No, never. Strangely enough, being such a tomboy, and being so—as my mother says—spoiled as a child, once I started dancing and in a way growing up, I was not the spoiled brat or the rebellious child that I was when I really had no reason to be as a child. When you work, it’s a laboratory. The dance studio, when we were working together, was the place where you experiment. I’m not intimidated by failure or making a mistake, because you learn from those situations. You don’t learn from a situation where you do something well. You enjoy it and you give yourself credit, but you don’t really learn from that. You learn from trial and error, trial and error, all the time. When you fail, maybe you failed in that particular instance, but you have discovered something else. A lot of the ballets that we went on to do were built around mistakes that we had made in the classroom. So you never throw anything out. Rebelling takes up energy. As a dancer, you don’t have that kind of energy to throw away.

I don’t remember which writer said this, but in an interview, a prolific novelist was asked, “Do you write only when you’re inspired, or do you write all the time? Do you wait for the muse, or do you just kind of knock it out? You can just sort of spin it out?” And he said, “Well, I do wait for the muse. I write when the muse comes, but fortunately she shows up, like me, every day at 9:00 a.m.

The bitterness. I am very sad if I think of the status of the world now. This is my deepest inspiration. This could be also an inspiration for the next generation or generations in literature. Inspiration to give something for the next generation, somehow to survive this time because these are very, very dark times and we need much more power in us to survive this time than before.

Well, you’re right, I think the hard work definitely paid off. My grandmother drove me three hours to dance and three hours back from age six to age 11. I would do my school work in the car on the way there and then get home at like 11 o’clock at night, five days a week for many years. My training was seriously intense, and nothing came easy. I worked for everything I’ve ever been given.

I literally said to them - all of our faces were on the - in the boxes on Zoom. And I welled up. And I said, oh my God, this is my dream. This is what I want - I've wanted to see my whole life of working at Ariel and all the things we've built, and making sure we all have a shot at this - narrowing this wealth gap, and putting our stamp on the industry and society.

I really appreciate the fact, and I constantly tell Reverend Jackson and Reverend Sharpton that I appreciate the fact that they're fighting for us, because I am an accident of birth.

I wrote about this in our first quarter client letter, actually, the concept of polycrisis, and I talked about the fact that my belief is that we've all become firefighters.

He says: Take your gloves off, Mellody, but use your power for good. He's giving me my hands back. Use your power for good. And I have never - I've used that analogy in all things in my life, something as simple as getting my hands back, using my powers for good in the water but also day-to-day life using your power for good no matter who you are.

I told our Ariel team, we are not going to limp out of COVID. We're going to slingshot out of COVID. We're going to be pulling that rubber band back and back, and we're going to be warehousing ideas, and getting work done, and so when this is over we will pole vault ahead.

I could be strong and not tough. I could be kind without being soft. ... But in that moment, that olive branch of kindness was actually one that became a physical hug, and I think it taught me and the room a lot. And I said: You know what? I think this is an advantage.