOU KNOW, ALMOST ENTIRE LIKE
ADOLESCENCE OF TRAINING AS A
DANCER, NOT REALLY HAVING THAT
PERSON, AND THEN ALL OF A
SUDDEN, SHE'S THRUST INTO MY
LIFE, AND I'M SO MOTIVATED, AND
INSPIRED TO, YOU KNOW, TO BE A
VOICE FOR THE BLACK COMMUNITY
AND ESPECIALLY THE BLACK DANCE
COMMUNITY.
AND THEN I STARTED WORKING WITH
MY MANAGER, GILDA SQUIRE, VERY
EARLY ON IN OUR RELATIONSHIP,
AND I WOULD SPEAK ABOUT RAVEN IN
ALMOST EVERY INTERVIEW, AND SHE
WAS KIND OF LIKE WHO IS THIS
RAVEN PERSON?
AND SHE LOOKED HER UP.
FOUND OUT SHE WAS LIVING.
AND SHE LIVED LIKE A HALF A
BLOCK FROM ME.
AND SHE WOULD COME AND SEE ME
PERFORM THROUGHOUT MY ENTIRE
LIKE EARLY CAREER.
THE FIRST TIME WE SPOKE WAS
ACTUALLY LIVE ON A RADIO
INTERVIEW TO PROMOTE A PANEL
KIND OF DISCUSSION WE DID OF TWO
GENERATIONS OF BLACK BALLERINAS
AT THE STUDIO MUSEUM IN HARLEM.
SO THE FIRST TIME WE MET WAS AT
THE STUDIO MUSEUM.
AND IT WAS SO OVERWHELMINGLY
EMOTIONAL.
>> THERE'S A MARVELOUS
PHOTOGRAPH THAT I SAW OF HER
COMING ONSTAGE, WITH FLOWERS,
FOR YOU, IT WAS ONE OF THE MAJOR
PROFESSIONAL HIGHLIGHTS IN YOUR
CAREER.
>> YES.
>> TELL ME ABOUT THAT, BECAUSE
YOU WATCH THAT, AND YOU SAID,
HERE'S A PROGRESSION, FROM ONE
PIONEER TO ANOTHER.
>> YES.
I JUST FEEL VERY FORTUNATE THAT
I'M SURROUNDED BY A TEAM OF
BLACK WOMEN, WHO ARE STRONG, AND
THAT UNDERSTAND ALL OF THE
IMPORTANT POINTS IN MY CAREER,
AND MY MANAGER MADE THAT HAPPEN.
AND THAT WAS A MONUMENTAL
MOMENT, THAT I THINK WOULD NOT
HAVE JUST BEEN OPEN TO ME, FOR
THE FIRST BLACK PRINCIPAL
BALLERINA WITH THE HOUSTON
BALLET, SHE FIRST CAME ON TO THE
STAGE, AND MY DEBUT, AS THE
SWAN, QUEEN IN NEW YORK CITY AND
SHE PRESENTED ME FLOWERS AND
THEN RAVEN CAME OUT AFTERWARDS,
AND IT WAS JUST --
>> YOU KNOW WHAT I'M STRUCK BY?
IN LOOKING, AND I GOT THE PHOTO
AND I BLEW IT UP AND YOU LOOK AT
RAVEN'S FACE, AND IT IS AS IF
SHE IS IN A SENSE, SHE'S NOT
HOLDING THE FLOWERS, SHE'S
EMBRACING YOU AND WHAT YOU HAVE
BECOME, AND THERE IS A REAL
SENSE OF PRIDE THERE, AND A
SENSE OF, IN SOME WAYS MAYBE OF
OWNERSHIP, SAYING THIS IS WHAT I
BEGAT, AS IT CAME FROM ME AND IT
GOES TO MISTY.
>> I DON'T THINK SHE WOULD EVER
SAY THAT.
BUT THAT'S WHAT I KNOW, AND I
FELT, AND I THINK IT'S IMPORTANT
FOR THIS GENERATION OF BROWN
PEOPLE TO SEE THAT COMMUNITY,
AND THAT SUPPORT FROM TWO BLACK
WOMEN.
AND IT'S JUST, IT WAS LIKE SHE
WAS PASSING ME THE TORCH AND
THAT'S WHAT IS SO AMAZING, SHE
HAD SAID TO ME, ON MANY
OCCASIONS, THAT SHE DIDN'T THINK
SHE WOULD EVER SEE A BLACK
PRINCIPLE BALLERINA IN A COMPANY
OF THIS CALIBER IN HER LIFETIME.
SO FOR HER TO HAVE WITNESSED
IT --
>> THAT'S GREAT FOR YOU TO HAVE
DONE IT BUT MARVELOUS FOR HER TO
BE THERE AND TO BE WITH US AND
HAVE WITNESSED IT FOR YOU.
>> SHE PAVED THE WAY FOR ME TO
HAVE THAT OPPORTUNITY.
>> LET ME TALK ABOUT
OPPORTUNITIES.
AND IT IS A GOOD SEGUE FOR YOU,
FOR US TO TALK ABOUT, AND SOME
OF THE THINGS THAT YOU'VE TALKED
ABOUT, PLACES THAT YOU'VE BEEN,
WHERE YOU ARE NOW, I WAS STRUCK
BY, IN WATCHING ONE OF THE
INTERVIEWS THAT YOU HAD, WHERE
YOU HAD TALKED ABOUT, FIRST OF
ALL, IT IS INTERESTING, YOU
DIDN'T START DANCING UNTIL YOU
WERE 13, WHICH IS SORT OF AN
ETERNITY AFTER WHAT MANY WOMEN
DO, AND YOU TALKED ABOUT THE
FACT THAT, YOU KNOW, WE
MENTIONED ROAD BLOCKS AND
HURDLES AND PEOPLE WOULD LOOK AT
YOU AND SAY YOU DON'T HAVE THE
BODY FOR A DANCER.
AND I THINK ANYBODY WHO HAS SEEN
YOU DANCE, YOU KNOW, HAVE
CERTAINLY SAID, WHAT COULD THEY
POSSIBLY BE TALKING ABOUT,
BECAUSE I CAN'T IMAGINE YOU
BEING ANY BETTER AT DANCING.
>> THANK YOU.
THANK YOU.
>> WHAT DID THAT MEAN?
AND WHAT KIND OF A HURDLE DOES
THAT BECOME FOR YOU?
>> FASCINATING.
THE REASON THAT I WAS
DISCOVERED, AT SUCH A LATE AGE,
IS BECAUSE I, THEY WERE LIKE,
WOW, YOU HAVE THE BODY OF A
BALLERINA, SO THIS IS GOING TO
BE REALLY EASY TO GET TO, YOU
ARE VERY CAPABLE, I WAS VERY
FLEXIBLE, I HAD MUSCLE, LIKE,
YOU KNOW, THE RIGHT TYPE, LEAN
LONG MUSCLE, I WAS STRONG, AND I
WAS HYPER-MOBILE, ALL OF THESE
THINGS THAT ARE HUGE ASSETS, BUT
THEN I GET TO A POINT LATER IN
MY CAREER, WHERE I BECOME A
PROFESSIONAL, AND THOSE WORDS
ARE BEING USED IN A COMPLETELY
OPPOSITE WAY.
SO, YOU KNOW, IT TOOK ME A WHILE
TO DECIPHER WHAT THAT LANGUAGE
MEANT.
AND I THINK THAT'S SOMETHING
THAT EVERY BLACK DANCER HAS
EXPERIENCED, YOU KNOW, IT'S A
WAY THAT'S ACCEPTABLE LANGUAGE,
THAT THE BALLET WORLD CAN USE,
TO SAY YOU DON'T BELONG HERE.
>> KIND OF A CODE.
>> YES.
AND I MEAN IT MAKES SENSE.
IT'S LIKE, YOU KNOW, IT'S ABOUT
OUR AESTHETIC, THAT'S
EVERYTHING, SO IT IS NOT WRONG
TO SAY LIKE I'M SORRY YOU JUST
DON'T HAVE THE RIGHT LOOK, BUT
THAT'S BEEN USED AS A WAY TO
KEEP BLACK AND BROWN BODIES OFF
THE STAGE, ESPECIALLY IN MAJOR
CLASSICAL COMPANIES.
I'VE BEEN VERY COMFORTABLE WITH
BRINGING THAT DISCUSSION TO THE
FOREFRONT, BECAUSE I THINK IT'S
SO IMPORTANT AND NECESSARY TO
HAVE.
AND YOU KNOW, JUST TO BE UP
FRONT AND HONEST ABOUT, YOU
KNOW, MY EXPERIENCES, AND OF
COURSE, I HAVE TO TAKE CARE OF
MYSELF, AS AN ATHLETE AND AS A
DANCER, AND THIS IS MY
INSTRUMENT AND IF I DON'T HAVE
IT, I CAN'T DANCE, AND SO IT IS
IMPORTANT TO BE HEALTHY, AND TO
TAKE CARE OF YOURSELF, BUT AT
THE SAME TIME, THERE IS ONLY SO
MUCH YOU CAN CHANGE ABOUT YOUR
BODY, AND MY SKIN COLOR, I
CANNOT CHANGE.
SO I THINK IT IS AN IMPORTANT
MESSAGE, AND YOU KNOW, THING FOR
YOUNG PEOPLE TO SEE.
>> IN MANY WAYS, YOU ARE AN
AGENT OF CHANGE.
YOU WANT TO BE AN AGENT OF
CHANGE.
LET ME START FIRST WITH WHEN
YOU'RE ON STAGE, AND YOU LOOK
OUT, ARE YOU SEEING SOMETHING
DIFFERENT NOW, WHEN YOU LOOK OUT
INTO THE AUDIENCE?
WELL, WHEN I'M ON THE STAGE AND
IN A CLASSICAL BALLET, LIKE IN A
THEATER, YOU CAN'T SEE THE
AUDIENCE.
IT'S JUST BLACK OUT THERE.
WHICH IS WHY I LOVED IT SO MUCH.
I WAS SO SHY, AND INTROVERTED,
THAT I WAS LIKE WOW, I FEEL SO
SAFE, I CAN'T SEE ANYONE AND I
CAN DO WHAT I LOVE.
SO THAT'S A GREAT THING.
BUT IT IS AFTER THE
PERFORMANCES, OR BEFORE, WHEN
PEOPLE SHOW ME PICTURES OF THE
LINE THAT IS STRETCHING FROM THE
STREET IN FRONT OF THE
METROPOLITAN OPERA HOUSE, INTO
THE BOX OFFICE, THAT THAT'S
INSANE, THAT'S A VERY LONG WAY,
AND IT'S FULL OF BROWN PEOPLE,
AND THAT HAS, I DON'T THINK, HAS
EVER BEEN DONE, AT LEAST AT THE
METROPOLITAN OPERA HOUSE AND A
LOT OF BIG CLASSICAL THEATERS,
AND THAT IS JUST, IT'S SO
IMPORTANT FOR THIS GENERATION TO
SEE THAT THEY'RE WELCOMED IN
THOSE SPACES.
>> HOW ABOUT WHEN YOU'RE ON
STAGE AND YOU LOOK AROUND,
AROUND YOU, AND BEHIND YOU, ARE
YOU SEEING CHANGE THERE, TOO?
>> NO.
IT'S MUCH SLOWER TO, YOU KNOW,
I'M VERY FORTUNATE THAT I'M IN A
POSITION THAT, YOU KNOW, I'M
SEEN BY SO MANY PEOPLE, AND NOT
JUST IN AMERICA, AND SO I THINK
IT IS MUCH EASIER TO THEN GET
AUDIENCE MEMBERS THAT ARE MORE
DIVERSE.
THEY WANT TO SUPPORT YOU AND
WANT THEIR CHILDREN, THEY
FINALLY HAVE SOMEONE TO SHOW
THAT, YOU KNOW, IT'S NOT LIKE
THEY CAN TAKE THEIR CHILDREN AND
IT'S LIKE WELL WHY AM I GOING TO
EVEN PUT THEM INTO THIS FIELD IF
THEY'RE NEVER GOING TO SUCCEED.
AND JUST TO HAVE THAT PERSON
THAT THEY CAN LOOK UP TO, AND
THAT THEY CAN DREAM THROUGH,
THAT'S A MUCH EASIER WAY OF
GETTING PEOPLE IN THE DOOR, BUT
IT'S THE WHOLE SYSTEM AND
STRUCTURE OF CLASSICAL DANCE.
>> WHY AREN'T WE SEEING MORE
MISTY COPELANDS?
>> OH, MY GOSH, IT'S SO DEEP.
IT'S TRYING TO CHANGE SOMETHING,
AGAIN, IT IS A EUROPEAN ART
FORM, WHICH I THINK THAT WE ARE
READY TO BREAK AWAY FROM THAT,
AND MAKE IT AN AMERICAN ART
FORM, YOU KNOW, THAT IT'S
CONSTANTLY EVOLVING, AND I DON'T
THINK IT JUST BELONGS TO, YOU
KNOW, THE FREN WERE AND THE
RUSSIANS AND THE, THE FRENCH AND
THE RUSSIANS AND THE ITALIANS
ANYMORE, I THINK WE'VE CREATED
OUR OWN WAY OF CREATING BALLET,
AND AN AMERICAN WAY, SO I THINK
THAT IT IS REALLY ABOUT JUST
CHANGING PEOPLE'S PERCEPTIONS,
AND WHAT'S POSSIBLE, YOU KNOW.
WE'RE SO USED TO THINKING LIKE
WHEN YOU THINK OF A BALLET,
EVERYONE HAS TO LOOK EXACTLY THE
SAME AND DANCING UNISON, AND YOU
KNOW, WHEN YOU COME TO THE
THEATER, IT'S THIS BEAUTIFUL
ESCAPE THAT YOU CAN, IT'S
FANTASY, IT'S, YOU'RE CREATING,
IT DOESN'T HAVE TO BE SO
LITERAL, AND YOU KNOW, WHEN
PEOPLE TAKE ON ROLES, THEY, YOU
KNOW, THROUGHOUT HISTORY, WHITE
DANCERS HAVE PORTRAYED BEING A
GREEK PERSON, BEING INDIAN, AND
SO WHY CAN'T WE BE ANYTHING WE
WANT TO BE, AS BLACK DANCERS,
YOU KNOW?
NO ONE IS A SWAN QUEEN.
YOU KNOW NO ONE IS THAT ON
STAGE.
SO THAT'S THE POINT OF IT.
YOU'RE CREATING ART.
AND IT SHOULD BE FANTASY.
SO YOU SHOULD BE ABLE TO BE
ANYTHING.
BUT IT IS REALLY ABOUT GETTING
TO THE ROOT OF THE
OPPORTUNITIES, THE FINANCIAL
BURDEN, AND JUST BEING ABLE TO
BRING DANCE TO THE COMMUNITIES
WHERE THEY DON'T HAVE ACCESS, TO
HAVE TEACHERS THAT LOOK LIKE
THEM, IN THOSE COMMUNITIES,
MAKING IT ACCESSIBLE AND
AFFORDABLE, BRINGING IN DANCERS
THAT ARE OF COLOR, WITHIN THESE
TOP COMPANIES, AS WELL.
BUT IT'S LIKE IF YOU DON'T HAVE
A LARGE GROUP OF DANCERS THAT
HAVE THE TRAINING, THEN THERE'S
NO ONE TO CHOOSE FROM WHEN YOU
GET TO THE TOP TIERED COMPANIES.
>> AND IT IS SUCH A DIFFICULT
JOURNEY AS YOU KNOW GETTING TO
THAT TOP TIER.
>> RIGHT.
SO IT IS GOING TO TAKE A LONG
TIME TO KIND OF REACH THAT POINT
WHERE WE START TO SEE A BIGGER
CHANGE.
>> ARE YOU OPTIMISTIC?
DO YOU THINK WE'RE MOVING IN
THAT DIRECTION TO SOME DEGREE?
>> I'M DOING EVERYTHING I CAN
AND I WON'T STOP FOR AS LONG AS
I'M STILL HERE.
THAT'S LIKE MY MISSION.
AND I'M CONSTANTLY TRYING TO
FIND WAYS TO MAKE THAT HAPPEN,
AND I THINK THAT THE MORE THAT
I, I JUST HAVE A VOICE, AND USE
IT IN EVERY, ON EVERY PLATFORM
THAT I HAVE, AS WELL AS, YOU
KNOW, EMBRACING AND SUPPORTING
OTHER BLACK DANCERS, YOU KNOW,
THAT I FEEL LIKE I'M JUST A
VESSEL, FOR SO MANY DANCERS THAT
HAVE PAVED THE WAY FOR ME.
AND FOR FUTURE DANCERS, THAT YOU
KNOW, I'M CONSTANTLY SAYING IT
IS NOT ABOUT ME, IT'S NOT ABOUT
ME, IT'S WHAT I REPRESENT, AND
THAT'S WHY I DO WHAT I DO.
>> WELL, I WILL SAY THIS FOR
YOU.
YOU SAY IT'S NOT ABOUT ME, AND I
KNOW YOU BELIEVE THAT, BUT I CAN
TELL YOU THAT IT IS ABOUT YOU,
AND YOUR FANS WILL SAY THAT, THE
PEOPLE WHO LOOK TO YOU FOR
INSPIRATION, BUT WE LOOK AT WHAT
YOU HAVE DONE, AND IN TALKING
WITH YOU ABOUT RAVEN WILKINSON,
I KNOW YOU ARE CERTAINLY PROUD
OF HER ACCOMPLISHMENTS, AND WE
KNOW THAT BEFORE SHE LEFT US,
AND STILL TODAY, I'M SURE SHE IS
EXTRAORDINARILY PROUD OF WHAT
YOU HAVE BEEN ABLE TO DO.
I THANK YOU FOR SPENDING TIME
WITH US.
YOU ARE AN INSPIRATION TO SO
MANY AND SUCH A DELIGHT TO WATCH
PERFORM AND TO WALK WITH.
I HOPE WE CAN TALK AGAIN DOWN
THE ROAD.
>> THANKS SO MUCH.


URL: https://www.thirteen.org/metrofocus/2019/03/exclusive-misty-copeland/