1 00:00:00,280 --> 00:00:20,720 Speaker 1: Welcome to Jay dot Ill, a production of I Heart Radio. 2 00:00:23,400 --> 00:00:27,400 Speaker 1: Peace in Love y'all. Jill Scott presents Jay dot Ill 3 00:00:27,800 --> 00:00:43,159 Speaker 1: with my sister queens Age and I'm Jill Scott. Hello darling. 4 00:00:43,360 --> 00:00:46,520 Speaker 1: How are you. I'm feeling kind of spicy. I didn't 5 00:00:46,520 --> 00:00:51,400 Speaker 1: get a lot of sleep. Um. Working, working is good. 6 00:00:51,520 --> 00:00:53,800 Speaker 1: Working is good, especially when you love what you do. 7 00:00:55,320 --> 00:00:58,840 Speaker 1: But I'm a little you know, I could use the 8 00:00:58,880 --> 00:01:02,120 Speaker 1: belly rub and a good little nap, you know, yes, 9 00:01:02,520 --> 00:01:06,480 Speaker 1: come on, belly rug. Yes that that feels like m 10 00:01:07,040 --> 00:01:09,880 Speaker 1: it feels like it needed right thing to do. You 11 00:01:09,959 --> 00:01:16,200 Speaker 1: don't become an iconic woman in any industry, uh by 12 00:01:16,319 --> 00:01:21,360 Speaker 1: only taking naps all the time. The opposite, it's like 13 00:01:21,440 --> 00:01:24,440 Speaker 1: the opposite. Yeah, yeah, yeah, it's quite the opposite. You 14 00:01:24,560 --> 00:01:27,640 Speaker 1: gotta put in a whole lot of work. You gotta 15 00:01:27,680 --> 00:01:30,000 Speaker 1: put a whole lot of guts, a whole lot of passion, 16 00:01:30,880 --> 00:01:33,880 Speaker 1: a whole lot of energy into what it is that 17 00:01:33,920 --> 00:01:40,600 Speaker 1: you do. Um. Oftentimes we talk about singers, and they're 18 00:01:40,640 --> 00:01:43,560 Speaker 1: singers with these beautiful voices. They could do anything with 19 00:01:43,640 --> 00:01:48,240 Speaker 1: the thing. And then they're singers, you know, like like 20 00:01:48,320 --> 00:01:53,640 Speaker 1: a Janis Choplin. If you will all guts and grits 21 00:01:53,680 --> 00:01:58,960 Speaker 1: and gristle and blood. And you know, my daddy called 22 00:01:58,960 --> 00:02:03,600 Speaker 1: it screaming and that too, and that too because sometimes 23 00:02:03,600 --> 00:02:08,880 Speaker 1: the scream is necessary. Sometimes it is necessary, just like 24 00:02:08,960 --> 00:02:13,680 Speaker 1: that work, just like that, that soul bearing portion of 25 00:02:13,720 --> 00:02:17,520 Speaker 1: the show, that that counts always as an artist, there 26 00:02:17,520 --> 00:02:22,560 Speaker 1: are entertainers and their artists entertainers. Um, this is my 27 00:02:22,600 --> 00:02:27,560 Speaker 1: opinion anyway. I think that entertainers entertained the people. You know, 28 00:02:27,639 --> 00:02:30,399 Speaker 1: they put on the show, they practice the moves, they 29 00:02:30,480 --> 00:02:33,000 Speaker 1: change the clothes and change the lights to do the thing. 30 00:02:33,320 --> 00:02:36,360 Speaker 1: And I love to be entertained. So it's not even 31 00:02:36,400 --> 00:02:39,200 Speaker 1: a thing. I'm not trying to dis anybody at all. 32 00:02:39,600 --> 00:02:43,960 Speaker 1: And then you've got these flat footed I don't know 33 00:02:44,000 --> 00:02:48,920 Speaker 1: what to call it, just the soul bearers that um, 34 00:02:49,040 --> 00:02:55,880 Speaker 1: that make a difference in your vision. You know, I'm 35 00:02:55,919 --> 00:02:58,000 Speaker 1: all over the place. But what I really want to 36 00:02:58,000 --> 00:03:02,960 Speaker 1: talk about is UM, iconic women in the music industry 37 00:03:03,320 --> 00:03:06,160 Speaker 1: for whatever reason, if it's because you know, they've been 38 00:03:06,240 --> 00:03:12,440 Speaker 1: an incredible entertainers. UM, like a Diana Ross, because I 39 00:03:12,680 --> 00:03:16,800 Speaker 1: I you know, she's the boss. Is the original? Yeah, 40 00:03:16,840 --> 00:03:18,560 Speaker 1: she's like the original. I was gonna say the original 41 00:03:18,560 --> 00:03:20,600 Speaker 1: be but then just in a sense of like singing 42 00:03:21,280 --> 00:03:25,399 Speaker 1: and acting and doing kids all TV shows and producing 43 00:03:25,480 --> 00:03:29,840 Speaker 1: and introducing new artists and introducing new artists. People don't 44 00:03:29,880 --> 00:03:33,120 Speaker 1: give her credit for that. Yeah, she definitely brought out 45 00:03:33,160 --> 00:03:36,840 Speaker 1: the Jackson Five, like the one of the biggest um 46 00:03:37,040 --> 00:03:42,840 Speaker 1: groups of all time. Um, you know, there's there's there's 47 00:03:42,840 --> 00:03:46,720 Speaker 1: a room full, there's a there's a mountainful of powerful 48 00:03:46,760 --> 00:04:09,400 Speaker 1: women in front and behind, in front and behind the scenes. Yes, ma'am, 49 00:04:09,680 --> 00:04:13,240 Speaker 1: talk about it. It's funny. You know. We talked about 50 00:04:13,280 --> 00:04:16,679 Speaker 1: having this conversation early earlier, and I was thinking of like, 51 00:04:17,200 --> 00:04:20,840 Speaker 1: who to you is iconic, And the person that came 52 00:04:20,839 --> 00:04:22,760 Speaker 1: to my mind is somebody who I've been following my 53 00:04:22,800 --> 00:04:26,680 Speaker 1: whole life as a radio girl. I actually worked for her. 54 00:04:26,720 --> 00:04:28,960 Speaker 1: I've actually been fired twice for her radio stations. And 55 00:04:29,040 --> 00:04:31,480 Speaker 1: yet and still I still think it's important to say 56 00:04:31,480 --> 00:04:35,039 Speaker 1: her name because she is one of a few. Actually, 57 00:04:35,120 --> 00:04:38,560 Speaker 1: she's the one and only. Her name is Kathi Hughes, 58 00:04:40,279 --> 00:04:44,760 Speaker 1: the only black woman who has multiple radio stations. At 59 00:04:44,839 --> 00:04:47,279 Speaker 1: some point, she had rail stations almost in every major city. 60 00:04:47,800 --> 00:04:50,760 Speaker 1: You know, that's now matriculated into not just the radio 61 00:04:51,320 --> 00:04:53,839 Speaker 1: station network but TV, but like and digital can you 62 00:04:53,880 --> 00:04:57,000 Speaker 1: imagine and digital can you imagine the battle? I mean, 63 00:04:57,000 --> 00:04:58,839 Speaker 1: actually you don't have to imagine the battle because you 64 00:04:58,839 --> 00:05:01,279 Speaker 1: see a small so it and talk to me with 65 00:05:01,400 --> 00:05:05,880 Speaker 1: don cheetah as they hint at Oh way, tell Joeper's 66 00:05:06,000 --> 00:05:12,039 Speaker 1: character is Dewey Hughes, her husband at the time. Yeah, yeah, 67 00:05:12,080 --> 00:05:14,080 Speaker 1: I mean for those of us who grew up in Washington, 68 00:05:14,160 --> 00:05:18,000 Speaker 1: d C. We remember, you know, w h O l 69 00:05:18,480 --> 00:05:21,600 Speaker 1: um when we were middle yeah, right, and when we 70 00:05:21,600 --> 00:05:25,920 Speaker 1: were little and they would be in a trailer right 71 00:05:25,920 --> 00:05:31,040 Speaker 1: over there off of a street, and you could actually 72 00:05:31,200 --> 00:05:35,120 Speaker 1: drive by and see Cathy Hughes doing Sunday Morning Joy 73 00:05:36,120 --> 00:05:38,559 Speaker 1: on Sundays. You could drive by and see her host 74 00:05:38,640 --> 00:05:42,760 Speaker 1: in the Gospel music show or every Sunday and not 75 00:05:43,240 --> 00:05:47,520 Speaker 1: knowing and understanding obviously not foreseeing, but even then understanding 76 00:05:47,520 --> 00:05:51,400 Speaker 1: that she was putting the platform and the pavers down 77 00:05:51,839 --> 00:05:56,160 Speaker 1: was gonna become such an iconic businesswoman, you know. And 78 00:05:56,480 --> 00:05:59,440 Speaker 1: she's played every role in radio. You know, to to 79 00:05:59,480 --> 00:06:02,239 Speaker 1: watch a man as a little girl be a radio 80 00:06:02,320 --> 00:06:05,480 Speaker 1: personality and then a sin to where she has now 81 00:06:05,720 --> 00:06:08,600 Speaker 1: is like and may I add, may I add Asia 82 00:06:08,680 --> 00:06:11,560 Speaker 1: a hell of black lady. It's in the sense of 83 00:06:11,600 --> 00:06:12,960 Speaker 1: what she said out of her mother. This is a 84 00:06:13,000 --> 00:06:17,920 Speaker 1: woman who had a morning show every day with Dick Gregg. Okay, okay, 85 00:06:17,920 --> 00:06:20,760 Speaker 1: but yeah, and and own radio stations. She that's it's 86 00:06:20,760 --> 00:06:23,680 Speaker 1: black and said, you can't get no black up. You're like, 87 00:06:23,760 --> 00:06:27,719 Speaker 1: and I'm still going to work. That's black. That's black. 88 00:06:28,040 --> 00:06:31,040 Speaker 1: That's a beautiful thing. Yes, yes, yes, if you just 89 00:06:31,240 --> 00:06:33,400 Speaker 1: you know, if you missed part of this, we were 90 00:06:33,440 --> 00:06:38,040 Speaker 1: talking about Kathy Hughes. Goodness, that's you need to know 91 00:06:38,080 --> 00:06:39,520 Speaker 1: the name. I mean, you shouldn't know the name. If 92 00:06:39,560 --> 00:06:42,120 Speaker 1: if you know, you know, for for for the Oprah Whimpley's, 93 00:06:42,120 --> 00:06:44,279 Speaker 1: there are the Kathrey that Cathy uses of the world. 94 00:06:45,000 --> 00:06:50,640 Speaker 1: It's only one though, still only Oh yeah, the first 95 00:06:50,720 --> 00:06:52,719 Speaker 1: radio job I've ever had. It's twelve years old. And 96 00:06:52,800 --> 00:06:56,440 Speaker 1: that trailer turned and ended up evolving into an actual 97 00:06:56,520 --> 00:06:59,640 Speaker 1: storefront radio station. Remember radio stations had a window and 98 00:06:59,680 --> 00:07:02,400 Speaker 1: you can walk past and wave at that person that's 99 00:07:02,440 --> 00:07:05,080 Speaker 1: on the air right now. They shout you out, hey girl, 100 00:07:05,080 --> 00:07:08,640 Speaker 1: I'll see you out there in that window. Uhuh in 101 00:07:08,800 --> 00:07:11,680 Speaker 1: d C W h U R still has that. I 102 00:07:11,760 --> 00:07:14,920 Speaker 1: always love that that at at Howard that they still 103 00:07:15,000 --> 00:07:20,560 Speaker 1: have the window that's so endearing and it breaks down 104 00:07:20,600 --> 00:07:23,680 Speaker 1: the wall. It does because we're in another space, right. 105 00:07:23,720 --> 00:07:25,280 Speaker 1: We talked about how important it is for black people 106 00:07:25,280 --> 00:07:29,760 Speaker 1: to be in all spaces right right indeed, Yeah, I mean, 107 00:07:29,800 --> 00:07:32,600 Speaker 1: I just think that more than anything that when we 108 00:07:32,640 --> 00:07:35,920 Speaker 1: see black women in charge of things, right, we have 109 00:07:36,040 --> 00:07:38,800 Speaker 1: places and spaces that we're used to seeing black women run, 110 00:07:39,720 --> 00:07:42,120 Speaker 1: and it's important for us to know that those same 111 00:07:42,160 --> 00:07:45,840 Speaker 1: skill sets go everywhere and that they can be taken everywhere. 112 00:07:45,960 --> 00:07:48,679 Speaker 1: And honestly, in my mind to think about the amount 113 00:07:48,720 --> 00:07:53,480 Speaker 1: of sexism and racism that she's had to experience over 114 00:07:53,520 --> 00:07:57,800 Speaker 1: the years is you know, it's humbling to think that 115 00:07:57,880 --> 00:07:59,960 Speaker 1: you can have a career this long and still maintain 116 00:08:00,000 --> 00:08:02,080 Speaker 1: into a company, because that's another thing. And one thing 117 00:08:02,120 --> 00:08:04,840 Speaker 1: you see even with some of the big you know, 118 00:08:05,000 --> 00:08:08,320 Speaker 1: black men in media, is that they've eventually had to 119 00:08:08,680 --> 00:08:12,000 Speaker 1: or decided to not had to decided to relinquish their 120 00:08:12,000 --> 00:08:15,400 Speaker 1: companies to larger parent companies. And she just has not 121 00:08:15,520 --> 00:08:19,240 Speaker 1: done that. And also, shoot, black radio is dying. She 122 00:08:19,440 --> 00:08:22,040 Speaker 1: is one of the last people standing. Shoutouts to this 123 00:08:22,080 --> 00:08:25,400 Speaker 1: opportunity to do podcast. But somebody has a business. This 124 00:08:25,480 --> 00:08:29,080 Speaker 1: is true, It's very true. That's the thing about America, guys. 125 00:08:30,080 --> 00:08:36,200 Speaker 1: I thought a monopoly was illegal. It's I can't even 126 00:08:37,480 --> 00:08:39,640 Speaker 1: we were dealing with so many monopolies as we speak 127 00:08:39,640 --> 00:08:46,880 Speaker 1: on this podcast, Jill, I mean you talkt off companies 128 00:08:46,880 --> 00:08:49,120 Speaker 1: that are owned billboards and all kind of media outlets. 129 00:08:49,240 --> 00:08:54,480 Speaker 1: What are we talking about, guys? I just thought that 130 00:08:54,520 --> 00:08:58,199 Speaker 1: was a legitimate question. It is, you know what we 131 00:08:58,200 --> 00:09:00,400 Speaker 1: were saying, is that not on he is? It a 132 00:09:00,440 --> 00:09:03,920 Speaker 1: legitimate question? But there's so many implications And that's what 133 00:09:04,000 --> 00:09:06,240 Speaker 1: I's so complicated to be black in this country right now, 134 00:09:06,520 --> 00:09:08,520 Speaker 1: be a woman in this country, be any kind of 135 00:09:08,559 --> 00:09:12,000 Speaker 1: marginalized person in this country, because so many you have 136 00:09:12,120 --> 00:09:16,760 Speaker 1: to interact with so many institutions that make it more 137 00:09:16,880 --> 00:09:20,679 Speaker 1: difficult for a Cathy Hughes to exist, that make it 138 00:09:20,720 --> 00:09:24,160 Speaker 1: more difficult for a Jill Scott to exist. It is 139 00:09:24,200 --> 00:09:27,440 Speaker 1: like it is a very interesting kind of um, you know, 140 00:09:27,559 --> 00:09:31,280 Speaker 1: parasitic existence. Is that everything is kind of built around 141 00:09:31,320 --> 00:09:33,840 Speaker 1: this this thing. So it's it's a lot. Yeah, you're right, 142 00:09:33,880 --> 00:09:37,240 Speaker 1: a monopoly is illegal. But at the same time, too, 143 00:09:37,320 --> 00:09:41,679 Speaker 1: what we have is you know, corporate warfare, and if 144 00:09:41,679 --> 00:09:44,000 Speaker 1: you think about that, who's going to fall at the 145 00:09:44,040 --> 00:09:47,560 Speaker 1: bottom of that, it's real easy to figure out who 146 00:09:47,920 --> 00:09:55,800 Speaker 1: and if it's a black woman owned media company in 147 00:09:55,840 --> 00:10:02,960 Speaker 1: a medium that is no longer modern. Yeah, but the 148 00:10:03,000 --> 00:10:06,840 Speaker 1: fact that she is still there even under those circumstances, 149 00:10:07,360 --> 00:10:10,160 Speaker 1: the fact that she was there and and is there, 150 00:10:10,200 --> 00:10:16,400 Speaker 1: but was there at all very male dominated, very white dominated, 151 00:10:17,040 --> 00:10:24,560 Speaker 1: um uh industry. I believe the Dr Cosby owned a 152 00:10:24,640 --> 00:10:30,640 Speaker 1: radio station at one point. We still does. Yeah, what 153 00:10:30,840 --> 00:10:35,480 Speaker 1: is the what is their k J L H. Yes, 154 00:10:35,520 --> 00:10:42,480 Speaker 1: because love joy hope, Yeah, joy, love happiness. And we're 155 00:10:42,559 --> 00:10:46,440 Speaker 1: we're you know, definitely appreciative of that. Who were talking 156 00:10:46,559 --> 00:10:49,560 Speaker 1: women today? We're talking about women in this industry, in 157 00:10:49,600 --> 00:10:56,960 Speaker 1: the music industry that just have pioneered and open doors 158 00:10:57,200 --> 00:11:19,560 Speaker 1: and are iconic to us for you know, multiple reasons. Oh, 159 00:11:20,559 --> 00:11:29,400 Speaker 1: powerful influential black women UM in the music industry will 160 00:11:29,440 --> 00:11:32,439 Speaker 1: give me. Well, I feel like that my choice is 161 00:11:32,480 --> 00:11:36,400 Speaker 1: slightly unsung, you know, um for lack of a better word, 162 00:11:36,960 --> 00:11:41,400 Speaker 1: but um, definitely not going to be surprising based on 163 00:11:41,480 --> 00:11:44,280 Speaker 1: what I do. So my husband and I singing a 164 00:11:44,360 --> 00:11:46,320 Speaker 1: singing group. If you're listening to this and you don't 165 00:11:46,320 --> 00:11:48,400 Speaker 1: know that we've been doing that for twenty two years, 166 00:11:48,640 --> 00:11:55,839 Speaker 1: almost one years. Uh, singing as a duo, and from 167 00:11:55,840 --> 00:11:58,920 Speaker 1: the very onset of us doing our music, people just 168 00:11:59,080 --> 00:12:01,600 Speaker 1: jumped out there and said, oh, you're gonna be the 169 00:12:01,600 --> 00:12:08,400 Speaker 1: new ash for the self song? Who didn't who did 170 00:12:08,720 --> 00:12:15,200 Speaker 1: the question? But I never thought that we were We 171 00:12:15,200 --> 00:12:19,200 Speaker 1: were deserving of that number one because of just the 172 00:12:19,200 --> 00:12:25,080 Speaker 1: the vast you know, I mean that of talent between 173 00:12:25,120 --> 00:12:28,320 Speaker 1: the two of them, um, not just as performers, but 174 00:12:28,360 --> 00:12:31,840 Speaker 1: also as writers and producer Hale and that is what really, 175 00:12:31,960 --> 00:12:35,440 Speaker 1: that's the TV heat right there, That's the value that 176 00:12:35,480 --> 00:12:37,120 Speaker 1: we're talking about here, And that's why I want to 177 00:12:37,160 --> 00:12:42,200 Speaker 1: talk about Valerie Simpson as a woman who I think 178 00:12:42,760 --> 00:12:47,040 Speaker 1: is such a powerhouse in the evolution of rhythm and 179 00:12:47,160 --> 00:12:52,679 Speaker 1: blues songwriting that never gets mentioned. The biggest songs you 180 00:12:52,720 --> 00:12:54,960 Speaker 1: can think of when you think of motown. How could 181 00:12:54,960 --> 00:12:57,319 Speaker 1: you not think of ant Now, Mountain high Enough? How 182 00:12:57,360 --> 00:13:00,400 Speaker 1: could you not think ain't nothing like the your Thing? 183 00:13:00,840 --> 00:13:03,280 Speaker 1: How can you not think of these tunes? But what 184 00:13:03,440 --> 00:13:06,200 Speaker 1: you don't think about is that the person behind the 185 00:13:06,240 --> 00:13:13,000 Speaker 1: composition and the music and the production is one miss 186 00:13:13,040 --> 00:13:15,559 Speaker 1: Valerie Simpson. And this is not to take away from 187 00:13:15,559 --> 00:13:20,000 Speaker 1: her partnership, because it was really a heavenly partnership because 188 00:13:20,160 --> 00:13:23,760 Speaker 1: no one and I just you can fight me. No 189 00:13:23,800 --> 00:13:26,000 Speaker 1: one can write a lyric and can write melody and 190 00:13:26,080 --> 00:13:30,360 Speaker 1: lyric like Valerie Simpson, No like Nick Ashford, lyric like 191 00:13:30,840 --> 00:13:34,520 Speaker 1: Nick ash For Nick Ashford was the the the lyricist 192 00:13:35,040 --> 00:13:38,280 Speaker 1: and the two of them, not that they didn't exchange, right, 193 00:13:38,480 --> 00:13:42,160 Speaker 1: not that they didn't exchange different roles. But his main 194 00:13:42,320 --> 00:13:44,080 Speaker 1: role was writing the lyrics. And so there was a 195 00:13:44,080 --> 00:13:47,160 Speaker 1: big story obviously between them about how he wrote I'm 196 00:13:47,200 --> 00:13:51,360 Speaker 1: every Woman. Oh, that he wrote the lyrics that I 197 00:13:51,400 --> 00:13:54,440 Speaker 1: Am every woman and so and so they tell a 198 00:13:54,480 --> 00:13:57,000 Speaker 1: fabulous story about this. This is on the internet. Yeah, 199 00:13:57,040 --> 00:13:58,600 Speaker 1: I ain't got to tell it. It ain't my story 200 00:13:58,640 --> 00:14:01,720 Speaker 1: to tell. But y'all could go listen to that remix agent. 201 00:14:01,760 --> 00:14:03,240 Speaker 1: Come on, man, come on, you know we listened to 202 00:14:03,280 --> 00:14:05,680 Speaker 1: this podcast. But she basically told him he was he 203 00:14:05,720 --> 00:14:08,520 Speaker 1: was struggling with it, and she was like, listen, you 204 00:14:08,520 --> 00:14:11,400 Speaker 1: need to sit down and get into your inner woman 205 00:14:11,440 --> 00:14:13,920 Speaker 1: and think like a woman and think like women think, 206 00:14:14,000 --> 00:14:16,000 Speaker 1: and try your best to get into that whole situation 207 00:14:16,000 --> 00:14:18,439 Speaker 1: that he was like he was, you know, he sat 208 00:14:18,520 --> 00:14:21,360 Speaker 1: quietly and and tried to get into his best mode, 209 00:14:21,400 --> 00:14:27,040 Speaker 1: and he vote like the quintessential so to me. But 210 00:14:27,120 --> 00:14:29,440 Speaker 1: at the same time too, and I know we're talking 211 00:14:29,440 --> 00:14:31,640 Speaker 1: about women, but we'll take a little sidetrack real quick 212 00:14:31,800 --> 00:14:36,160 Speaker 1: to talk about lyrically. Nick Ashford, Oh my gosh, he said, 213 00:14:36,840 --> 00:14:42,600 Speaker 1: um um, I want to say this is either ain't 214 00:14:42,640 --> 00:14:44,160 Speaker 1: nothing like the real thing, or it might be ain't 215 00:14:44,160 --> 00:14:47,480 Speaker 1: no mountain high enough where he says, I know you 216 00:14:47,680 --> 00:14:50,160 Speaker 1: could make a man out of a soul that didn't 217 00:14:50,200 --> 00:14:55,280 Speaker 1: have a goal. This man knew how to say a 218 00:14:55,360 --> 00:14:58,280 Speaker 1: thing in a tune. So my thing, my reason why 219 00:14:58,320 --> 00:15:00,720 Speaker 1: bringing this up is that because him being the lyricists 220 00:15:00,720 --> 00:15:04,920 Speaker 1: and then assuming that it was Valerie Simpson was the lyricist. 221 00:15:05,200 --> 00:15:11,960 Speaker 1: When she was the composer, she was the compostor. Hold 222 00:15:12,280 --> 00:15:15,240 Speaker 1: on singing writing, ladies, what that mean? I understand because 223 00:15:15,240 --> 00:15:16,480 Speaker 1: I thought that was the same thing. I'm just speaking 224 00:15:16,520 --> 00:15:18,080 Speaker 1: for the people. I know the real answer, but just 225 00:15:18,120 --> 00:15:19,800 Speaker 1: in case I don't what what you're talking about, Asia, 226 00:15:19,800 --> 00:15:23,520 Speaker 1: Because composing, composing means, composing means when it's time to 227 00:15:23,520 --> 00:15:25,840 Speaker 1: write the song. The person who sits down and writes 228 00:15:25,880 --> 00:15:28,680 Speaker 1: the chords, the person who sits and does she the 229 00:15:28,720 --> 00:15:30,640 Speaker 1: reason that we have do do do do do Don 230 00:15:30,720 --> 00:15:33,160 Speaker 1: on every woman. That the way it starts, like the 231 00:15:33,200 --> 00:15:43,600 Speaker 1: straight arrangement, Valerie Simpson, all the fingers, Honey, you better 232 00:15:43,640 --> 00:15:46,560 Speaker 1: give all of girl. You're better put some respect on 233 00:15:46,600 --> 00:15:51,840 Speaker 1: this woman's name. I'm not even done. I'm not even done. 234 00:15:52,280 --> 00:15:54,720 Speaker 1: Not only did she write these songs, did she write 235 00:15:54,720 --> 00:15:56,720 Speaker 1: the music to these songs. These are the same songs 236 00:15:56,720 --> 00:15:59,160 Speaker 1: who literally just two days ago, I'm watching This is 237 00:15:59,280 --> 00:16:02,160 Speaker 1: Us and Child. A whole commercial comes on and once 238 00:16:02,160 --> 00:16:07,840 Speaker 1: again the Walmart commercial is playing what her music? I 239 00:16:07,840 --> 00:16:11,120 Speaker 1: think it was ain't a mountain? But again again, this 240 00:16:11,200 --> 00:16:13,880 Speaker 1: is to this day, this music is not being is 241 00:16:13,880 --> 00:16:17,240 Speaker 1: not just only recognized within its genre, but outside of 242 00:16:17,240 --> 00:16:21,720 Speaker 1: the genre commercially every way possible. Her composition, and this 243 00:16:21,760 --> 00:16:24,680 Speaker 1: woman has been writing since seventeen eighteen years old. When 244 00:16:24,680 --> 00:16:29,880 Speaker 1: she met her husband, she was only eighteen nineteen years old, which, 245 00:16:29,920 --> 00:16:33,040 Speaker 1: of course, you know is deep to my heart because 246 00:16:33,080 --> 00:16:36,480 Speaker 1: I also met mine at this same age. So bottom line, yes, 247 00:16:36,560 --> 00:16:41,480 Speaker 1: so their story is very very close to Connie. I 248 00:16:41,520 --> 00:16:44,680 Speaker 1: love them. I love them as people. They're amazing people, 249 00:16:45,040 --> 00:16:48,280 Speaker 1: and they've been lovely to us, and she has been 250 00:16:48,320 --> 00:16:54,040 Speaker 1: amazing to us. Really just being an asshole, like I 251 00:16:54,040 --> 00:16:56,600 Speaker 1: don't like I don't like the idea of the new 252 00:16:56,680 --> 00:16:59,480 Speaker 1: blah blah blah. The person is, oh, yeah, I don't 253 00:16:59,520 --> 00:17:03,000 Speaker 1: like the new blah blah blah. They're the only they're 254 00:17:03,200 --> 00:17:07,320 Speaker 1: only She's amazing. But let me say this also, um 255 00:17:07,320 --> 00:17:11,639 Speaker 1: oh honey and legs yea, legs and shoes and shoes 256 00:17:12,200 --> 00:17:15,920 Speaker 1: and shoes, shoes that legs, let's and shoes, shoes that 257 00:17:16,080 --> 00:17:35,560 Speaker 1: leg Okay, So last thing about her. I and you 258 00:17:35,560 --> 00:17:39,080 Speaker 1: can fight me, because I don't care I fight. She's 259 00:17:39,119 --> 00:17:43,639 Speaker 1: the inventor of the remix what she what was the 260 00:17:43,640 --> 00:17:50,600 Speaker 1: first She took Ain't no Mountain high enough her and 261 00:17:50,680 --> 00:17:57,440 Speaker 1: her husband and re recorded the song with an entirely 262 00:17:57,560 --> 00:18:04,200 Speaker 1: new arrangement because that's how with Diana raw and created 263 00:18:04,200 --> 00:18:07,879 Speaker 1: a whole another number one hit with it. They were 264 00:18:08,280 --> 00:18:12,280 Speaker 1: writers on the whiz. Yes, oh, they were there, their 265 00:18:12,320 --> 00:18:15,760 Speaker 1: old school Motown writing duo. They were there very They 266 00:18:15,800 --> 00:18:18,040 Speaker 1: were part of the second wave of writers. They were 267 00:18:18,119 --> 00:18:22,000 Speaker 1: very young. They came in after the Hollandosha Hollands and 268 00:18:22,080 --> 00:18:24,120 Speaker 1: that kind of thing, but they were still there during 269 00:18:24,119 --> 00:18:27,359 Speaker 1: the same time. They were just much younger. But they've 270 00:18:27,359 --> 00:18:31,080 Speaker 1: written amazing. Yeah, So I believe that that was the 271 00:18:31,119 --> 00:18:34,560 Speaker 1: first major remix to me, not the same as like, 272 00:18:34,640 --> 00:18:37,639 Speaker 1: let's say, when you have a jazz standard and people 273 00:18:37,720 --> 00:18:40,440 Speaker 1: sing a different type of jazz, different you know, takes 274 00:18:40,440 --> 00:18:44,520 Speaker 1: on the jazz standard. This was a producer driven moment, 275 00:18:45,040 --> 00:18:47,679 Speaker 1: and I honestly don't care if anyone agree. She's amazing. 276 00:18:47,720 --> 00:18:52,960 Speaker 1: She's a genius. She is a genius, not a diva. 277 00:18:52,960 --> 00:18:55,919 Speaker 1: I'm tell about anybody listening, not a diva. Not a diva, 278 00:18:56,880 --> 00:19:02,520 Speaker 1: not a diva, a genius. Man. Put some respect on 279 00:19:02,560 --> 00:19:06,000 Speaker 1: her name, got it there. I wish you all could 280 00:19:06,040 --> 00:19:12,440 Speaker 1: see Age's face because she's she's sitting, but she put 281 00:19:12,440 --> 00:19:16,280 Speaker 1: her hands on her hips to the side and everything. 282 00:19:16,320 --> 00:19:19,119 Speaker 1: She's like, put some respect on her name. And then 283 00:19:19,119 --> 00:19:23,119 Speaker 1: the quiet you saw was her body organizing itself for 284 00:19:23,480 --> 00:19:27,639 Speaker 1: a fight, like like you're gonna get one. People listening, 285 00:19:28,119 --> 00:19:30,200 Speaker 1: you can't even see she's talking to y'all people she's 286 00:19:30,200 --> 00:19:32,440 Speaker 1: talking about. Yeah, I'm just talking to y'all out there. 287 00:19:32,800 --> 00:19:38,840 Speaker 1: I want all the smoke that would be kindred the 288 00:19:38,840 --> 00:19:41,160 Speaker 1: wife on Instagram, which just if you got some smoke, 289 00:19:41,200 --> 00:20:02,680 Speaker 1: don't bring it to the jail podcast. Speaking of smoke, 290 00:20:05,320 --> 00:20:16,000 Speaker 1: all right, the woman that is my iconic woman, uh 291 00:20:16,040 --> 00:20:29,080 Speaker 1: in the music industry is my rainie. Homegirl's name is Gertrude. Good. Okay, 292 00:20:29,119 --> 00:20:33,560 Speaker 1: that's where you starts. Where that's where you start. When 293 00:20:33,640 --> 00:20:38,439 Speaker 1: somebody's name is Gertrude, It's about to be some fire, 294 00:20:39,720 --> 00:20:45,600 Speaker 1: my rainie. This goes way back, y'all. Um. She was 295 00:20:45,640 --> 00:20:55,040 Speaker 1: born in eighteen eighty six. Yeah, this is the time 296 00:20:55,640 --> 00:21:01,800 Speaker 1: number one. Um, clearly, Uh we're still fighting. Um, we're 297 00:21:01,800 --> 00:21:05,960 Speaker 1: still fighting now. For that matter, she was started out 298 00:21:06,119 --> 00:21:09,080 Speaker 1: singing the blues, ended up singing the blues. But this 299 00:21:09,480 --> 00:21:14,359 Speaker 1: her blues was was raw dog okay, in a time 300 00:21:14,400 --> 00:21:17,200 Speaker 1: when people wore the dresses to a certain length and 301 00:21:17,600 --> 00:21:20,760 Speaker 1: made sure to be modest and in church every Sunday 302 00:21:20,840 --> 00:21:23,160 Speaker 1: and all of these things, and that it wasn't just 303 00:21:23,359 --> 00:21:28,080 Speaker 1: the institution of church, it was mandatory that you had 304 00:21:28,240 --> 00:21:30,800 Speaker 1: to be a certain kind of way, particularly in an 305 00:21:30,840 --> 00:21:35,600 Speaker 1: industry like the music industry. She wasn't light skinned, She 306 00:21:35,760 --> 00:21:42,320 Speaker 1: wasn't propped up her she her titties was hanging comfortably. Um. 307 00:21:42,560 --> 00:21:52,359 Speaker 1: She she wasn't light skinned. Okay. Um, she was sassy 308 00:21:53,040 --> 00:22:02,280 Speaker 1: and assy has some I was like, yes, yes, yes, Um. 309 00:22:02,400 --> 00:22:09,000 Speaker 1: She wasn't a soft woman either, meaning she didn't say okay, 310 00:22:08,560 --> 00:22:13,360 Speaker 1: I'll do whatever you say. No, she was a fistfighter 311 00:22:14,760 --> 00:22:19,480 Speaker 1: and a tongue lasher and um, she didn't play any 312 00:22:19,640 --> 00:22:24,760 Speaker 1: kind of games. This woman wrote a song called prove 313 00:22:24,880 --> 00:22:30,439 Speaker 1: it on Me, Okay, prove it on me. Um. She 314 00:22:30,440 --> 00:22:34,760 Speaker 1: she apparently got caught in this um orgy at her 315 00:22:34,800 --> 00:22:43,080 Speaker 1: house in n and it was it was popular news 316 00:22:43,160 --> 00:22:45,800 Speaker 1: that she had you know, was was out there doing 317 00:22:45,840 --> 00:22:48,879 Speaker 1: what she was doing. So she wrote a song called 318 00:22:48,960 --> 00:22:54,439 Speaker 1: prove it on Me okay, and the lyrics say, they said, 319 00:22:55,000 --> 00:22:59,520 Speaker 1: I do it. Ain't nobody caught me. Sure got to 320 00:22:59,600 --> 00:23:02,840 Speaker 1: prove it it on me without last night with a 321 00:23:02,880 --> 00:23:05,840 Speaker 1: crowd of my friends. They must have been women, because 322 00:23:05,880 --> 00:23:15,640 Speaker 1: I don't like no men. Yeah, okay, my gangster. Y'all 323 00:23:15,640 --> 00:23:18,399 Speaker 1: know who Angela Davis is right now? Okay. She's an 324 00:23:18,400 --> 00:23:20,879 Speaker 1: activist and a scholar, just in case you don't know. 325 00:23:21,760 --> 00:23:28,080 Speaker 1: And um, she said that that song was the reason 326 00:23:28,400 --> 00:23:33,800 Speaker 1: for the whole lesbian cultural movement in the seventies. Wow, 327 00:23:35,040 --> 00:23:38,880 Speaker 1: I wonder what happened in between them. They're they're doing 328 00:23:38,920 --> 00:23:43,280 Speaker 1: a movie about her. Um. Netflix is doing a movie 329 00:23:43,400 --> 00:23:48,080 Speaker 1: about My Rainy. Um. It is based off of the 330 00:23:48,119 --> 00:23:55,000 Speaker 1: play that August Wilson did. My Rainey's Black Bottom. It's 331 00:23:55,040 --> 00:23:57,639 Speaker 1: interesting to you. It's funny what we We got an 332 00:23:57,680 --> 00:24:00,679 Speaker 1: opportunity to kind of watch it, and I was it 333 00:24:00,720 --> 00:24:02,840 Speaker 1: makes me want to go back to the play because 334 00:24:02,880 --> 00:24:05,000 Speaker 1: and I think you you guys are both seen to play. 335 00:24:05,920 --> 00:24:08,800 Speaker 1: I have never seen the play. Okay, I've never seen 336 00:24:08,840 --> 00:24:10,600 Speaker 1: the play. So let me ask you to jail the 337 00:24:10,760 --> 00:24:16,080 Speaker 1: character that Chadwick plays Leddie. I believe Levi Levi I'm sorry. 338 00:24:16,080 --> 00:24:19,840 Speaker 1: Was he the central character in the actual August Wilson's play. 339 00:24:21,160 --> 00:24:38,520 Speaker 1: It depends on who's directing. Okay, the way I see 340 00:24:38,560 --> 00:24:42,640 Speaker 1: it, it it all depends on who's directing. Um, I I 341 00:24:42,680 --> 00:24:50,920 Speaker 1: saw it as well. And that performance by Chadwick. Ye see. 342 00:24:50,960 --> 00:24:54,320 Speaker 1: It's that I'm a I'm a firm believer. I don't 343 00:24:54,320 --> 00:24:56,679 Speaker 1: think that I can sing everything. I've always said this, 344 00:24:57,200 --> 00:25:01,640 Speaker 1: I have to write it. It has to come through 345 00:25:01,640 --> 00:25:03,720 Speaker 1: me in a way in order for me to be 346 00:25:03,800 --> 00:25:08,000 Speaker 1: able to relate the information other than that, Um, it's 347 00:25:08,040 --> 00:25:10,920 Speaker 1: just a song. And I'm not really a singer. I'm I. 348 00:25:12,640 --> 00:25:14,879 Speaker 1: You know, there's We're gonna argue about these things. For 349 00:25:14,960 --> 00:25:20,120 Speaker 1: some people, it's okay, um, but it was what was written. 350 00:25:20,840 --> 00:25:24,400 Speaker 1: It's that it's that the August Wilson of it all, 351 00:25:26,040 --> 00:25:30,000 Speaker 1: the August Wilson of it all, what he put down 352 00:25:30,040 --> 00:25:36,360 Speaker 1: on paper, Oh my God, of the of of those lines. 353 00:25:37,400 --> 00:25:41,840 Speaker 1: And how as an actor you're required to sing everything 354 00:25:43,080 --> 00:25:47,640 Speaker 1: August Wilson when he writes us it's all music from 355 00:25:47,640 --> 00:25:55,560 Speaker 1: the beginning to end. And Viola Davis a man rainy. 356 00:25:56,680 --> 00:26:00,479 Speaker 1: You know, can I just take a moment for elder? 357 00:26:00,640 --> 00:26:02,679 Speaker 1: Can we can we also give some love to go 358 00:26:02,760 --> 00:26:10,000 Speaker 1: with child? Listen, I'm so glad you said it because 359 00:26:10,000 --> 00:26:15,840 Speaker 1: it was burning in my soul. Listen, the flowers, the bouquets, 360 00:26:16,160 --> 00:26:19,920 Speaker 1: the shrubbery. You've been doing the work like small trees 361 00:26:20,720 --> 00:26:23,600 Speaker 1: when said this. Let me say this, there was a moment. 362 00:26:23,640 --> 00:26:26,959 Speaker 1: I cried many times throughout this movie, many many times. 363 00:26:27,640 --> 00:26:30,840 Speaker 1: But the first of the many times I cried was 364 00:26:32,000 --> 00:26:33,720 Speaker 1: in the very beginning. And not to give any any 365 00:26:33,760 --> 00:26:37,280 Speaker 1: any spoilers, but there is a moment. There's a moment 366 00:26:37,359 --> 00:26:39,639 Speaker 1: in in in the beginning of the movie where black 367 00:26:39,680 --> 00:26:49,720 Speaker 1: men are talking m m mm hmm oh. And if 368 00:26:49,720 --> 00:26:53,440 Speaker 1: ever you want to fall in love with black men 369 00:26:55,720 --> 00:26:59,960 Speaker 1: even deeper than you are already, this is the moment 370 00:27:00,080 --> 00:27:04,520 Speaker 1: that will get you there. The way they laughed, and 371 00:27:04,560 --> 00:27:07,520 Speaker 1: the way they joked with one another, and how they 372 00:27:07,560 --> 00:27:11,080 Speaker 1: would go from the serious to the funny, to the 373 00:27:11,280 --> 00:27:18,920 Speaker 1: painful to the painfully. You see black men exchange these 374 00:27:20,280 --> 00:27:27,000 Speaker 1: complex and nuanced moments with each other. Was everything that 375 00:27:27,040 --> 00:27:32,080 Speaker 1: I ever needed in my life. It was everything. Because 376 00:27:32,640 --> 00:27:37,120 Speaker 1: I don't think enough of this is shown of our men. 377 00:27:38,600 --> 00:27:42,119 Speaker 1: I'm going to respect that emotion, honey, Enough of that 378 00:27:42,240 --> 00:27:45,120 Speaker 1: is not shown of our men and their vulnerabilities, because 379 00:27:45,160 --> 00:27:47,160 Speaker 1: that's what we saw too, right, Like even when they 380 00:27:47,200 --> 00:27:54,000 Speaker 1: were trying to man in the midst against the other, 381 00:27:54,040 --> 00:27:55,840 Speaker 1: it's like, hold up, brother, let me tell you why 382 00:27:55,840 --> 00:27:58,280 Speaker 1: I am. And then in that moment after I tell 383 00:27:58,280 --> 00:28:01,000 Speaker 1: you who I am, that's where you change your ways 384 00:28:01,000 --> 00:28:05,280 Speaker 1: because you're like shit, like yeah, we we tried, like 385 00:28:05,359 --> 00:28:12,200 Speaker 1: we man. And that powerfully strong presence of my Rainy, 386 00:28:12,920 --> 00:28:33,800 Speaker 1: that losing over everything. It's almost unbelievable that she had 387 00:28:33,880 --> 00:28:36,879 Speaker 1: such free she was so free, you know what I mean, 388 00:28:36,920 --> 00:28:39,280 Speaker 1: Like the way that she spoke to those those white 389 00:28:39,280 --> 00:28:42,720 Speaker 1: men who you know, were ran her record label, and 390 00:28:42,880 --> 00:28:44,920 Speaker 1: what she refused to do which and the way that 391 00:28:44,960 --> 00:28:47,400 Speaker 1: she understood it, how she understood that she was a 392 00:28:47,400 --> 00:28:50,680 Speaker 1: tool and all they wanted was her voice, and she 393 00:28:50,800 --> 00:28:52,520 Speaker 1: was going to make sure she got everything that she 394 00:28:52,680 --> 00:28:55,680 Speaker 1: wanted because they was gonna get everything they wanted. That's right. 395 00:28:56,280 --> 00:29:01,240 Speaker 1: But that commentary is important, whether she said the words 396 00:29:01,320 --> 00:29:05,320 Speaker 1: or not, it is. That commentary is important because it 397 00:29:05,400 --> 00:29:10,160 Speaker 1: is still relevant. It is still truly relevant, particularly about 398 00:29:10,160 --> 00:29:12,440 Speaker 1: Black women and black women who have a lot of 399 00:29:12,480 --> 00:29:17,560 Speaker 1: agency around their sexuality. Even in today's music industry. You 400 00:29:17,560 --> 00:29:21,000 Speaker 1: think about a Cardi b. You think about a Megan Nostalgion, 401 00:29:21,440 --> 00:29:25,440 Speaker 1: you think about a Lizzo, all these different people, there's 402 00:29:25,480 --> 00:29:31,880 Speaker 1: a very real conversation still happening, you know, around women's sexuality, 403 00:29:32,000 --> 00:29:37,200 Speaker 1: Black women's in the entertainment and music particularly, and women 404 00:29:37,200 --> 00:29:42,760 Speaker 1: being able to um, you know, dictate business wise, how 405 00:29:42,800 --> 00:29:45,360 Speaker 1: that's gonna go, how that's going to be sold, and 406 00:29:45,400 --> 00:29:51,040 Speaker 1: how it's going to be done. I just who baby, 407 00:29:51,040 --> 00:29:53,520 Speaker 1: So don't think you were the first young women, No 408 00:29:54,040 --> 00:29:56,520 Speaker 1: you were not. We must we must take this moment 409 00:29:56,520 --> 00:30:00,640 Speaker 1: to shout out Millie Jackson to come on, it must 410 00:30:00,680 --> 00:30:05,720 Speaker 1: be done. It must be done lyrically. Her presence on stage, 411 00:30:06,200 --> 00:30:10,440 Speaker 1: her the growl, and her voice, all of it. Grace Jones, 412 00:30:10,960 --> 00:30:18,760 Speaker 1: I mean, yes, yes, there is this. Uh it's a 413 00:30:19,120 --> 00:30:25,360 Speaker 1: fear of our sexuality. That drives me absolutely insane. It 414 00:30:25,440 --> 00:30:29,000 Speaker 1: drives me crazy. You're allowed to be smart, you can 415 00:30:29,000 --> 00:30:35,320 Speaker 1: be smart, Okay, but I remember, um, well, I'm thinking 416 00:30:35,360 --> 00:30:44,160 Speaker 1: Angela yee, that's not her name, Angela right, Angela right? Politics, yes, politics, 417 00:30:44,200 --> 00:30:49,120 Speaker 1: Angela right. When people realize that she was a hottie, 418 00:30:50,400 --> 00:30:51,800 Speaker 1: they didn't know what to do it, They didn't know 419 00:30:51,840 --> 00:30:54,120 Speaker 1: what to do with it. Yeah, you should hear her 420 00:30:54,120 --> 00:30:59,080 Speaker 1: stories of having a shut nicks down. It's crazy to me. 421 00:30:59,560 --> 00:31:02,160 Speaker 1: You're not to be or. It's not so much that 422 00:31:02,200 --> 00:31:06,440 Speaker 1: you're not allowed, it's just uncomfortable for people. When you 423 00:31:06,520 --> 00:31:10,040 Speaker 1: allow yourself to be all of yourself, you have to 424 00:31:10,720 --> 00:31:16,320 Speaker 1: pull back in some way, shape or form. I particular 425 00:31:16,400 --> 00:31:19,640 Speaker 1: for her because she is mixing together two things that 426 00:31:19,680 --> 00:31:23,800 Speaker 1: people can't. People's brains are exploding. It's like, oh, I 427 00:31:23,880 --> 00:31:27,200 Speaker 1: talk about politics and religion because she's also a very 428 00:31:27,240 --> 00:31:31,600 Speaker 1: devout Christian, talk about politics and religion. And I'm about 429 00:31:31,640 --> 00:31:34,240 Speaker 1: to put this dress on and show y'all how snatched 430 00:31:34,280 --> 00:31:37,040 Speaker 1: this waist is and give you all this glamor. You 431 00:31:37,160 --> 00:31:42,120 Speaker 1: interviewed her. I remember that night, and she was dynamic. 432 00:31:43,120 --> 00:31:47,520 Speaker 1: It has been dynamic sense. But to see how things 433 00:31:47,560 --> 00:31:50,080 Speaker 1: have have have moved forward for her. But like I said, 434 00:31:50,360 --> 00:31:53,040 Speaker 1: pulling together those two worlds for people, you know, it 435 00:31:53,200 --> 00:31:56,000 Speaker 1: might be able to handle it in music, but if 436 00:31:56,000 --> 00:31:59,320 Speaker 1: you're doing handle it music, But y'all trying to handle 437 00:31:59,360 --> 00:32:03,760 Speaker 1: it in music. They pretend there's been more discussions about 438 00:32:03,840 --> 00:32:10,520 Speaker 1: whop in the last You Know a Girl months. Um. 439 00:32:10,640 --> 00:32:14,760 Speaker 1: I remember when I first heard what I was taken 440 00:32:14,760 --> 00:32:18,720 Speaker 1: aback by the lyrics. Quite frankly, I wasn't ready myself. 441 00:32:18,800 --> 00:32:22,040 Speaker 1: Why did it feel different than uh, any random Little 442 00:32:22,080 --> 00:32:24,760 Speaker 1: Kim song? I'm just using a Little Kim as an example, like, 443 00:32:25,080 --> 00:32:30,320 Speaker 1: why do you feel I remember being excited by Little Kim? 444 00:32:30,800 --> 00:32:35,360 Speaker 1: Mhm Um. I think it had a lot to do 445 00:32:35,400 --> 00:32:39,000 Speaker 1: with the word play. We need you, I think, yeah 446 00:32:39,000 --> 00:32:40,440 Speaker 1: we should. Yeah, I think it had a lot to 447 00:32:40,480 --> 00:32:42,400 Speaker 1: do with the word play. I'm I'm you know, I'm 448 00:32:42,400 --> 00:32:47,840 Speaker 1: also a reader a writer, and um, I like word 449 00:32:47,880 --> 00:32:50,360 Speaker 1: play and I think that there was a lot of 450 00:32:50,360 --> 00:32:55,120 Speaker 1: it there with Little Kim. Yeah. I didn't feel that 451 00:32:55,200 --> 00:33:00,000 Speaker 1: necessarily from wop um. Everything seemed to be pretty straightforward 452 00:33:00,080 --> 00:33:04,560 Speaker 1: word right, just come get this wet ass pussy. Yeah, well, 453 00:33:04,600 --> 00:33:06,800 Speaker 1: I don't know, Like Kim was pretty straightforward to it. 454 00:33:07,000 --> 00:33:09,000 Speaker 1: She was like, you know, I'm gonna watch my stories 455 00:33:09,000 --> 00:33:11,560 Speaker 1: while you eat my pussy. That's pretty straightforward. Yeah, but 456 00:33:11,640 --> 00:33:15,719 Speaker 1: it'll come came to the picture. So you basically are 457 00:33:15,720 --> 00:33:18,800 Speaker 1: saying something about lyrics curiously, like somebody is obviously a 458 00:33:18,840 --> 00:33:22,040 Speaker 1: better lyricist to you in a sense of just right. 459 00:33:22,120 --> 00:33:25,520 Speaker 1: There's the reason why I gravitated towards it. I just 460 00:33:25,800 --> 00:33:31,840 Speaker 1: because Kim I saw pictures, and for why I heard 461 00:33:31,880 --> 00:33:39,440 Speaker 1: words to lyrics, I mean to a rhythm. Yeah, you 462 00:33:39,440 --> 00:33:42,000 Speaker 1: don't get all you get your feelings hurting and all 463 00:33:42,040 --> 00:33:44,880 Speaker 1: in your back my feelings. I'm talking like you. I'm 464 00:33:44,880 --> 00:33:49,240 Speaker 1: other people listen, other people listen to Asia. You know 465 00:33:50,920 --> 00:33:55,120 Speaker 1: you guys are sometimes um but you know that's the 466 00:33:55,120 --> 00:33:57,880 Speaker 1: way I feel. I'm a I'm kind of I'm a 467 00:33:57,960 --> 00:34:01,480 Speaker 1: lyricist fan. I like I like that put together in 468 00:34:01,520 --> 00:34:04,760 Speaker 1: a way. I mean, I wrote Crown Royal. You know 469 00:34:05,000 --> 00:34:08,920 Speaker 1: I thought it was visual. You know I can do that. 470 00:34:09,040 --> 00:34:12,480 Speaker 1: It is I could be wrong. Your hands on my 471 00:34:12,560 --> 00:34:16,440 Speaker 1: hips pull me right back to you. I'm sorry. I 472 00:34:16,520 --> 00:34:19,080 Speaker 1: have a whole part is when it's no. My part 473 00:34:19,200 --> 00:34:23,120 Speaker 1: is when it's hell you you I don't it's not 474 00:34:23,200 --> 00:34:26,120 Speaker 1: it's not. It's you don't say you It's like he you, 475 00:34:26,120 --> 00:34:30,040 Speaker 1: you don't. I don't know what you say when you 476 00:34:30,080 --> 00:34:32,080 Speaker 1: say I flipped ship something to the lip, I say 477 00:34:32,120 --> 00:34:37,480 Speaker 1: a lip, himp dip and I'm twisted in your hands 478 00:34:37,520 --> 00:34:43,520 Speaker 1: and your lips and your tongue tricks and you're so thick. Yeah, 479 00:34:44,400 --> 00:34:50,640 Speaker 1: it's it's nasty as a song is nasty. However, however, 480 00:34:50,760 --> 00:34:53,640 Speaker 1: yes it is. It is. It is woven together in 481 00:34:53,680 --> 00:34:59,480 Speaker 1: a lyrical little meal that is fantastical. However, we just 482 00:34:59,560 --> 00:35:02,160 Speaker 1: like when we because I doubt anybody on this line 483 00:35:02,320 --> 00:35:04,560 Speaker 1: was like, I cannot stay. I'm not saying you can 484 00:35:04,600 --> 00:35:06,319 Speaker 1: lick it, you can stick it, you could taste it. 485 00:35:06,520 --> 00:35:09,279 Speaker 1: I'm talking every drip drop. Don't you waste it like 486 00:35:09,320 --> 00:35:11,759 Speaker 1: that was? That was some hot ship when it came out. 487 00:35:13,520 --> 00:35:18,080 Speaker 1: Was in that was a Canelli put it in your mouth. 488 00:35:18,520 --> 00:35:23,239 Speaker 1: And I wasn't there for that. He wasn't He wasn't 489 00:35:23,280 --> 00:35:26,560 Speaker 1: here for that. I'm gonna tell you that I was. 490 00:35:26,680 --> 00:35:29,040 Speaker 1: I was late to the Kim Train. I was actually 491 00:35:29,120 --> 00:35:31,959 Speaker 1: late to the little Kim Train when it first came out. 492 00:35:32,440 --> 00:35:35,440 Speaker 1: I was a little taken aback, I got a little 493 00:35:36,040 --> 00:35:40,120 Speaker 1: I got slightly. It was a lot. I got slightly 494 00:35:40,200 --> 00:35:42,479 Speaker 1: united Methodists when I heard you know what I'm saying. 495 00:35:43,160 --> 00:35:45,719 Speaker 1: I'm on Man Dreams, A Sucking R and B Dick. 496 00:35:46,400 --> 00:35:50,080 Speaker 1: But listen, I was late when I first got there. 497 00:35:50,160 --> 00:35:54,040 Speaker 1: I wasn't ready. Okay, it was a lot for me. Okay, 498 00:35:54,200 --> 00:35:57,960 Speaker 1: As I got older, I was like, okay, Kim was 499 00:35:58,000 --> 00:36:00,360 Speaker 1: all someothing. But also to further down the when I 500 00:36:00,400 --> 00:36:03,759 Speaker 1: got to other songs, radio hits, the radio hits, I 501 00:36:03,840 --> 00:36:06,120 Speaker 1: was like, boom, but I had to work up to 502 00:36:06,200 --> 00:36:09,279 Speaker 1: listen to the album versions was not lie. I had 503 00:36:09,320 --> 00:36:26,920 Speaker 1: to work up to it. But again, if we're raising 504 00:36:27,000 --> 00:36:30,960 Speaker 1: young women these days, to honor these women, these iconic 505 00:36:31,040 --> 00:36:35,439 Speaker 1: figures within this industry, and we know that we're at 506 00:36:35,640 --> 00:36:39,120 Speaker 1: you know, Auntie age around this time, and we have 507 00:36:39,280 --> 00:36:41,960 Speaker 1: other young girls who are coming, young women who are 508 00:36:42,000 --> 00:36:47,040 Speaker 1: coming into this business, we have to offer them the space, 509 00:36:48,120 --> 00:36:52,480 Speaker 1: uh in evolved space, a space that says that you 510 00:36:52,600 --> 00:36:55,120 Speaker 1: no longer have to fight this same fight to be 511 00:36:55,239 --> 00:37:00,480 Speaker 1: yourself and be who you are. And I never forget um. 512 00:37:00,560 --> 00:37:03,040 Speaker 1: Chris Rock talked about how you know he was this 513 00:37:03,160 --> 00:37:05,480 Speaker 1: world famous comedian and he lived next door to a 514 00:37:05,560 --> 00:37:10,200 Speaker 1: dentist and that you know wife folks get a chance 515 00:37:10,200 --> 00:37:14,640 Speaker 1: to be mediocre. All right. Everybody is not gonna necessarily 516 00:37:14,680 --> 00:37:20,640 Speaker 1: have the same level of um access to that kind 517 00:37:20,640 --> 00:37:23,480 Speaker 1: of lyrical prowess, you know what I mean. But they 518 00:37:23,520 --> 00:37:25,600 Speaker 1: do have an audience and they do have an artistic 519 00:37:25,680 --> 00:37:30,400 Speaker 1: voice for some reason. Let me let me for some reason, 520 00:37:30,480 --> 00:37:34,279 Speaker 1: if I say anything, it's it's a speaking out, some 521 00:37:34,440 --> 00:37:38,360 Speaker 1: speaking out against something or other than I'm not thinking. 522 00:37:38,520 --> 00:37:41,720 Speaker 1: I don't have any problem at all. Want your earthie 523 00:37:41,719 --> 00:37:43,520 Speaker 1: perchase somewhere. That's what they say. They say, you on 524 00:37:43,560 --> 00:37:48,200 Speaker 1: your earthie perch somewhere. Just you know that I made that. 525 00:37:48,239 --> 00:37:50,160 Speaker 1: Shut up. It was just a translation of what I 526 00:37:50,680 --> 00:37:52,959 Speaker 1: think I mean. I guess there are people that think 527 00:37:53,000 --> 00:37:56,759 Speaker 1: that that's fine. I don't know what to tell you. 528 00:37:58,239 --> 00:38:03,520 Speaker 1: I'm a whole person. W h o l e w 529 00:38:03,960 --> 00:38:08,640 Speaker 1: h oh. That's not how my raining would have said there, 530 00:38:08,680 --> 00:38:18,799 Speaker 1: But listen, I'm a whole I love it. It would 531 00:38:18,800 --> 00:38:23,719 Speaker 1: have been. And she speaking to anybody because all of herself, 532 00:38:23,760 --> 00:38:27,680 Speaker 1: she allowed herself to be herself. She was not afraid 533 00:38:27,800 --> 00:38:30,279 Speaker 1: of those folks that were trying to put her in 534 00:38:30,400 --> 00:38:33,759 Speaker 1: boxes or confine her to anything. And black people, a 535 00:38:33,800 --> 00:38:37,479 Speaker 1: lot of black people did not like her. I'm glad 536 00:38:37,520 --> 00:38:39,960 Speaker 1: you said that, because I wondered thinking here, like in 537 00:38:40,040 --> 00:38:42,800 Speaker 1: retrospect we can all have this kind of level of respect. 538 00:38:42,880 --> 00:38:45,600 Speaker 1: But like if she was to come out right now, 539 00:38:47,800 --> 00:38:50,040 Speaker 1: what where where would we be on the side of 540 00:38:50,040 --> 00:38:52,960 Speaker 1: the coin, Because like I told you, I was slowed 541 00:38:52,960 --> 00:38:55,840 Speaker 1: to the chim train. Yeah, I was slowed to the 542 00:38:55,880 --> 00:39:04,680 Speaker 1: Billy Holiday train. Wow. All right, yeah, you know that's 543 00:39:04,680 --> 00:39:06,880 Speaker 1: what I'm saying. Like I saw how would she be received? 544 00:39:07,960 --> 00:39:12,120 Speaker 1: Lady Sings the Blues before I actually saw uh before 545 00:39:12,160 --> 00:39:15,640 Speaker 1: I heard of Billie Holiday music. But that's fair, that's 546 00:39:15,719 --> 00:39:18,520 Speaker 1: I think that's some eighties baby ship. But yeah, yeah, 547 00:39:18,600 --> 00:39:21,359 Speaker 1: And I didn't catch on until what that was until 548 00:39:21,360 --> 00:39:23,760 Speaker 1: I got my feelings hurt. Once I got my feelings 549 00:39:23,800 --> 00:39:28,239 Speaker 1: hurt and listened to Billy Holliday, I was like, oh, 550 00:39:28,280 --> 00:39:31,560 Speaker 1: I see what this is. Yeah, but I didn't get 551 00:39:31,560 --> 00:39:34,719 Speaker 1: it until then. Yeah. I think we're always going to 552 00:39:34,840 --> 00:39:39,520 Speaker 1: end up in some kind of Auntie position when it 553 00:39:39,600 --> 00:39:45,080 Speaker 1: comes to two songs like like wap you know, um, 554 00:39:45,239 --> 00:39:47,560 Speaker 1: I had to bring that up again. I just feel 555 00:39:47,560 --> 00:39:50,080 Speaker 1: like we're always gonna come up with something that people 556 00:39:50,120 --> 00:39:53,160 Speaker 1: are gonna feel like there's a judgment or an anti 557 00:39:53,280 --> 00:39:56,680 Speaker 1: thing happening. I just like what I like, you know, 558 00:39:57,320 --> 00:39:58,960 Speaker 1: I was just gonna. I also try to keep aware 559 00:39:58,960 --> 00:40:01,600 Speaker 1: of the steady evolution of sexuality in media, because I 560 00:40:01,640 --> 00:40:03,919 Speaker 1: always used the whole thing of like at some point 561 00:40:03,960 --> 00:40:05,640 Speaker 1: when margat Gay came up with sexual Hill and my 562 00:40:05,719 --> 00:40:08,800 Speaker 1: fucker was like, wow, no, that's too much, turn it down. 563 00:40:09,120 --> 00:40:11,120 Speaker 1: So now I'm like, here, we are forty years later. 564 00:40:11,200 --> 00:40:12,960 Speaker 1: What the funk do I expect? We are twenty years 565 00:40:13,000 --> 00:40:16,360 Speaker 1: after Little Kim Yeah, wet ass pussy, that's about right. Wow, 566 00:40:16,480 --> 00:40:20,080 Speaker 1: we are twenty years after Little Kim and and it's 567 00:40:20,160 --> 00:40:22,759 Speaker 1: always fun in games until you see it, until you 568 00:40:22,840 --> 00:40:26,319 Speaker 1: hear a three year old singing it. Yeah, I don't 569 00:40:26,320 --> 00:40:31,440 Speaker 1: never want you'll be like, oh yes, yes, ladies, you'll 570 00:40:31,480 --> 00:40:34,280 Speaker 1: be at I have some songs on my next project 571 00:40:34,280 --> 00:40:37,600 Speaker 1: that I'm like, oh I know, no, oh no, no, 572 00:40:37,600 --> 00:40:39,799 Speaker 1: we do give it, give it. It's the next level, 573 00:40:39,800 --> 00:40:41,880 Speaker 1: Crown Royal, because we're here for that. You gotta evolve, 574 00:40:41,960 --> 00:40:45,600 Speaker 1: you know, at this age, nasty Jail is the only 575 00:40:45,680 --> 00:40:48,759 Speaker 1: Jill I'm interested in. How about that? How about that 576 00:40:49,320 --> 00:40:53,880 Speaker 1: that I need Nasty Jill consistently in my life Unless 577 00:40:53,880 --> 00:40:56,040 Speaker 1: you gotta you about to lose your job remix because 578 00:40:56,040 --> 00:40:57,840 Speaker 1: I'm looking. I've been looking, waiting for something or to 579 00:40:57,920 --> 00:40:59,520 Speaker 1: do that for me. But that's fine. You know, whatever 580 00:41:00,040 --> 00:41:03,080 Speaker 1: mix is not needed. The original is a classic. It 581 00:41:03,160 --> 00:41:07,200 Speaker 1: is she is, she does classic. An iconic woman. I'm 582 00:41:07,239 --> 00:41:10,680 Speaker 1: just joking because she had the triflate part. That's what 583 00:41:10,760 --> 00:41:16,200 Speaker 1: I'm out what she called it, triflate. Hmm, what's you thinking, 584 00:41:16,280 --> 00:41:19,720 Speaker 1: jail over there? I was thinking of some more iconic women, 585 00:41:20,440 --> 00:41:26,719 Speaker 1: um in this music industry. I'm wow, we're talking about 586 00:41:26,719 --> 00:41:28,919 Speaker 1: women that may change. You know, I've heard that name 587 00:41:29,400 --> 00:41:31,799 Speaker 1: damn near my whole life. I've heard that name my 588 00:41:31,880 --> 00:41:35,520 Speaker 1: whole life. I'm gonna throw a Beyonce in the hat. 589 00:41:36,760 --> 00:41:42,120 Speaker 1: That is absolutely as she should be. Might be fine, fine, fine, fine. 590 00:41:43,160 --> 00:41:49,319 Speaker 1: I've never seen anybody anywhere work harder than that lady ever. 591 00:41:50,480 --> 00:41:55,120 Speaker 1: I know, you know, musicians that work with her and 592 00:41:55,200 --> 00:42:01,000 Speaker 1: that level of of business, that level of professionalism. I 593 00:42:01,160 --> 00:42:04,239 Speaker 1: every time I've ever seen her perform anywhere, I I 594 00:42:04,280 --> 00:42:10,400 Speaker 1: get chill bumps. I'm stuttering. See she's taking that Diana 595 00:42:10,480 --> 00:42:14,799 Speaker 1: Ross formula next level. It's amazing. She's amazing, She's amazing, 596 00:42:15,000 --> 00:42:17,799 Speaker 1: and she's introduced so many different kinds of music and 597 00:42:17,880 --> 00:42:24,040 Speaker 1: different kinds of visuals um that are healthy. And every 598 00:42:24,040 --> 00:42:27,839 Speaker 1: time I think, I think, I think what she has done, 599 00:42:27,880 --> 00:42:30,200 Speaker 1: and she has kind of mixed together what used to 600 00:42:30,280 --> 00:42:34,720 Speaker 1: be the pop trifecta and put it into one artist. 601 00:42:35,400 --> 00:42:38,759 Speaker 1: You know, they're used. Madonna was known as a chameleon, 602 00:42:39,040 --> 00:42:40,799 Speaker 1: where she would figure out what was going on in 603 00:42:40,840 --> 00:42:45,200 Speaker 1: the underground and bring it to the mainstream. Beyonce has 604 00:42:45,239 --> 00:42:49,200 Speaker 1: done that consistently. Then Michael Jackson was a person who 605 00:42:49,280 --> 00:42:53,440 Speaker 1: brought um just a dynamics of stage performance and dance 606 00:42:53,960 --> 00:42:56,680 Speaker 1: into his artistry, beyond just the fact that he was 607 00:42:56,719 --> 00:42:59,680 Speaker 1: an amazing singer and everything. And she has been able 608 00:42:59,719 --> 00:43:04,360 Speaker 1: to like turned I mean that the Michael Jackson mentality. 609 00:43:04,360 --> 00:43:06,480 Speaker 1: I mean, she's taking that to the very next level 610 00:43:06,520 --> 00:43:10,000 Speaker 1: in my in my opinion, humbly, you know. And then 611 00:43:10,400 --> 00:43:14,960 Speaker 1: you talk about just straight flatfoot singing that part. But 612 00:43:15,000 --> 00:43:20,680 Speaker 1: she was saying earlier, she both like how you both 613 00:43:21,520 --> 00:43:35,960 Speaker 1: She thrice the we're gonna keep, We're gonna end up 614 00:43:36,120 --> 00:43:41,319 Speaker 1: um forgiving ourselves at times, you know, I We're gonna keep. 615 00:43:41,320 --> 00:43:44,560 Speaker 1: We're gonna keep forgiving ourselves as we continue, because we're 616 00:43:44,560 --> 00:43:47,960 Speaker 1: gonna say the wrong thing sometimes and it's wrong because 617 00:43:47,960 --> 00:43:52,200 Speaker 1: we're trying to advance past it. So you know, when 618 00:43:52,200 --> 00:43:54,440 Speaker 1: you know that something is baige, you don't want to 619 00:43:54,480 --> 00:43:57,880 Speaker 1: keep calling it white, you know what I mean? You 620 00:43:57,960 --> 00:44:00,279 Speaker 1: want to learn what it is and then move moved 621 00:44:00,320 --> 00:44:06,120 Speaker 1: towards that, move towards the truth, or moved towards um 622 00:44:06,120 --> 00:44:09,319 Speaker 1: a place where people can feel happy and healthy and 623 00:44:09,560 --> 00:44:14,719 Speaker 1: um seen. And I certainly want you to have all 624 00:44:14,719 --> 00:44:23,600 Speaker 1: of your sexuality. I certainly want you to be all 625 00:44:23,600 --> 00:44:27,320 Speaker 1: of you. I do what else is there? I'm super 626 00:44:27,320 --> 00:44:31,160 Speaker 1: proud of these women that um that they weren't then 627 00:44:31,200 --> 00:44:33,600 Speaker 1: that they've never been doing it for me. You know, 628 00:44:33,719 --> 00:44:38,239 Speaker 1: they did it because that's where, that's where, that's who 629 00:44:38,239 --> 00:44:41,680 Speaker 1: they were. It's so much so much better to go 630 00:44:41,760 --> 00:44:47,799 Speaker 1: ahead and be who you are. I mean, that is 631 00:44:48,080 --> 00:44:50,759 Speaker 1: I mean, that is the pathway to being iconic. Is 632 00:44:50,760 --> 00:44:56,520 Speaker 1: it not? What is not? My phone says uh, Small 633 00:44:56,600 --> 00:45:01,120 Speaker 1: minds can't comprehend big spirits. To be great, you have 634 00:45:01,280 --> 00:45:06,920 Speaker 1: to be willing to be mocked, hated and misunderstood. Stay strong. 635 00:45:08,280 --> 00:45:11,399 Speaker 1: It is the mic Onna floor is the mic Gonna floor. 636 00:45:11,520 --> 00:45:36,120 Speaker 1: The mic is on the floor. How do you eat 637 00:45:36,160 --> 00:45:45,560 Speaker 1: an elephant? One by it? Time. What's up everybody. I'm Eaves, 638 00:45:45,600 --> 00:45:48,920 Speaker 1: a producer on the show, and it's resource time. Okay, 639 00:45:48,960 --> 00:45:51,400 Speaker 1: so we have a lot today. Joe would like to 640 00:45:51,440 --> 00:45:55,000 Speaker 1: point you to Queer Cultural Center dot org, which has 641 00:45:55,080 --> 00:45:58,520 Speaker 1: information on the importance of My Rainy. You can check 642 00:45:58,560 --> 00:46:01,560 Speaker 1: out the Netflix film A Rainy's Black Bottom as well. 643 00:46:02,000 --> 00:46:04,480 Speaker 1: And for the love of all that is black and beautiful, 644 00:46:04,680 --> 00:46:07,879 Speaker 1: please read or go see in August Wilson Play. If 645 00:46:07,880 --> 00:46:11,000 Speaker 1: you ever have the chance, and while I'm one that note, 646 00:46:11,280 --> 00:46:16,080 Speaker 1: go support small theaters, female directors and emerging actors. And 647 00:46:16,120 --> 00:46:18,200 Speaker 1: then there's all of the people that Jill, Asia and 648 00:46:18,280 --> 00:46:20,600 Speaker 1: Layah mentioned today. If you don't know about some of 649 00:46:20,600 --> 00:46:24,120 Speaker 1: these people and groups like Millie Jackson, LaBelle, Cathy Hughes, 650 00:46:24,280 --> 00:46:26,880 Speaker 1: and Valerie Simpson, go look them up and learn a 651 00:46:26,920 --> 00:46:28,840 Speaker 1: little bit more about their work. If you already do 652 00:46:28,960 --> 00:46:31,759 Speaker 1: know a little something about them, I'll drop some leaks 653 00:46:31,840 --> 00:46:42,839 Speaker 1: in the episode description. Thank you for listening to Jill 654 00:46:42,920 --> 00:47:01,880 Speaker 1: Scott Presents j dot il the podcast. This podcast is 655 00:47:01,920 --> 00:47:06,080 Speaker 1: hosted by Jill Scott, Laya st Clair, and agent Graden Danceler. 656 00:47:06,560 --> 00:47:10,440 Speaker 1: It's executive producers are Jill Scott, Shawn j and Brian Calhoun. 657 00:47:10,880 --> 00:47:14,560 Speaker 1: It's produced by Laya St. Clair and me Eve Jeff Coke. 658 00:47:15,000 --> 00:47:17,759 Speaker 1: The editing and sound design for this episode we're done 659 00:47:17,880 --> 00:47:24,719 Speaker 1: by Taylor Chaquoin. Listen, you ain't gonna look too far 660 00:47:24,840 --> 00:47:32,400 Speaker 1: for Ashbrod and Simpson any motown discography. Just just checked 661 00:47:32,400 --> 00:47:39,680 Speaker 1: out to get by all I need. That's the Aretha version, 662 00:47:41,000 --> 00:47:45,680 Speaker 1: but she wrote it. But that's that's iconic. You wrote 663 00:47:45,680 --> 00:47:49,760 Speaker 1: a song that Marvin Gaye, Diana Ross, and Aretha Franklin 664 00:47:49,960 --> 00:47:55,080 Speaker 1: all recorded, and all all three versions are different. Bye Bye. 665 00:47:57,239 --> 00:48:01,160 Speaker 1: J dot Ill is a production of i HA Heart Radio. 666 00:48:01,200 --> 00:48:04,480 Speaker 1: For more podcasts from I Heart Radio, visit the i 667 00:48:04,640 --> 00:48:09,040 Speaker 1: Heart Radio app, Apple podcast, or wherever you listen to 668 00:48:09,080 --> 00:48:10,200 Speaker 1: your favorite shows