This is Sex Lies and Spray Tans with Me Cheryl Burke and iHeartRadio podcast. Hey guys, welcome back to Sex Lies and Spray Tans where you get all things dwts. That's right here we are again. Fan questions. Let's get right into it. From Taylor. This is from the Apple podcast review. Cheryl, you need to be a judge asap. Haha. Your podcast is bringing life to the show for me. All season question. Could you talk a little bit about how you approached the season and your teaching method differently depending on whether your celeb is in natural end quotes mover versus a end quote build from the ground up end quote, and what the pros and cons are with each style like Ajil or Christy, where you can show them hip action and boom it clicks and they're able to replicate, versus more like a Rob Kardashian or a Danny where you have to break it down and orchestrate a whole thing to get the effect. I bet people automatically think that a zeal would be preferred and super easy to partner with, but I'd imagine each type brings its own challenges. Would be curious to get your thoughts on how this shakes out with technique, the routines, the show as a whole. Thanks, Cheryl, appreciate your hard work and insights. Oh well, first of all, you're welcome and thank you for listening to the podcast. Okay, wow, So yes, it's very important to adapt to your celebrity, right. So if the technicalities as far as like what a step is called, doesn't click, that's just not important. And I've learned this as I would progress through the show season after season, especially, it's important to really change the vocabulary as much as possible so that they can retain the information. As far as Jill, he actually wasn't as natural as people may think he will. He didn't. It didn't click for him as quick as like Juan Pablo for example, when I was teaching. For example, let's just compare my very first two partners. So Drew Lache had dance background. Emmett Smith did not write no nothing professional. That is like, he never performed as a dancer like Drew a little bit in his uh in the boy band ninety eight degrees. So with Drew I could actually be a lot more technical than let's say, Emmett. With Drew, we could really like get in as far as the details go of like certain like movement and also isolations because he was used to that as a dancer. Now, what he I believe didn't have that Emmett had, for example, was not that he did not that Drew did not have charisma. He did obviously, and Drew and I had really great chemistry. But with Emmett, I think people really rallied behind him. Mind you, we won, we won with both partners, but I think people really rallied behind Emmett because they were just shocked to see a football player move like that. Now, prior to EMMITTT Smith, we had Jerry Rice and what it didn't come as natural as Emmett did. But he also with Emmett, I had to really kind of take a different approach as far as simplifying choreography. So it wasn't as I would say, if I were to put this in ranks as far as like bronze, silver, gold, because that's how you know we compete when it comes to pro am, I'd say with Drew it was definitely open gold. So open gold meaning like you're at the highest, you're at the highest, right like with dancing with your students, so like you can do you don't have to stick to the actual technique book. And with Emmett, I would say we first started out as like silver open silver, and then progressively as the competition went on, we moved from silver to gold. But yes, it just really depends on if your student is a more of a visual learner. You know, I would just I would in the more recent seasons send them YouTube videos or I would make sure to film our rehearsals. Some people, though, are better if they write down their choreography. So like aj for example, he wasn't as visual as he was like having to retain the information and putting the notes and the details all onto a piece of paper really helped him for example. So you kind of just start from the moment you meet during the like actual rehearsals, before the live show, before the premiere. I start to really sense after the first like five six rehearsals what their ability is as far as like do I have to teach musicality or do they have a little bit of natural rhythm. That's the first thing you want to kind of check off the list, because like when I danced with DL Hughlee, for example, he had. He did not have a lot of rhythm whatsoever. And I found that out pretty quickly. And that is the thing. It's like, I think, when you have someone who really can't hear music, that's challenging because you can only hide that for so long. And with Jill, for example, his body was very long and lean, and his whole body was flexible from his legs to his torso and his arms, like he was really able, like you were able to. I was able to put him in certain positions and he looked the part when he did it correctly. However, it was it was struggle. It was a struggle to get there every week. It was not easy by any means. Like I'll never forget rehearsing for that Pasa doblay and samba. It was long hours. This was before there was a time limit for rehearsals. But and this was before the DWTS studio, so we were at a whole another studio in Los Angeles. But it was really it was a lot, a lot of work. And if you hear my interview with Jill, he'll say he'll admit that he actually took upon himself to actually continue rehearsal even without me, and he never told me that he was going to continue rehearsing. But yeah, it's all about like, first of all, you have to retain the information, like there is no working on anything as far as details go. If you don't know your choreography, that's the first priority, and then if there's time, you build. But then you also have to figure out the psychology a little bit behind it, like there's no if possible, try not to change anything the day before, like camera blocking day, which is always the day before the live show. I try to refrain from changing too much because they're already stressed as it is. I'd say Fridays the last day if the show was a Monday, but now that it's on a Tuesday, I'd always give it. Like two days prior to the live show is the deadline as far as changing stuff. But obviously with production and with the camera crew and the director sometimes we have to change stuff and it is what it is. So I hope that answers your question. I mean Rob Kardashian, for sure, it was definitely what clicked for him. He was definitely a visual learner. He was able to when I said make fun of so and so like a pro like just you know, being cheeky. He would exaggerate his movement. I think with him he had this inner voice that made him feel stupid dancing. But when me and him would be in on it, as far as like an inside joke, goes like, okay, so for the samba, I want you to pretend you're val and so he would pretend and then like that's all that was really missing from Rob. He actually had natural musicality and he had natural movement, shockingly enough. But you know, for me, it wasn't so much about working on the nitty gritty with Rob. It was more about getting him just to repetition was key for him, doing the samba over and over and over again, for example, which was one of his best dances, but also choreographing so that like for him, for Rob and his level, it was more like he started out like as a bronze student right and gradually went up to eventually open gold and samba was one of our last dances, which was perfect because I always prefer samba towards the end because by then, if you were still in the competition, you would have already you would have had the foundation of the partnership meaning like, you don't have to teach what it means to not step on a heel in a samba, right, because it's a Latin dance. So all that stuff was already ingrained in his body, and it was about making really simple steps, look in sync with one another, look like he's leading, and look like he has rhythm, and that he's on top of his like the musicality side of things. And then the rest I tried to I would say, you have to really be you have to craft it right so that it doesn't look too easy, but that at the same time it also looks easy enough to where you're not struggling watching the couple dance or the celebrity dance. So we would do steps like literally side together, side together, side together, and within that we would be in like a Latin frame, and I would kind of manipulate his body and for us specifically because of rob the more he would do one step and you can get away with doing like four of those side together. So let's say in samba, the more he was able to create that samba bounce that comes from your ankles and the straightening and bending of your legs, right, So it's really technical but without me even explaining this, Like I would never talk to Rob like this. It would be more like, Okay, close your eyes, feel this. This is exactly what you need to do. And then when he would get all of that in his body as far as like mapping out the choreography, then I'd be like, all right, pretend you're a val Then he would do it and it was so that was the key. But it didn't like I didn't have to do that with someone like Emmett or Jille for example, right like because they didn't have that inner voice. I mean, I'm sure they had other voices in their head, but not that. So, yeah, it's really about reverse psychology and it's very true. I just interviewed Billing Vall. He's like, not only are you are dance partners, you're also our psychologists. And it's like, it's all about how do we get through to our celebrities And sometimes you just have to avoid your certain things that you may be used to as far as your teaching method goes, because it's not about sticking to your method and making these celebrity have to adjust. It's the other way around. Because we don't have a year to prep right as you guys know, let's move on to number two. At Mackenzie Bass twenty five. I need to know do you all use boob tape? Do the costumes have sports bras that are built in? Definitely, No, there's no sports spras. There are for some people. Not for myself. I prefer no padding or whatsoever because I just didn't like the way it looked on television for me and my body type that is. But yes for and also I mean maybe it's just me, but like I sweat so much that boob tape wouldn't work. It would just not be sticky at the end of the dance or especially because we don't just do one dance and done right like we have all day rehearsals and we're doing each of our like each routine we do like a hundred times before we go live on stage. That doesn't include the rehearsal and the days leading up to the camera blocking and then to dress rehearsal and then to ban rehearsal and then to live show. So we do repeat it quite a lot within a span of twenty four hours. But boob tape is a no go for me. They know better than to put tape on me, it just comes straight off. And then also what they do like because I'm not I don't have a big chest, so they would just the fabric would be like two layers around the chest area for me, so that you don't obviously see anything right see through anything. But towards like the beginning of my time on the show, I definitely used like they just put boob pads or those like triangle cups inside your they sew it inside your costumes. But everyone's different. So I hope that answered your question. But that's a great question. Okay, let's move on, Oh to the same person. Second question, how do you all wear some of these stunning costumes and not worry about flashing all of America as someone with a bigger chest. I'm so intrigued. Okay, yeah, so look, we have dress rehearsal, and dress rehearsal is really mainly obviously for everyone just to rehearse, but we do it in costume, so it's our first time dancing in costume. So if anything, this is really important for like wardrobe, the wardrobe department to look closely on this on the TV screens out there to see if there's anything that we're flashing. Maybe you see a little bit of cellulite, you know, and it's it's basically on them too. I'm sure it's always uncomfortable to have to tell someone to put fishnets on or whatever, or if a dress is not staying on the body. We will know all of this during dress rehearsal for the most part. Now, have there been anyone that ever flashed the show before or live on television? Absolutely, I'll never forget it. Like during one of my I think it was a samba with William Levy, it looked like my boob came out, but it was just the fabric of where the mic pack, like, it's the cover of the mic pack. So we also dance in and like little mic packs, which are so uncomfortable because for the women especially, they're either gonna be under one of our breasts, which means like one one side of our costumes may have a boot pad and the other one may not because it the mic pack itself is pretty thick, though they have had thicker but now obviously with it being twenty twenty five, almost there are they have invented thinner mic packs. But my mic pack came out, but the fabric of it and it started flopping around the air in the air like towards the beginning till the end of William Levey of when we dance the samba. Uh. It was really funny. But Nancy Grace, I think she full on showed her nipple. And this was before we were required, that is, to wear nipple covers. So now they definitely they literally there's a woman that goes around and says, nipple cover check, like because we have do we have to basically follow standards and practices. And that rule only came about because I think because of Nancy Grace when she flashed America, you saw like the top of her nipple. I believe, I don't remember anyway, Yes it happens. But the way that these costumes are for women, especially for the ones that like as far as costumes that are made from scratch, which is most of them, I would say, we step into them like body suits, so there's not like two pieces. So the reason why we do this is because let's say, you know, you wore something with a low back and it was like and then a skirt would be separate from that instead of it being all one piece like a body suit with a skirt already attached, it would definitely rise up. And what you don't see on camera are our beige elastic straps that are so tight on us that you don't see it because it matches our skin tone or our spray hands. So yeah, there's some hidden gems in there that we do always sometimes even if you're wearing let's say, tides or fish nets. I mean most of the time it's fish nets because you'll rip your tights if you were tights, but you'll sew. Sometimes they'll sew our skirt down to the fish net, which makes it really hard to have to go potty. Yep, but we make it work. It's this wardrobe team is literally the best in the business, in any business, I don't care. They're like the number one wardrobe team in the world. No matter what type of wardrobe you do, these people definitely are the best. Shout out to them. Let's move on to the next question at Dad's Underscore Primitive Underscore work Bench. Hi, share all question for your amazing podcast, Why thank you? If you could pick a twelve whoa in Pro line up for next season with a mix of old and current pros. Who is on your list, Okay, Whoa, Karina smirnov, Anna Trebunskaya, Danielle Karash. I'm just doing the girls first, Whitney, Carson, Peta and Sharna, so I'm assuming six women, six men. As far as the male pros go, I'd say Max val Artem, Pasha Pashkov, Sasha. I'm really thinking about this as I'm going and Alan, there you go. Now, that doesn't mean I don't think the other pros are good. You're asking me for twelve. I gave you twelve. But it's a hard cut, like you've got like your actual I mean, mind you, most of these people are no longer doing it. So but you asked me h for a mix of old and current pros, which was so hard I'm sure I'm missing a bunch anyway. Next, hopefully that helped. Grateful music teacher. This is from the Apple Podcasts comments section or review section. In the early days of DWTS, I was a huge Cheryl Burke fan. I love her insider perspective as a former DWTS pro but also as a competitive danswer. Thank you A question for Cheryl, which current DWTS pro is the best choreographer current one? Good you know, it's hard to kind of do this because obviously we choreographed to our partner's ability, right, So as far as someone who loves that, I know loves to choreograph and that comes up with something innovative and creative every time I've seen their choreography, regardless of regardless, sorry, I'm just thinking about my answer. Regardless of the level of their celebrity, I would say Daniella and Pasha, I have to do one male, one female. Sorry, but yeah, that couple that amazing duo, husband and wife. They're pretty amazing and what I love too. I remember interviewing Daniella on another podcast that I had with iHeart, and she said, I'll never forget it. She says that she doesn't watch videos for inspiration because she doesn't want to like copy anybody. She doesn't she wants the inspiration to come from just her, like from what she's thinking about. But I wonder if that's still the same answer. They also have each other, which really helps, But still, like, I think they're pretty creative, especially Daniella with what you know, as far as who her partners have been. If you look get her track record, she's done pretty well for herself, and that's due to her amazing and innovative choreography. Next question at core Dot of Dot the Dot Earth. Do you feel like the current lineup of male pros is weaker than the lineup of female I don't know. I don't think so. I would never It's interesting that you ask this question because I don't ever like com I guess I don't ever, that's never gone through my mind. As far as like oh or the male pros weaker, I wouldn't say so. But also we have different challenges, like I posted this a while back on my Instagram that I got tons of like weird hate comments from because it's always been a battle on the show about who has it the hardest as far as female pros versus male pros. I still think by far we do because we can't physically move our partners, especially if you dance with someone like Dwight Howard, right, So for the most part it's harder. And then for the male pros, you know, they could literally physically lift these people for the most part and move them around. But anyway, so I guess I can't answer that question because I've never thought about it, nor would I ever think about it, I guess because it's like we all the pros that you've seen ever to lay foot onto that dance floor that's ever had a celebrity. I mean, you're seeing the best of the best in this business of ballroom dancing, right, so they're all great. Next question at Lenny Bertie Hi, I just want to thank you for your podcast and your content. Interestingly enough, your critiques online have really helped me with my yoga. I stretched now from the core of my fingers tips instead of just reaching out with my arm after hearing you talk about it, especially for Waltz's etc. Question. I'm the only a lane from Seinfeld dancer in my family of really good natural musicality as far as my family goes. I love to dance, but I'm bad. Do you have any tip that you tell your quote bad celebs to feel more confident and less self conscious? All? First of all, like when it comes to dance, it's an expression of movement, right, like it's an art form. There's no right, there's no wrong. You're not competing, you're not on Dancing with the Stars. And I sure hope that your family doesn't like make fun of you or anything like that. I hope they just support you, but I think you should just honestly own it, own whatever you think, but like honestly dance. Again, it's just it's an interpretation of what each individual hears as far as music goes, right, And I think like you can just own your maybe if you're not necessarily rhythmical, just own it all. Like really, it's like when you hold back in general, that's when you become even more self conscious. So if you were just to like let your hair down and just like own the fact that you think you're a bad dancer and just like just kind of fall into that a little bit more and exaggerate it, I think you could probably start TikTok trends if you wanted to. It's when people own it, you know. It's when people are aware, like maybe you're not the best. Like for me, I am the worst, uh what worst drawer? Let's say, like I hate drawing and I have the worst handwriting, and I just straight up am self deprecating when it comes to certain things. I'm also dyslexic, like and I don't mind saying it. It's just like own up to it, take accountability, and then just who cares? Right like express yourself. I'm sure your family will start doing some of your moves too. So yeah, I hope this helps and sending you love. Thank you for your question, don't forget rate review, comment the whole nine yards, even if you've done so multiple times. I love you guys, and until next time, bye,

This is Sex Lies and Spray Tans with Me Cheryl Burke and iHeartRadio podcast. Hey guys, welcome back to Sex Lies and Spray Tans where you get all things dwts. That's right here we are again. Fan questions. Let's get right into it. From Taylor. This is from the Apple podcast review. Cheryl, you need to be a judge asap. Haha. Your podcast is bringing life to the show for me. All season question. Could you talk a little bit about how you approached the season and your teaching method differently depending on whether your celeb is in natural end quotes mover versus a end quote build from the ground up end quote, and what the pros and cons are with each style like Ajil or Christy, where you can show them hip action and boom it clicks and they're able to replicate, versus more like a Rob Kardashian or a Danny where you have to break it down and orchestrate a whole thing to get the effect. I bet people automatically think that a zeal would be preferred and super easy to partner with, but I'd imagine each type brings its own challenges. Would be curious to get your thoughts on how this shakes out with technique, the routines, the show as a whole. Thanks, Cheryl, appreciate your hard work and insights. Oh well, first of all, you're welcome and thank you for listening to the podcast. Okay, wow, So yes, it's very important to adapt to your celebrity, right. So if the technicalities as far as like what a step is called, doesn't click, that's just not important. And I've learned this as I would progress through the show season after season, especially, it's important to really change the vocabulary as much as possible so that they can retain the information. As far as Jill, he actually wasn't as natural as people may think he will. He didn't. It didn't click for him as quick as like Juan Pablo for example, when I was teaching. For example, let's just compare my very first two partners. So Drew Lache had dance background. Emmett Smith did not write no nothing professional. That is like, he never performed as a dancer like Drew a little bit in his uh in the boy band ninety eight degrees. So with Drew I could actually be a lot more technical than let's say, Emmett. With Drew, we could really like get in as far as the details go of like certain like movement and also isolations because he was used to that as a dancer. Now, what he I believe didn't have that Emmett had, for example, was not that he did not that Drew did not have charisma. He did obviously, and Drew and I had really great chemistry. But with Emmett, I think people really rallied behind him. Mind you, we won, we won with both partners, but I think people really rallied behind Emmett because they were just shocked to see a football player move like that. Now, prior to EMMITTT Smith, we had Jerry Rice and what it didn't come as natural as Emmett did. But he also with Emmett, I had to really kind of take a different approach as far as simplifying choreography. So it wasn't as I would say, if I were to put this in ranks as far as like bronze, silver, gold, because that's how you know we compete when it comes to pro am, I'd say with Drew it was definitely open gold. So open gold meaning like you're at the highest, you're at the highest, right like with dancing with your students, so like you can do you don't have to stick to the actual technique book. And with Emmett, I would say we first started out as like silver open silver, and then progressively as the competition went on, we moved from silver to gold. But yes, it just really depends on if your student is a more of a visual learner. You know, I would just I would in the more recent seasons send them YouTube videos or I would make sure to film our rehearsals. Some people, though, are better if they write down their choreography. So like aj for example, he wasn't as visual as he was like having to retain the information and putting the notes and the details all onto a piece of paper really helped him for example. So you kind of just start from the moment you meet during the like actual rehearsals, before the live show, before the premiere. I start to really sense after the first like five six rehearsals what their ability is as far as like do I have to teach musicality or do they have a little bit of natural rhythm. That's the first thing you want to kind of check off the list, because like when I danced with DL Hughlee, for example, he had. He did not have a lot of rhythm whatsoever. And I found that out pretty quickly. And that is the thing. It's like, I think, when you have someone who really can't hear music, that's challenging because you can only hide that for so long. And with Jill, for example, his body was very long and lean, and his whole body was flexible from his legs to his torso and his arms, like he was really able, like you were able to. I was able to put him in certain positions and he looked the part when he did it correctly. However, it was it was struggle. It was a struggle to get there every week. It was not easy by any means. Like I'll never forget rehearsing for that Pasa doblay and samba. It was long hours. This was before there was a time limit for rehearsals. But and this was before the DWTS studio, so we were at a whole another studio in Los Angeles. But it was really it was a lot, a lot of work. And if you hear my interview with Jill, he'll say he'll admit that he actually took upon himself to actually continue rehearsal even without me, and he never told me that he was going to continue rehearsing. But yeah, it's all about like, first of all, you have to retain the information, like there is no working on anything as far as details go. If you don't know your choreography, that's the first priority, and then if there's time, you build. But then you also have to figure out the psychology a little bit behind it, like there's no if possible, try not to change anything the day before, like camera blocking day, which is always the day before the live show. I try to refrain from changing too much because they're already stressed as it is. I'd say Fridays the last day if the show was a Monday, but now that it's on a Tuesday, I'd always give it. Like two days prior to the live show is the deadline as far as changing stuff. But obviously with production and with the camera crew and the director sometimes we have to change stuff and it is what it is. So I hope that answers your question. I mean Rob Kardashian, for sure, it was definitely what clicked for him. He was definitely a visual learner. He was able to when I said make fun of so and so like a pro like just you know, being cheeky. He would exaggerate his movement. I think with him he had this inner voice that made him feel stupid dancing. But when me and him would be in on it, as far as like an inside joke, goes like, okay, so for the samba, I want you to pretend you're val and so he would pretend and then like that's all that was really missing from Rob. He actually had natural musicality and he had natural movement, shockingly enough. But you know, for me, it wasn't so much about working on the nitty gritty with Rob. It was more about getting him just to repetition was key for him, doing the samba over and over and over again, for example, which was one of his best dances, but also choreographing so that like for him, for Rob and his level, it was more like he started out like as a bronze student right and gradually went up to eventually open gold and samba was one of our last dances, which was perfect because I always prefer samba towards the end because by then, if you were still in the competition, you would have already you would have had the foundation of the partnership meaning like, you don't have to teach what it means to not step on a heel in a samba, right, because it's a Latin dance. So all that stuff was already ingrained in his body, and it was about making really simple steps, look in sync with one another, look like he's leading, and look like he has rhythm, and that he's on top of his like the musicality side of things. And then the rest I tried to I would say, you have to really be you have to craft it right so that it doesn't look too easy, but that at the same time it also looks easy enough to where you're not struggling watching the couple dance or the celebrity dance. So we would do steps like literally side together, side together, side together, and within that we would be in like a Latin frame, and I would kind of manipulate his body and for us specifically because of rob the more he would do one step and you can get away with doing like four of those side together. So let's say in samba, the more he was able to create that samba bounce that comes from your ankles and the straightening and bending of your legs, right, So it's really technical but without me even explaining this, Like I would never talk to Rob like this. It would be more like, Okay, close your eyes, feel this. This is exactly what you need to do. And then when he would get all of that in his body as far as like mapping out the choreography, then I'd be like, all right, pretend you're a val Then he would do it and it was so that was the key. But it didn't like I didn't have to do that with someone like Emmett or Jille for example, right like because they didn't have that inner voice. I mean, I'm sure they had other voices in their head, but not that. So, yeah, it's really about reverse psychology and it's very true. I just interviewed Billing Vall. He's like, not only are you are dance partners, you're also our psychologists. And it's like, it's all about how do we get through to our celebrities And sometimes you just have to avoid your certain things that you may be used to as far as your teaching method goes, because it's not about sticking to your method and making these celebrity have to adjust. It's the other way around. Because we don't have a year to prep right as you guys know, let's move on to number two. At Mackenzie Bass twenty five. I need to know do you all use boob tape? Do the costumes have sports bras that are built in? Definitely, No, there's no sports spras. There are for some people. Not for myself. I prefer no padding or whatsoever because I just didn't like the way it looked on television for me and my body type that is. But yes for and also I mean maybe it's just me, but like I sweat so much that boob tape wouldn't work. It would just not be sticky at the end of the dance or especially because we don't just do one dance and done right like we have all day rehearsals and we're doing each of our like each routine we do like a hundred times before we go live on stage. That doesn't include the rehearsal and the days leading up to the camera blocking and then to dress rehearsal and then to ban rehearsal and then to live show. So we do repeat it quite a lot within a span of twenty four hours. But boob tape is a no go for me. They know better than to put tape on me, it just comes straight off. And then also what they do like because I'm not I don't have a big chest, so they would just the fabric would be like two layers around the chest area for me, so that you don't obviously see anything right see through anything. But towards like the beginning of my time on the show, I definitely used like they just put boob pads or those like triangle cups inside your they sew it inside your costumes. But everyone's different. So I hope that answered your question. But that's a great question. Okay, let's move on, Oh to the same person. Second question, how do you all wear some of these stunning costumes and not worry about flashing all of America as someone with a bigger chest. I'm so intrigued. Okay, yeah, so look, we have dress rehearsal, and dress rehearsal is really mainly obviously for everyone just to rehearse, but we do it in costume, so it's our first time dancing in costume. So if anything, this is really important for like wardrobe, the wardrobe department to look closely on this on the TV screens out there to see if there's anything that we're flashing. Maybe you see a little bit of cellulite, you know, and it's it's basically on them too. I'm sure it's always uncomfortable to have to tell someone to put fishnets on or whatever, or if a dress is not staying on the body. We will know all of this during dress rehearsal for the most part. Now, have there been anyone that ever flashed the show before or live on television? Absolutely, I'll never forget it. Like during one of my I think it was a samba with William Levy, it looked like my boob came out, but it was just the fabric of where the mic pack, like, it's the cover of the mic pack. So we also dance in and like little mic packs, which are so uncomfortable because for the women especially, they're either gonna be under one of our breasts, which means like one one side of our costumes may have a boot pad and the other one may not because it the mic pack itself is pretty thick, though they have had thicker but now obviously with it being twenty twenty five, almost there are they have invented thinner mic packs. But my mic pack came out, but the fabric of it and it started flopping around the air in the air like towards the beginning till the end of William Levey of when we dance the samba. Uh. It was really funny. But Nancy Grace, I think she full on showed her nipple. And this was before we were required, that is, to wear nipple covers. So now they definitely they literally there's a woman that goes around and says, nipple cover check, like because we have do we have to basically follow standards and practices. And that rule only came about because I think because of Nancy Grace when she flashed America, you saw like the top of her nipple. I believe, I don't remember anyway, Yes it happens. But the way that these costumes are for women, especially for the ones that like as far as costumes that are made from scratch, which is most of them, I would say, we step into them like body suits, so there's not like two pieces. So the reason why we do this is because let's say, you know, you wore something with a low back and it was like and then a skirt would be separate from that instead of it being all one piece like a body suit with a skirt already attached, it would definitely rise up. And what you don't see on camera are our beige elastic straps that are so tight on us that you don't see it because it matches our skin tone or our spray hands. So yeah, there's some hidden gems in there that we do always sometimes even if you're wearing let's say, tides or fish nets. I mean most of the time it's fish nets because you'll rip your tights if you were tights, but you'll sew. Sometimes they'll sew our skirt down to the fish net, which makes it really hard to have to go potty. Yep, but we make it work. It's this wardrobe team is literally the best in the business, in any business, I don't care. They're like the number one wardrobe team in the world. No matter what type of wardrobe you do, these people definitely are the best. Shout out to them. Let's move on to the next question at Dad's Underscore Primitive Underscore work Bench. Hi, share all question for your amazing podcast, Why thank you? If you could pick a twelve whoa in Pro line up for next season with a mix of old and current pros. Who is on your list, Okay, Whoa, Karina smirnov, Anna Trebunskaya, Danielle Karash. I'm just doing the girls first, Whitney, Carson, Peta and Sharna, so I'm assuming six women, six men. As far as the male pros go, I'd say Max val Artem, Pasha Pashkov, Sasha. I'm really thinking about this as I'm going and Alan, there you go. Now, that doesn't mean I don't think the other pros are good. You're asking me for twelve. I gave you twelve. But it's a hard cut, like you've got like your actual I mean, mind you, most of these people are no longer doing it. So but you asked me h for a mix of old and current pros, which was so hard I'm sure I'm missing a bunch anyway. Next, hopefully that helped. Grateful music teacher. This is from the Apple Podcasts comments section or review section. In the early days of DWTS, I was a huge Cheryl Burke fan. I love her insider perspective as a former DWTS pro but also as a competitive danswer. Thank you A question for Cheryl, which current DWTS pro is the best choreographer current one? Good you know, it's hard to kind of do this because obviously we choreographed to our partner's ability, right, So as far as someone who loves that, I know loves to choreograph and that comes up with something innovative and creative every time I've seen their choreography, regardless of regardless, sorry, I'm just thinking about my answer. Regardless of the level of their celebrity, I would say Daniella and Pasha, I have to do one male, one female. Sorry, but yeah, that couple that amazing duo, husband and wife. They're pretty amazing and what I love too. I remember interviewing Daniella on another podcast that I had with iHeart, and she said, I'll never forget it. She says that she doesn't watch videos for inspiration because she doesn't want to like copy anybody. She doesn't she wants the inspiration to come from just her, like from what she's thinking about. But I wonder if that's still the same answer. They also have each other, which really helps, But still, like, I think they're pretty creative, especially Daniella with what you know, as far as who her partners have been. If you look get her track record, she's done pretty well for herself, and that's due to her amazing and innovative choreography. Next question at core Dot of Dot the Dot Earth. Do you feel like the current lineup of male pros is weaker than the lineup of female I don't know. I don't think so. I would never It's interesting that you ask this question because I don't ever like com I guess I don't ever, that's never gone through my mind. As far as like oh or the male pros weaker, I wouldn't say so. But also we have different challenges, like I posted this a while back on my Instagram that I got tons of like weird hate comments from because it's always been a battle on the show about who has it the hardest as far as female pros versus male pros. I still think by far we do because we can't physically move our partners, especially if you dance with someone like Dwight Howard, right, So for the most part it's harder. And then for the male pros, you know, they could literally physically lift these people for the most part and move them around. But anyway, so I guess I can't answer that question because I've never thought about it, nor would I ever think about it, I guess because it's like we all the pros that you've seen ever to lay foot onto that dance floor that's ever had a celebrity. I mean, you're seeing the best of the best in this business of ballroom dancing, right, so they're all great. Next question at Lenny Bertie Hi, I just want to thank you for your podcast and your content. Interestingly enough, your critiques online have really helped me with my yoga. I stretched now from the core of my fingers tips instead of just reaching out with my arm after hearing you talk about it, especially for Waltz's etc. Question. I'm the only a lane from Seinfeld dancer in my family of really good natural musicality as far as my family goes. I love to dance, but I'm bad. Do you have any tip that you tell your quote bad celebs to feel more confident and less self conscious? All? First of all, like when it comes to dance, it's an expression of movement, right, like it's an art form. There's no right, there's no wrong. You're not competing, you're not on Dancing with the Stars. And I sure hope that your family doesn't like make fun of you or anything like that. I hope they just support you, but I think you should just honestly own it, own whatever you think, but like honestly dance. Again, it's just it's an interpretation of what each individual hears as far as music goes, right, And I think like you can just own your maybe if you're not necessarily rhythmical, just own it all. Like really, it's like when you hold back in general, that's when you become even more self conscious. So if you were just to like let your hair down and just like own the fact that you think you're a bad dancer and just like just kind of fall into that a little bit more and exaggerate it, I think you could probably start TikTok trends if you wanted to. It's when people own it, you know. It's when people are aware, like maybe you're not the best. Like for me, I am the worst, uh what worst drawer? Let's say, like I hate drawing and I have the worst handwriting, and I just straight up am self deprecating when it comes to certain things. I'm also dyslexic, like and I don't mind saying it. It's just like own up to it, take accountability, and then just who cares? Right like express yourself. I'm sure your family will start doing some of your moves too. So yeah, I hope this helps and sending you love. Thank you for your question, don't forget rate review, comment the whole nine yards, even if you've done so multiple times. I love you guys, and until next time, bye,