Ruthie Ann Miles (2:08)

Sometimes I think so, too.

Alison Stewart (2:09)

Sometimes it's okay.

Ruthie Ann Miles (2:09)

But it turns out I say no 99% of the time. So he said, it's time for you to say yes. I said, clint, I haven't done this before. I haven't been on stage by myself before. I'm petrified I would need to be surrounded by my best friends, barefoot, in pajamas, blindfolded, so that I wouldn't see the audience and I wouldn't be scared about, you know, being the one that people look at. Yeah. And so then he reached out to my reps, and they said, hey, Ruthie, excited you might do this? And I said, no.

Clint Ramos (2:39)

No.

Ruthie Ann Miles (2:40)

I very clearly told Clint No. And somehow they all interpreted my very clear no as yes. And then suddenly it was on the calendar, and here we are.

Alison Stewart (2:52)

Clint, why did you know this was Ruthie's time to be able to do this? Because you heard no, but you knew instinctively yes was the right answer.

Clint Ramos (2:59)

Yeah. Ruthie and I have known each other for a long time, and I consider her one of my. I feel like Ruthie is probably the best interpreter of lyrics in the American musical theater world. And not only is she an amazing singer, but the way she imbues life into song is singular. And I'm not saying this because she's my friend, but because, you know, we all know it.

Ruthie Ann Miles (3:28)

That's very sweet.

Clint Ramos (3:29)

And I knew that Ruthie in her artist journey really needed. Not needed. But we were ready for Ruthie. It wasn't that Ruthie was ready for us. She's been ready for us a long time. Right. I think we. We need to hear from Ruthie in this manner.

Alison Stewart (3:49)

You know, when you finally got to yes, when your no turned into a yes, why did it turn into a yes? Did you. Did you start to believe in yourself the way that Clint believes in you?

Ruthie Ann Miles (4:02)

I wish I could say yes, because that would be a wonderful hero story. You know, I start to believe in myself, and then I step into my light and my power and my strength. But the first thing I did was I took two weeks to work up the text message to Adam Rothenberg here, who's my right hand man. He's playing piano for me today. But I said, hey, Adam. My everything in me wants to scream and run the other way. Is this something you think that you could hold my hand through? And with nothing but emojis and exclamation points and love? Adam was like, yes, of course. And so then I said, then you have to literally take my hand and walk me through this, because I don't know how to do it. And everything about me is screaming the brakes. And so, you know, just step by step by step. And with, like, loving care, we've created a program.

Clint Ramos (4:57)

A wonderful program. Yes.

Alison Stewart (4:59)

A smile on her face. Sort of a smile.

Ruthie Ann Miles (5:02)

Is this a smile? My daughter recently asked me what a grin is, and I said, well, it's not far from a grimace. That's what I feel like I've got on.

Alison Stewart (5:08)

But you tell me, well, consider this a practice run.

Ruthie Ann Miles (5:13)

Yes.

Alison Stewart (5:13)

This is what you're gonna do. You're gonna sing a song for us.

Ruthie Ann Miles (5:15)

That's right.

Alison Stewart (5:16)

What are we gonna hear?

Ruthie Ann Miles (5:17)

The first song I'd like to sing for you? Is Take Me to the World. And it's about this woman who has been sheltered in an odd story. They live in a shopping mall, but it's a story of this woman who longs for life, Longs to take a breath. Longs to see what the world is like. Longs to see the sun. Longs to. To. To. To see what the clouds are and what fresh air is like in her lungs. And. And I. It comes in the very. Towards the beginning of. Of my program and. And especially where it falls. I. I talk a little bit about my personal history and just the way that I felt like I've been drowning and how I really. I really do want to see the world. And so that's what the ask of this song is.

Alison Stewart (6:04)

This is Ruthie Ann Miles.

Ruthie Ann Miles (singing) (6:23)

Let me see the world with clouds Take me to the world out where I can push through crowds Take me to the world A world of skies that's bursting with surprise to open up my eyes for joy Take me to the world that's real show me how it's done Teach me how to laugh to feel Move me to the sun Just hold my Whenever we arrive Take me to the world Where I can be alive we shall see the world come true we shall have the world I won't be afraid with you we shall have the world I'll hold your hand and no, I'm not alone

Alison Stewart (8:00)

we

Ruthie Ann Miles (singing) (8:00)

shall have the world to keep Such a lovely world we'll weep we shall have the world for forever for our own.

Alison Stewart (8:30)

That was Ruthie Ann Miles. Ruthie will be performing a solo concert, Perfectly Imperfect, as part of the American Songbook series. She's my guest, along with Clint Ramos. Clint is the curator of Lincoln Center's upcoming event, American Songbook. That was great, by the way. Just wanted to say that, Clint. This year's American Songbook series is titled Echoes of an Inheritance. What does that mean?

Clint Ramos (8:56)

Yeah, No, I. You know, when Shanta Thake asked if I would be interested in curating the American Songbook, of course, it's such a great honor, and I really wanted to look at those two words, American and songbook, and. And I think what I wanted to do was sort of really get back to the artist, you know, and approach American music or the American Songbook not as a fixed archive, but as a series of questions. Right. And the artists that I've invited were excited about this idea, like, what if it is a songbook? You know, what if the American Songbook is not also this repertoire, but rather how we create song in this country, you know, And I think at the heart of this is that I wanted to really punctuate this idea that American musical identity is us, all of us now, right. With all of what we bring, our many histories, and always this desire to search for the undiscovered, you know. And so, as you can see, with all of the artists that we've engaged with, you know, it really runs the gamut between form and content.

Alison Stewart (10:15)

You know, it's been interesting because Ingrid Michelson's on the list. You've got Grammy winning gospel singer Donald Lawrence.

Clint Ramos (10:23)

Yes.

Alison Stewart (10:24)

How is that reflected in the lineup, the diversity of the people you have? Yeah.

Clint Ramos (10:31)

I think when we think about, again, going back to those two words, right. What is it to be American? Right. And what is it that. How do we create song now? Right. And it's so much part. All of that is so much part of our history, right. And we can only look at our own music if we look at ourselves really. I think in this, we are in such a, I would say, a cultural contradiction period in America, in America right now. And there is this very visible desire to pursue this manifest destiny when I really think that the undiscovered, that the riches are. Are within us. And I think that's how at least I've looked at these amazing artists across all acts. Right? Yes, it is about diversity or representation, but it is really about who are we as Americans and how do we create song.

Alison Stewart (11:41)

Ruthie, Your concert on March 19 is called Perfectly Imperfect. What inspired the name

Ruthie Ann Miles (11:51)

again? And I don't mean to, you know, to berate myself, but I said, you know, to my reps and to Adam and to my friends who are helping me create this, I said, anything that comes from me is going to be imperfect just by nature. And it's, you know, for example, if I do a slate for an audition, you see me running back to take my shoes off, because I don't. I don't do shoes in my home. So you'll see me take off my shoes and I'll stand on a piece of paper and say, hi, I'm Ruthie. I'm. I'm five, four years. And then I'll take my shoes off and I'll run back to the King camera. And that's just who I am. You're never going to get a perfect take from me. And I, and I. And then I thought, you know, with. With lots of discussion and therapy, that is who you are. And that's okay. It's actually wonderful. We embrace you. And so if I can Accept myself just as I am knowing that the end product may not be perfect the way that someone else could see, but that means I am perfect and imperfect. And that's just right.

Alison Stewart (12:49)

On the event page, it describes the concert as an exploration between the different roles that you've played in your life. Artist, daughter, wife, and mother. How did you approach the concert and the set list with that in mind?

Ruthie Ann Miles (13:03)

Wow, Allison, that's. That's a little heavier.

Alison Stewart (13:06)

Yeah.

Ruthie Ann Miles (13:07)

And you know, and. Oh, is this okay?

Alison Stewart (13:10)

Yes, if you're comfortable and if you're not, it's fine.

Ruthie Ann Miles (13:15)

Yeah. My personal story includes now that every song in the whole wide world is interlaced with the music of my two daughters that we lost in a car crash. We were hit by a car and. And there's no song, no melody that doesn't have them in it. And what makes it hard is that even happy songs have a loss in them. Even, even joyful songs remind me that I'm longing for something. And so it's, it's this constant push and pull. And it reminded me as, as a Korean American daughter, when we first immigrated to America, what it was like to be in two different worlds pushing and pulling all at the same time. As a wife, I am being pushed and pulled in different directions. As a mother now we have a five year old daughter, Hope, and we. I get pushed and pulled in all these and you. It's just who I am now. And so if I can embrace that and if I can create this, you know, this arc in the story that I would like to tell, and I hope the audience would, you know, be flexible and be gracious with me as I try to, you know, do all of this in an hour. But the beginning of the concert starts in a winter, and eventually we sense spring is coming. And then by the end, I hope the audience sees that even though we know summer is coming, the sun is coming, it's okay to steal, to still feel the stillness of winter and the loneliness. And, you know, the push and pull is always going to be there, two steps up, one step back. And that's what I'm hoping that the audience will see through here.

Clint Ramos (14:54)

And I think they will. I think part of, you know, what Rudy's talking about is that across all of the artists that we've invited, is that what you will witness, aside from exemplary performances, of course, are artists creating in the minute? You know, they are bringing their full selves, their full humanity. But. Because how could you not, you know, I think song, American song, requires us to be Fully in that, you know, to be fully in ourselves, to deliver a kind of honesty that. That we associate being American with.

Alison Stewart (15:39)

It's so interesting to hear you talk about that. And thank you for your candor. This is a pay what you wish concert series, and that really struck me.

Clint Ramos (15:49)

Yeah.

Alison Stewart (15:50)

Tell me a little bit more about why you decided this should be a pay what you wish.

Clint Ramos (15:55)

Well, most of our performances at Lincoln center are free or pay what you wish. I think Lincoln center is institutionally, this is what we do. We give gifts of culture and the arts to New Yorkers and to those who visit us. Right. And it's very important. Not a lot of people actually know this, but it's important that we not only create access, but we sustain access.

Alison Stewart (16:27)

Why is it important to you that it's pay what you wish?

Ruthie Ann Miles (16:31)

It means that everybody can come. There's, of course, the option to pay more for those who can cover someone else, and there's people who cannot afford that. But they want to come and witness and be and grow and experience. And so those people can pay what they can or not. And there are people who can and will. It's so inclusive.

Alison Stewart (16:54)

I'm talking with Tony winners Ruthie Ann Miles and Clint Ramos. Clint is the curator of Lincoln Center's upcoming event series, American Song. Ruthie will be performing a solo concert, Perfectly Imperfect, as part of it that is happening on March 19. Could you play us out with one more song?

Ruthie Ann Miles (17:12)

I'm happy to. Thanks, Alison.

Ruthie Ann Miles (singing) (17:25)

Here comes the sun, here comes the sun and I say it's alright. Little darling, it's been a long, cold, lonely winter Little darling, it feels like years since it's been here Here comes the sun, here comes the sun and I say it's all right. Little darling, the smile's returning to their faces Little darling it seems like years since it's been here Here comes the sun, here comes the sun and I say it's all right. Sun, sun, sun Here, Sun, sun, sun Here it comes. Little darling I feel the ice is slowly melting Little darling it seems like years since it's been clear Here comes the sun, here comes the sun and I say oh, it's all right. Little darling here comes the sun, you're all. Right.

Alison Stewart (20:06)

That was Ruthie Ann Miles. Did I forget to ask you Anything that you think is important that you want to tell people about the American songbook?

Clint Ramos (20:14)

Please Visit us@americansongbook.org to see all the information about all of our events.

Alison Stewart (20:20)

Clint Ramos. Ruthian Miles. The concert is on March 19th. Thank you for coming in. We really appreciate it, and we appreciate you.

Clint Ramos (20:27)

Thank you.

Ruthie Ann Miles (20:28)

Thank you.

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