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Speaker 1: Too Much Information is a production of I Heart Radio.

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Speaker 1: Hello everyone, and welcome to Too Much Information, the show

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Speaker 1: that brings you the secret history and little alone fascinating

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Speaker 1: facts behind your favorite music, movies, TV shows, and more.

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Speaker 1: We're two guys with too much free time on our hands.

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Speaker 1: My name is Jordan Ron Talk and I'm Alex Hegel.

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Speaker 1: And on this episode, we're vool vooling our way through

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Speaker 1: the hit that taught countless dudes the one line of

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Speaker 1: French they'd take with them their entire lives, the pseudo

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Speaker 1: timeless hit Lady Marmalade. We're gonna delve into Patty Labelle's

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Speaker 1: iconic original, the assembly and feuds thereof of the pop

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Speaker 1: supergroup that recorded the Oddies version and possibly the Uncanny

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Speaker 1: Valley version of Kisses I was made for Loving You

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Speaker 1: that you and McGregor sings in Mulan Rouge. Now, Jordan's

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Speaker 1: I know you have a history with Lady Marmalade. Why

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Speaker 1: don't you go ahead and start? I mean, yeah, my

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Speaker 1: earliest association with Lady Marmalade. It was really one of

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Speaker 1: the few songs so that I could I identified during

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Speaker 1: the rare occasions that I went to middle school dances

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Speaker 1: because I basically exclusively listened to like so I'm in

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Speaker 1: a garf, Uncle forty fives and stuff until you were

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Speaker 1: a man out of time. Yeah, so in a way

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Speaker 1: this was perfect for you. This was great. Yeah. No,

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Speaker 1: this was the one song that I actually felt like

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Speaker 1: I could like. I was definitely too much of a

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Speaker 1: prude to actually like dance, but I definitely I identified

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Speaker 1: with this during the middle school dances, so it was nice.

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Speaker 1: And then years later, when I was a DJ myself

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Speaker 1: and I was djaying like proms and weddings and bar

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Speaker 1: mitzva's and stuff, I throw it on whenever I needed

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Speaker 1: to set the dance floor on fire, like immediately, and

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Speaker 1: it killed every time. So I always have a really

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Speaker 1: really warm association with this song. But judging from early

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Speaker 1: conversations we've had, I get the sense that Lady Marmalade,

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Speaker 1: at least the remake was probably a crucial role in

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Speaker 1: your upbringing. Do I am I reading this right? I

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Speaker 1: mean we're visibly blushing right now for those who can't

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Speaker 1: see Alex right now, I'm sad because it's it's quite

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Speaker 1: a I don't know how much we can keep from this,

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Speaker 1: But I was like, what thirteen when this came out,

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Speaker 1: this video was huge for me. Um, I don't know, man,

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Speaker 1: I'm like, what, we can get into this later. But

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Speaker 1: I love Maya. She's for Philly too, right, You're a

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Speaker 1: Pennsylvania boy. I just I had such a crush on her.

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Speaker 1: I mean, like, if you're a teen and you're seeing

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Speaker 1: all of these beautiful women in like elaborate corsettes and

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Speaker 1: such and so forth, like constantly. The other thing two

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Speaker 1: was the saturation point of it. I mean it was

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Speaker 1: constantly on the air, constantly. Do you not remember seeing

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Speaker 1: this every hour on the hour? I mean I do,

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Speaker 1: But I mean this just goes to show you where

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Speaker 1: my head was at. To me, it resembled more of

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Speaker 1: like Carnival circus vibes. Well, I'm so sorry, and and

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Speaker 1: therein lies the difference between the two of us. I

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Speaker 1: would say, yeah, and I mean, at the same time,

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Speaker 1: I was also like a very weird person who was

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Speaker 1: like invested in being an old man. And so this

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Speaker 1: and Slash contributed to me wanting to own a top hat,

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Speaker 1: which I wore to school in eighth grade. Oh you

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Speaker 1: actually you followed through on this? Yeah, of course I did.

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Speaker 1: I'm nothing if not dedicated Jordan's that is true. Wow anyway, Yeah,

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Speaker 1: I'm I'm in love with Maya and this video directly

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Speaker 1: contributed to me owning a top hat for several years.

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Speaker 1: Now that you've learned way more than you wanted to

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Speaker 1: about a thirteen year old Central Pennsylvanians budding fixations, here's

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Speaker 1: everything you didn't know about Lady Marmalade. Is it Lady Marmalade?

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Speaker 1: Lady Marmalade. I think it's a Lady Marmalade. I mean

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Speaker 1: that's how That's what I thought, That's how they pronounced it. Yeah,

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Speaker 1: all right, so yeah, we can't talk about the Malone

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Speaker 1: Ruth Supergroup version of Lady Marmalade without giving credit to

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Speaker 1: Labelle's classic version from nineteen seventy four, with the legendary

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Speaker 1: Patti LaBelle taking the lead. You gotta love it. It's

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Speaker 1: truly one of the funkiest Top forty hits of all time, right,

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Speaker 1: I mean, he slaps absolutely, which is interesting because it

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Speaker 1: came from maybe the least funky circumstances I could possibly imagine. Falso,

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Speaker 1: let's hear me out. Lady Marmalade was co written by

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Speaker 1: Bob Crewe who's responsible. You might not know his name,

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Speaker 1: but he's responsible for a ton of hits by Frankie

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Speaker 1: Valley in the Four Seasons. So the mind who came

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Speaker 1: up with Lady Marmalade also came up with can't take

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Speaker 1: My Eyes off You, Big girls, don't cry, walk like

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Speaker 1: a man, rag doll, Bye bye baby, Let's hang on

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Speaker 1: the sun, ak gonna shine anymore, popularized by the Walker Brothers,

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Speaker 1: that will do up song by the Raised Silhouettes, you know,

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Speaker 1: Silhouettes on the Shade. He wrote that too. Here's the thing,

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Speaker 1: you tell me, the thing those songs that they all ripped,

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Speaker 1: but they're not funky though there's there's not not an

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Speaker 1: alsa funk in any of I love can't take my

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Speaker 1: Eyes off You as much as the next guy, But

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Speaker 1: I don't know. If wonder Bread could talk, it would

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Speaker 1: probably sing can't take my Eyes off You. I don't

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Speaker 1: think it's a very funky. So the fact that that

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Speaker 1: the so I mean to me, the act that the

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Speaker 1: same mind who came up with can't take My Eyes

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Speaker 1: off You came up with Lady Marmalade is just totally

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Speaker 1: beyond me. But at least Lady Marmalade came from a

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Speaker 1: somewhat authentic place because it was inspired by Bob cruise

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Speaker 1: visit to New Orleans witnessing the sex workers on the street. Yeah,

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Speaker 1: he claimed that the famous Volvo line was something that

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Speaker 1: he heard them say. But there's also people who say

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Speaker 1: that he cribbed it from the Tennessee Williams play a

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Speaker 1: street car named desire I guess Blanche Dubois. The character

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Speaker 1: says it at one point, so jury's out as to

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Speaker 1: whether or not he actually heard that on the streets

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Speaker 1: of New Orleans or just took it from a beloved

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Speaker 1: ninth grade English class play. Um. The Bob Crew co

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Speaker 1: wrote this song with a guy named Kenny Nolan, who

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Speaker 1: was one of his frequent collaborators, and Kenny actually recorded

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Speaker 1: the original pre Patty LaBelle version of Lady Marmalade with

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Speaker 1: his proto disco group The Eleventh Hour, but the song

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Speaker 1: flopped until Patty got her incredible vocal cords around it.

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Speaker 1: That's a terrible way to phrase that music writer, and

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Speaker 1: I just yeah, and as one does in New Orleans,

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Speaker 1: like something like I mean something like what am I

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Speaker 1: talking about? I don't have figures for this, but like

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Speaker 1: seventy five to nine. Of the music that was recorded

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Speaker 1: in New Orleans around this time went through Alan Toussant

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Speaker 1: and The Meters. Toussant give a little background on The

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Speaker 1: Meters because I feel like as popular as they are,

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Speaker 1: I still feel like they have never gotten their due

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Speaker 1: for the amount of music that they gave to the world.

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Speaker 1: Really kind of behind the scenes in a lot of ways. Yeah,

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Speaker 1: you have almost certainly heard the song Sissy strut in something,

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Speaker 1: but yeah found in nine while they were in high school,

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Speaker 1: and the Meters became the house band for Alan Toussant

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Speaker 1: and his record label and uh c ST Studios, Legendary Studios. Yeah,

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Speaker 1: and these guys just worked. They were like the Funk Brothers.

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Speaker 1: They were on everything they recorded with. Obviously Dr John,

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Speaker 1: they recorded with Paul McCartney. Mick Jagger was like obsessed

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Speaker 1: with them. He invited them to open with them in

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Speaker 1: the seventies. So yeah, like you can't talk about New

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Speaker 1: Orleans music without either Island, Toussant or The Meters. And

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Speaker 1: Toussant was producing LaBelle and he decided to record did

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Speaker 1: he decide he decided to record Lady Marmalade. I think

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Speaker 1: Bob Crew pitched him it. But yeah, I don't don't

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Speaker 1: know how where it came from, but but I think

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Speaker 1: it was it was Toussant's idea to give it to LaBelle. Yeah,

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Speaker 1: so crew brings it to Toussaint, Toussant decides to record

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Speaker 1: it for the LaBelle album night Birds and so other

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Speaker 1: than LaBelle on vocals and toussas on keyboards and he

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Speaker 1: arranged everything that he did the keyboards for genius arranger,

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Speaker 1: genius piano player, and then three fourths of the meters

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Speaker 1: are on this art. Nevill was playing Hammond bassist George

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Speaker 1: Porter Jr. And lead guitarist Leo Nutch and Telly and

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Speaker 1: a guy named Herman Roscoe Ernest the third who played

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Speaker 1: with Dr John. Um, do you want to do your

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Speaker 1: Doctor John impression? Right now? I mean my only Doctor

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Speaker 1: An impression is Robbie Robertson, Uh, introducing him. Do you

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Speaker 1: all know the doctor Dr John mac reback say thankfulness

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Speaker 1: did a band and all the fellas? Uh? You know

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Speaker 1: that Bonnaroo comes from a Dr John song? Right? No,

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Speaker 1: deceptively Bonnaroo. I did not know that. Yeah, I think

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Speaker 1: it's on the same album that Right Place, Wrong Time,

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Speaker 1: comes from anyway. Last sidebar about the Meters is that

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Speaker 1: there's apparently maybe Apocryphale, an album that the Meters worked

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Speaker 1: on with Stevie Wonder that has never seen the light

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Speaker 1: of day. When was this? Was this during his seventies

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Speaker 1: intervisions and songs in the Kio life that whole. Yeah,

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Speaker 1: it's later seventies than that. I don't know. I don't

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Speaker 1: think Stevie has talked about it. It's like one of

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Speaker 1: those music journalists cat nip things. It might be out there.

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Speaker 1: It's probably, you know, Stevie Wonder was recording god knows

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Speaker 1: how much stuff at this time, so it's probably just

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Speaker 1: in his basement somewhere. All back to Lady Marmalade, the

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Speaker 1: LaBelle version of Lady Marmalade succeeded where the earlier version

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Speaker 1: by the Eleventh Hour had failed, not only because of

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Speaker 1: Allen whose Saint's absolutely incredible arrangement and Patty Labelle's just

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Speaker 1: you know, incendiary lead vocals, but they tweaked the focus

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Speaker 1: of the song to where the titular lady of the

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Speaker 1: night was the focus of the song and not being

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Speaker 1: objectified by the singer. So with Patty Labell's vocals. It

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Speaker 1: became an empowering anthem, but it's apparently doubtful that Patty

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Speaker 1: LaBelle ever intended it to be this. She later admitted

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Speaker 1: that the group had no idea about the sexual overtones

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Speaker 1: of the song, speaking to the Guardian, and she said,

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Speaker 1: I was very naive. I didn't know we were singing

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Speaker 1: about a lady of the evening. Young girls today are

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Speaker 1: so well versed because of the Internet, so they'd never

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Speaker 1: not realize. But it was different then. Thank god we

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Speaker 1: did the song anyway, amen to that. Uh. And she

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Speaker 1: took a very very pro sex workstance about the song.

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Speaker 1: I guess some religious organizations were upset when the song

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Speaker 1: was first released, and Patty's response was this, according to

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Speaker 1: one Billboard interview, well, a hooker has to make a

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Speaker 1: living too. She don't take the mic out of my mouth,

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Speaker 1: and I'm not going to take the mattress from under her.

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Speaker 1: So you go, Patty, she has a way with a SoundBite.

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Speaker 1: Oh yeah, big time. Oh she's she's the best. Apparently

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Speaker 1: she wasn't the only one connected with the song who

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Speaker 1: was a little fuzzy on the lyrical content, um foreshadowing

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Speaker 1: the Mulan Rouge version of Lady Marmalade. Maya used to

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Speaker 1: sing Lady Marmalade around the house as a kid, not

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Speaker 1: knowing what the French verse meant, but her mother, who

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Speaker 1: spoke fluent French, I guess, declined to tell her and

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Speaker 1: let her daughter just belt the song around the house

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Speaker 1: as a child. UM Network TV sensors in the seventies

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Speaker 1: were also really skittish about the song, which I didn't

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Speaker 1: realize because on TV they had to change the line

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Speaker 1: in French to vole dance of emissi, which means do

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Speaker 1: you want to dance with me? So even in French

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Speaker 1: you couldn't say on on American TV, do you want

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Speaker 1: to sleep with me tonight, which is hilarious. Uh. This

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Speaker 1: scandalous lyrics did not stop this song from being a hit. Uh.

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Speaker 1: It chopped, chopped the tarts. Jesus Christ, I had too

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Speaker 1: much coffee today, That's why I was talking about the

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Speaker 1: meters for twenty minutes. Lady Marmalade became a huge hit,

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Speaker 1: topping the charts for one week in the spring of

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Speaker 1: nine and staying on for eighteen weeks. The success of

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Speaker 1: the song made LaBelle the first black vocal group to

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Speaker 1: appear on the cover of Rolling Stone. That's insane to me.

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Speaker 1: I mean, launched in sixty seven, this was seventy five.

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Speaker 1: That's yeah, that's not kept about that. Jackson's didn't like

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Speaker 1: that's it's a bad track record. It's really bad. It's

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Speaker 1: like Bowie calling out MTV for not playing black artists.

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Speaker 1: Patty talked about this in in that Guardian interview mentioned earlier.

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Speaker 1: She says, we were groundbreaking and it was an honor.

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Speaker 1: This is talking about appearing on the cover Rolling Stone. Yes,

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Speaker 1: we were groundbreaking and it was an honor. It was

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Speaker 1: showing other black women that they could do it. But

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Speaker 1: we weren't trying to break a record. We were just

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Speaker 1: being LaBelle. I don't think at the time we thought

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Speaker 1: it was special. We thought we were worthy of the

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Speaker 1: cover and it was something we should have had and

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Speaker 1: we deserved it. But only when you look back do

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Speaker 1: you realize how groundbreaking it was. Young Black female groups

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Speaker 1: gave us props. Destiny's Child did TLC complimented us. They

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Speaker 1: said LaBelle was one of the reasons they formed their groups,

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Speaker 1: which rules, Uh, the wass how groundbreaking there? I feel

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Speaker 1: like they kind of get glossed over in the history

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Speaker 1: of you know, in music in a lot of ways,

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Speaker 1: it's kind of a one hit disco wonder, which is

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Speaker 1: absolutely not the case. Yeah, and they were also one

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Speaker 1: of the i mean, the first contemporary pop group and

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Speaker 1: the first black pop group to perform at the met

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Speaker 1: the Metropolitan Opera House in New York. Talk about like

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Speaker 1: well deserved belated success for this group because they've been

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Speaker 1: kicking around since the early sixties. They've been doing it

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Speaker 1: for like fifteen years. Did you know In the sixties

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Speaker 1: when the group was still then known as Patti LaBelle

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Speaker 1: and the Bluebells, Sydney Bird's song was one of the

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Speaker 1: singers and she left to join the Supremes when Florence

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Speaker 1: Ballot left in sixty seven, and they just have this

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Speaker 1: amazing trey back record. They toured England in the mid

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Speaker 1: sixties and they were backed by a teenage Elton John

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Speaker 1: in his group blues Oology. It's so good, and they

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Speaker 1: all they kind of returned the favor years later. They

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Speaker 1: sang on his album Rock of the Westies, one of

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Speaker 1: his big seventies albums. And it was actually while they

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Speaker 1: were in England that they got their second winds. Going

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Speaker 1: from Patti LaBelle and the Bluebells to LaBelle the kind

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Speaker 1: of like funk supergroup that we know them as, because

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Speaker 1: by the late sixties and early seventies their sound was

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Speaker 1: kind of passe. You know, they've been dumped by their management,

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Speaker 1: and they've been dumped by their label, Atlantic Records, apparently

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Speaker 1: in favor of Aretha Franklin, which probably the seeds that'll

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Speaker 1: come back later. Yeah, Patty and Aretha Franklin kind of

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Speaker 1: famously had a feud, basically duking it out for the

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Speaker 1: title of Queen of Soul. Really and uh, Aretha like

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Speaker 1: really knew how to hold the grudge because I guess

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Speaker 1: she snubbed Patti LaBelle at the Women of Soul concert

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Speaker 1: at the White House by refusing to shake Patty's hand

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Speaker 1: when she offered it. Have you in the video? Oh yeah, Oh,

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Speaker 1: it's it's icy. I mean they tried to downplay this

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Speaker 1: for years, so you know, we won't dwell on this,

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Speaker 1: but it's uh you, I know you've got like a

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Speaker 1: favorite part of this. Don't let you My personal favorite

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Speaker 1: bite is reportedly this is Huffington Post. I found this

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Speaker 1: at But Aretha Franklin launched a line of food in

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Speaker 1: answer to Patti Labelle's line of sweet Potato pies, which

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Speaker 1: were Patty Pies. Yeah, yeah, huge hit at Walmart and um,

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Speaker 1: Aretha Franklin's pool quote when announcing it was miss Patty's

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Speaker 1: going to have to move that pie to the size.

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Speaker 1: Like were they actual rivals with like a burning I

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Speaker 1: won't say hatred, but like was there animosity? There was

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Speaker 1: it just kind of like was there a big grudging

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Speaker 1: acceptance of each other. I don't, I don't want to

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Speaker 1: speak ill of the debt, but Aretha could hold a grudge.

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Speaker 1: She had a lot of feuds. She feuded with her

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Speaker 1: biography her. I mean that David I think so, one

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Speaker 1: of the one of her biographers. She had a whole

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Speaker 1: big thing with him. I know that biopic was held

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Speaker 1: up in years over like battling with her estate. Yeah.

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Speaker 1: I mean, there's only one queen iss Oul and apparently

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Speaker 1: not apparently there's only one queens owl and Aretha refused

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Speaker 1: to see that crown for decades. She sang to me

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Speaker 1: once I met her, really yeah, it was like it

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Speaker 1: was when she I think it was one of her

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Speaker 1: last albums, and it was like a cover's album and

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Speaker 1: she had done Adele's Rolling in the Deep and I

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Speaker 1: asked her about it, and I mean, it was so

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Speaker 1: funny because it was like meeting the queen, like beforehand,

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Speaker 1: you were kind of briefed on you know, this is

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Speaker 1: how you approach her and you don't turn your back

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Speaker 1: on her and it's miss Franklin and you know, yeah,

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Speaker 1: don't speak unless spoken to type stuff. I mean, she

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Speaker 1: was great and wonderful, but I asked her question about

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Speaker 1: her version of roll in the Deep and then she

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Speaker 1: just full throated launched into it with my face two

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Speaker 1: feet from hers, and it was just like it was

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Speaker 1: like a tsunami at close. It was just it was

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Speaker 1: unbelievable to be that this is ridiculous, But we both

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Speaker 1: have a story about a legendary soul icon singing directly

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Speaker 1: to our face. When I was working at People, I

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Speaker 1: went to see Sharon Jones and the Dad Kings and

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Speaker 1: I was like front row, like a foot from the

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Speaker 1: stage and just obviously like riveted by her by the

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Speaker 1: whole time. And if anyone's seen her live, like a

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Speaker 1: big part of her acts pulling people up on the

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Speaker 1: stage and like dancing with them. And at one point

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Speaker 1: she looked, this is at like a book launch party.

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Speaker 1: This was not at a big show. At one point

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Speaker 1: she looked directly at me and said, you've been staring

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Speaker 1: at me all night. I want you to get up here. Also,

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Speaker 1: this is the first time I've spoken about it really

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Speaker 1: publicly because it's it's um such a secret joy for me.

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Speaker 1: But yeah, she pulled me up on stage and like

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Speaker 1: sang an entire song to me. She was like five

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Speaker 1: ft tall. She was such a tiny woman and such

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Speaker 1: a powerhouse. Um, what was the song? It was a

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Speaker 1: cheating song, and so it was very powerful to have

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Speaker 1: her yelling this song at me. I just remember I

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Speaker 1: had I had ear plugs in and I could hear

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Speaker 1: her like unamplified voice, like on stage. She was so

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Speaker 1: much force came out of that tiny little woman. God

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Speaker 1: love Man, I love Sharon Jones, God rest her soul.

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Speaker 1: I would a woman in a powerhouse. So many gray

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Speaker 1: I mean, we're I'm glad, we're we're paying tribute to

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Speaker 1: so many soul icons on this episode. I'm glad. I

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Speaker 1: mean getting back to to LaBelle. This was detouring back

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Speaker 1: to late sixties, early seventies. I mean they were kind

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Speaker 1: of a throwback. They were still sort of almost look

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Speaker 1: like the supremes in gowns and the big bouffont wigs

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Speaker 1: and stuff, and they were a cult favorite over in

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Speaker 1: England because the Brits love their R and B. I mean,

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Speaker 1: this is northern soul country where they would have all

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Speaker 1: night raves of pure R and B. In the late

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Speaker 1: sixties and early seventies, a lot of R and B

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Speaker 1: acts in the US that kind of had run their

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Speaker 1: race or weren't really huge, like people like Gina Washington

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Speaker 1: would go over there and have these huge you know,

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Speaker 1: be worshiped as I mean, kind of like what Jimmie

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Speaker 1: Hendricks did. He kind of struck out over in the

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Speaker 1: States and went over to England and was hailed as

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Speaker 1: a genius. So a lot of soul acts from the

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Speaker 1: US went over to England and kind of had a rebirth.

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Speaker 1: Dusty Springfield was a huge fan of LaBelle and convinced

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Speaker 1: her own manager, a woman by the insanely English name

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Speaker 1: of Vicky Wickham, to to take Patti LaBelle and the

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Speaker 1: Bluebells on quite the sticky wicket. Yeah yeah, Vicky, Vicky Wickham,

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Speaker 1: sticky wicked. Try saying that I'm gonna started doing that

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Speaker 1: for my vocal warm up before we record. So it's

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Speaker 1: when they're over in England that they kind of start

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Speaker 1: going through their funk makeover and they go from being

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Speaker 1: Patti LaBelle and the Bluebell so just LaBelle and they

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Speaker 1: you know, start wearing like denim and kind of go

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Speaker 1: through their you know, take off their their fancy gowns

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Speaker 1: and stuff and become the sort of funk powerhouse group

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Speaker 1: that we know about. And they ripped. They toured with

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Speaker 1: The Who and they do this incredible version of Won't

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Speaker 1: Get Fooled Again, which is just insane. Um. Yeah, So

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Speaker 1: another thing about LaBelle is um known as Hendricks. Yeah,

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Speaker 1: while we're on the Hendricks train. Yeah, exactly, good segue.

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Speaker 1: We're kind of not doing the segways. Well, this show,

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Speaker 1: we're just too excitable about about soul icons um. So yeah,

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Speaker 1: the other members of Labell tend to get short tripped,

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Speaker 1: which is a shame because Sarah Dash went on to

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Speaker 1: tour with the Rolling Stones. She's also sang with Keith

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Speaker 1: Richards and The Expensive Wine nos now Rogers, the o

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Speaker 1: J's David Johanson of the New York Dolls. But Nona

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Speaker 1: hendrix Um is a fascinating figure. She claimed to be

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Speaker 1: a distant cousin of of Jimmy Hendricks, which is that

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Speaker 1: ever proven. I choose to believe. I didn't even look

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Speaker 1: into it because I just I wanted to believe it's

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Speaker 1: so badly because she's I mean, La Belle was a

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Speaker 1: trio and she was definitely like she inherited Jimmie Hendrix's

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Speaker 1: space Funk gene. I mean, she was the chief songwriter

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Speaker 1: of LaBelle and her song titles with things like Space

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Speaker 1: Children and Gypsy Moths and Who's Watching the Watcher and

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00:20:00,440 --> 00:20:03,760
Speaker 1: a Man in a trench Coat parentheses voodoo. She's just

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Speaker 1: got these like I mean, it's so good, just incredible

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Speaker 1: song incredible songs. But her titles are so good. So

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Speaker 1: she was I mean, Patty Labell was more of a

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Speaker 1: soul traditionalist and Nonah Hendrix was more into sort of

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Speaker 1: these avant garde things, and they really didn't see eye

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Speaker 1: to eye, which is a big part of the reason

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Speaker 1: that LaBelle split in nineteen seventy six just after the

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Speaker 1: success of Lady Marmalade. Well, you know, Vicky wickham And

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Speaker 1: and Nona Hendricks are longtime partners. I did, I did

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Speaker 1: know that. Yeah, yeah, but go on hit me, Yes,

390
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Speaker 1: they they split in a fairly spectacular fashion, according to

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Speaker 1: Patty A. Bell's memoir at least and so I'm gonna

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Speaker 1: read this directly from Wikipedia, basically for legal reasons, because

393
00:20:49,080 --> 00:20:52,480
Speaker 1: this is the only place that I've seen this story cited.

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Speaker 1: During a show in Baltimore on December three, nineteen seventy six,

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Speaker 1: Nonah Hendricks wandered off the stage and into the audience

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Speaker 1: at the beginning of Can I Speak to You Before

397
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Speaker 1: You Go Hollywood It's the name of the song. LaBelle

398
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Speaker 1: stage manager was able to steer Hendrick's backstage, but Hendricks

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Speaker 1: locked herself in her dressing room and beat her head

400
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Speaker 1: against the wall. She was removed from the theater and

401
00:21:13,119 --> 00:21:16,880
Speaker 1: the restraints. The band agreed to disband soon after the incident,

402
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Speaker 1: ending fourteen years together, which is a a a sad end,

403
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Speaker 1: but they would reunite many times later on Thank God.

404
00:21:24,359 --> 00:21:27,080
Speaker 1: But following the band split, Nona Hendricks was in a

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Speaker 1: Captain Beefheart tribute act, which I love makes so much sense.

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00:21:32,760 --> 00:21:34,640
Speaker 1: I mean, her career is so interesting. Talk more about

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00:21:34,640 --> 00:21:39,200
Speaker 1: her career because she's got a really interesting uh post Bell. Yeah,

408
00:21:39,240 --> 00:21:42,600
Speaker 1: she collaborated with Laura Anderson, who did that Superman song,

409
00:21:42,760 --> 00:21:45,119
Speaker 1: and that was her big hit. But she was, you know,

410
00:21:45,240 --> 00:21:48,960
Speaker 1: a well respected New York downtown sort of avant garde

411
00:21:49,280 --> 00:21:54,800
Speaker 1: composer vocalist, collaborated quite a bit. Yeah, Gina's Shock of

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Speaker 1: the go Gos. Valerie Simpson of Ashrid and Simpson and

413
00:21:58,000 --> 00:22:01,680
Speaker 1: an iconic songwriter in her own Tina Weymouth of Tom

414
00:22:01,720 --> 00:22:04,479
Speaker 1: Tom Club in the Talking Heads, which rips. Tina Weymouth

415
00:22:04,520 --> 00:22:06,960
Speaker 1: is one of the most underrated bass players of all time.

416
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Speaker 1: Of all time, Nancy Wilson of Heart and Then She Went.

417
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Speaker 1: She reunited with Patti Labell and she has an album

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Speaker 1: called Female Trouble that has Peter Gabriel on it. Um Surprisingly, Prince,

419
00:22:22,880 --> 00:22:28,720
Speaker 1: perhaps less surprisingly, George Clinton and Mavis Staples. Yeah, man, God,

420
00:22:28,720 --> 00:22:31,880
Speaker 1: I love Mavis. Another man, I love Mavis Staples so much.

421
00:22:32,160 --> 00:22:35,520
Speaker 1: All respect to the Staples singers and also all respect

422
00:22:35,520 --> 00:22:38,280
Speaker 1: to all members of the Bell Just Patty an incredible group.

423
00:22:41,000 --> 00:22:43,000
Speaker 1: We're going to take a quick break, but we'll be

424
00:22:43,119 --> 00:22:45,919
Speaker 1: right back with more. Too much information in just a moment.

425
00:22:54,520 --> 00:22:57,919
Speaker 1: So the seventies, the years go by, do the waynes

426
00:22:57,960 --> 00:23:00,359
Speaker 1: world do do do do? We're working. Time is passing,

427
00:23:00,400 --> 00:23:03,359
Speaker 1: Time is passing. Lady Marmalade gets covered a few more times.

428
00:23:03,480 --> 00:23:06,080
Speaker 1: The Latin band leader Mango sent to Maria did a

429
00:23:06,119 --> 00:23:10,280
Speaker 1: brassy instrumental version. Sheila E Famous Percussionists Too work a

430
00:23:10,320 --> 00:23:13,439
Speaker 1: lot with Prince did a really elaborately rearranged R and

431
00:23:13,480 --> 00:23:17,600
Speaker 1: B version. In Labelle's version of Lady Marmolaude didn't hit

432
00:23:17,720 --> 00:23:20,080
Speaker 1: number one in the UK, but a version by the

433
00:23:20,359 --> 00:23:24,240
Speaker 1: quartet All Saints did in nine seven. So this song

434
00:23:24,280 --> 00:23:28,119
Speaker 1: has had a history after LaBelle, but nothing compared to

435
00:23:29,119 --> 00:23:31,240
Speaker 1: Mulan Rouge. And this brings us to the turn of

436
00:23:31,280 --> 00:23:34,639
Speaker 1: the millennium. Basil Hrman was making Mulan Rouge, the third

437
00:23:34,640 --> 00:23:38,240
Speaker 1: and final installment of his Red Curtain trilogy, which includes

438
00:23:38,280 --> 00:23:43,160
Speaker 1: his directorial debut nine two, Strictly Ballroom and then Romeo

439
00:23:43,200 --> 00:23:45,600
Speaker 1: and Juliet. Of course, Mula Rouge is set in the

440
00:23:45,640 --> 00:23:48,480
Speaker 1: nineteenth century Paris, and the old conceit is that Ewan

441
00:23:48,560 --> 00:23:52,159
Speaker 1: McGregor's character, Christian the Poet, sings the hits of the

442
00:23:52,200 --> 00:23:55,479
Speaker 1: twentieth century instead of poetry, which is a way of

443
00:23:55,480 --> 00:23:58,200
Speaker 1: comically illustrating that he's ahead of his time and he's

444
00:23:58,240 --> 00:24:01,520
Speaker 1: this genius. And I haven't seen this movie since it

445
00:24:01,560 --> 00:24:04,880
Speaker 1: came out. I remember hating it. I'm not gonna lie.

446
00:24:05,359 --> 00:24:09,280
Speaker 1: I remember, um, I remember it has the classic time

447
00:24:09,320 --> 00:24:12,920
Speaker 1: warn trope of Nicole Kidman coughing blood into a handkerchief

448
00:24:12,960 --> 00:24:15,200
Speaker 1: to graph that she's sick. Is that a time when

449
00:24:15,200 --> 00:24:20,280
Speaker 1: I Nicole Kidman coughed into well, not Nicole kim in,

450
00:24:20,320 --> 00:24:22,760
Speaker 1: but like, you know, someone is always like and then

451
00:24:22,760 --> 00:24:26,919
Speaker 1: they like pull away the handkerchief and it's talk about consumption. Yeah, exactly.

452
00:24:27,000 --> 00:24:28,560
Speaker 1: That's how you know that they're dying. Or they like

453
00:24:28,600 --> 00:24:30,560
Speaker 1: cough into a sink and there's like blood in there

454
00:24:30,600 --> 00:24:34,160
Speaker 1: and there's you know, that's definitely a trope. Look it up.

455
00:24:34,200 --> 00:24:39,240
Speaker 1: Read a book. Uh. And I distinctly remember him singing

456
00:24:39,280 --> 00:24:43,720
Speaker 1: I was made for loving you, which I hate so much.

457
00:24:45,119 --> 00:24:51,480
Speaker 1: Don't talk no, nope, nope, nope, We're done, moving right along. Um.

458
00:24:51,560 --> 00:24:53,840
Speaker 1: The whole idea of mulan Ruge was built on the

459
00:24:53,840 --> 00:24:57,960
Speaker 1: success of the Romeo and Juliet soundtrack, which perry contemporary

460
00:24:58,000 --> 00:25:01,920
Speaker 1: songs by people like Garbage and Radio It Shakespeare, and

461
00:25:02,119 --> 00:25:05,040
Speaker 1: this was initially a very hard sell by bas Lerman

462
00:25:05,080 --> 00:25:08,679
Speaker 1: to the film studio twentieth Century Fox. When bos Lerman

463
00:25:08,760 --> 00:25:11,720
Speaker 1: was pitching his ROOMI and Juliet adaptation. He, I guess,

464
00:25:11,800 --> 00:25:14,400
Speaker 1: very memorably said to the head of the studio, Oh

465
00:25:14,480 --> 00:25:17,560
Speaker 1: did I mention they'll be contemporary music hit records, more

466
00:25:17,640 --> 00:25:21,080
Speaker 1: hit records than you can possibly imagine, which I'm sure

467
00:25:21,119 --> 00:25:25,200
Speaker 1: the licensing people loved because that ain't cheap. I can

468
00:25:25,280 --> 00:25:28,200
Speaker 1: only imagine what the budget was for Romeo and Juliet

469
00:25:28,280 --> 00:25:32,680
Speaker 1: for the soundtrack. But yeah, I'm trying to do on

470
00:25:32,720 --> 00:25:37,000
Speaker 1: Australian accident. I'm failing, but I mean, I'm sorry. No, no,

471
00:25:37,080 --> 00:25:42,320
Speaker 1: you can just keep interrupting you with my attempts. I

472
00:25:42,400 --> 00:25:45,720
Speaker 1: hate bas lerman, uh not personally. I'm sure he's a

473
00:25:45,720 --> 00:25:48,399
Speaker 1: lovely man. I think his movies are full of sound

474
00:25:48,440 --> 00:25:51,359
Speaker 1: and fury signifying nothing. I didn't grow up with that

475
00:25:51,440 --> 00:25:53,800
Speaker 1: Romeo and Juliet movie. I didn't grow up with having

476
00:25:53,840 --> 00:25:56,679
Speaker 1: a crush on Leonardo DiCaprio. I didn't grow up with

477
00:25:56,720 --> 00:25:59,879
Speaker 1: this movie. I didn't grow up with Australia. What did

478
00:25:59,880 --> 00:26:02,760
Speaker 1: he make after this? Yeah, I don't like him. I

479
00:26:02,840 --> 00:26:05,320
Speaker 1: don't know he's there. I don't know. You may not

480
00:26:05,440 --> 00:26:08,119
Speaker 1: like is Romeo and Juliet adaptation, but a lot of

481
00:26:08,119 --> 00:26:11,359
Speaker 1: people did. The soundtrack went to number two on the

482
00:26:11,440 --> 00:26:14,160
Speaker 1: charts in the States, and it made the studios, both

483
00:26:14,160 --> 00:26:17,159
Speaker 1: the film studio Twenty Century Fox and Interscope on the

484
00:26:17,200 --> 00:26:20,480
Speaker 1: record side, trust bas Luhmann implicitly and gave him carte

485
00:26:20,480 --> 00:26:23,320
Speaker 1: blanche to do whatever he wanted. First next project, which

486
00:26:23,480 --> 00:26:26,800
Speaker 1: was Mulan Rouge, and the film was set in a

487
00:26:26,840 --> 00:26:31,240
Speaker 1: cabaret slash brothel, and naturally Baz chose Lady Marmalade to

488
00:26:31,240 --> 00:26:34,800
Speaker 1: anchor the soundtrack. It's arguably the most famous song about

489
00:26:34,800 --> 00:26:38,000
Speaker 1: a court is in this side of Roxanne. New Orleans

490
00:26:38,000 --> 00:26:40,600
Speaker 1: has that creole vibe, but the connections to France, it

491
00:26:40,600 --> 00:26:43,480
Speaker 1: has the volvou line. It's perfect. It's got to be

492
00:26:43,520 --> 00:26:46,760
Speaker 1: a Mulan Rouge. And the songs that he uses in

493
00:26:46,840 --> 00:26:49,480
Speaker 1: Mulan Rouge, they're so diverse. I mean, I don't remember

494
00:26:49,760 --> 00:26:51,560
Speaker 1: what the total was of songs that he use, but

495
00:26:51,560 --> 00:26:54,760
Speaker 1: it's some phenomenal mouth that he weaved into the soundtrack

496
00:26:54,840 --> 00:26:57,320
Speaker 1: there within the movie. And so he wanted to play

497
00:26:57,400 --> 00:26:59,680
Speaker 1: on this for his version of Lady Marmalade. He wanted

498
00:26:59,680 --> 00:27:02,800
Speaker 1: it to be sung by, in his words, an assortment

499
00:27:02,800 --> 00:27:06,040
Speaker 1: of the greatest pop singers from each continent. And he

500
00:27:06,080 --> 00:27:09,720
Speaker 1: says this in Billboards absolutely stellar oral history piece that

501
00:27:09,800 --> 00:27:12,760
Speaker 1: was published last year by Hillary hughes Um. He said,

502
00:27:12,800 --> 00:27:16,280
Speaker 1: I wanted the greatest K pop girl, the greatest European singer,

503
00:27:16,359 --> 00:27:19,040
Speaker 1: the greatest American singer, and he wanted people from all

504
00:27:19,040 --> 00:27:23,000
Speaker 1: over the world. And then somebody, you know, very justifiably said, well,

505
00:27:23,040 --> 00:27:25,760
Speaker 1: wait a minute, that sounds like that'll take forever to

506
00:27:25,800 --> 00:27:28,440
Speaker 1: put that together. Why don't we just go with every

507
00:27:28,440 --> 00:27:31,560
Speaker 1: different genre in the United States? And that kind of

508
00:27:31,600 --> 00:27:33,679
Speaker 1: became the idea moving forward. It was going to be

509
00:27:33,720 --> 00:27:36,720
Speaker 1: like a musical version of the Avengers of the Fantastic Four.

510
00:27:37,200 --> 00:27:39,719
Speaker 1: That that's what they said all these interviewed, retrospective interviews.

511
00:27:39,760 --> 00:27:41,919
Speaker 1: That was kind of the the idea was that it

512
00:27:41,960 --> 00:27:45,160
Speaker 1: was just like all these forces coming together. Each performer

513
00:27:45,200 --> 00:27:48,200
Speaker 1: of this kind of supergroup would represent their own area.

514
00:27:48,240 --> 00:27:50,560
Speaker 1: You got Little Kim being hip hop, and Maya was

515
00:27:50,680 --> 00:27:53,879
Speaker 1: R and B, and Christina Aguilera was pop, and Pink

516
00:27:54,119 --> 00:27:57,960
Speaker 1: was we'll call it rock. Well, well, I guess more

517
00:27:58,000 --> 00:28:01,480
Speaker 1: pop side too, but we'll we'll call her the rock one. Hey.

518
00:28:01,480 --> 00:28:04,720
Speaker 1: You know, Pink collaborated with one of my favorite songwriters

519
00:28:04,720 --> 00:28:10,360
Speaker 1: of all time, Tim Armstrong of Rancid, so she's rock ish.

520
00:28:10,560 --> 00:28:15,240
Speaker 1: I did not know that. Yeah, yeah, anyway, cue uh

521
00:28:15,720 --> 00:28:19,119
Speaker 1: lightning paste, quick montage of a bunch of people on

522
00:28:19,240 --> 00:28:24,960
Speaker 1: phones to assemble this dream team. Imagine Soderberg direct, pickatue done,

523
00:28:27,600 --> 00:28:29,679
Speaker 1: and Missy Elliott go and see you, son of a bitch.

524
00:28:29,680 --> 00:28:32,959
Speaker 1: I'm in Uh. It took two years to get this.

525
00:28:33,200 --> 00:28:36,440
Speaker 1: For the production, Basilerman hired Missy Elliott, who was two

526
00:28:36,520 --> 00:28:40,440
Speaker 1: weeks away from releasing the epical Get Your Freak On,

527
00:28:41,360 --> 00:28:44,760
Speaker 1: and um, you know, just another lovely figure in pop

528
00:28:44,840 --> 00:28:48,560
Speaker 1: music with seemingly no one has an unkind word to

529
00:28:48,560 --> 00:28:52,680
Speaker 1: say about Missy. She was the sweetest. It was very Yeah,

530
00:28:52,960 --> 00:28:56,719
Speaker 1: she seems so cool, she said. Uh. Later on she

531
00:28:56,800 --> 00:29:00,200
Speaker 1: was rolling stone. Yeah. She When I hung up, I

532
00:29:00,280 --> 00:29:03,160
Speaker 1: was like, oh snap, what did I just Okay? The

533
00:29:03,280 --> 00:29:07,120
Speaker 1: record was so iconic, and so the pressure kicked in.

534
00:29:08,040 --> 00:29:11,880
Speaker 1: She recruited assistance from a guy named Rock Wilder, who's

535
00:29:11,960 --> 00:29:15,160
Speaker 1: production I credits I'm not super familiar with, but he

536
00:29:15,200 --> 00:29:18,760
Speaker 1: worked with Redman, jay Z, Janet Jackson, and this is

537
00:29:18,760 --> 00:29:20,440
Speaker 1: a great bit of like synergy. He was in the

538
00:29:20,520 --> 00:29:24,360
Speaker 1: studio next door to Missy working on Janet Jackson's All

539
00:29:24,440 --> 00:29:28,440
Speaker 1: for You record. When she got the call to produce

540
00:29:28,600 --> 00:29:33,400
Speaker 1: Lady Marmalade, and um, it's basically the same track. We

541
00:29:33,480 --> 00:29:36,680
Speaker 1: said a lot of nice things about Missy Elliott and everybody,

542
00:29:36,720 --> 00:29:39,520
Speaker 1: but it's basically the same track. They kind of just

543
00:29:39,720 --> 00:29:43,200
Speaker 1: bump up the base and there are there are there

544
00:29:43,200 --> 00:29:45,440
Speaker 1: record scratches in this. This came out in two thousand.

545
00:29:45,520 --> 00:29:48,360
Speaker 1: There has to be some wiki wikies. I'm sure, yeah,

546
00:29:48,440 --> 00:29:50,080
Speaker 1: this is two thousand one. There was a lot of

547
00:29:50,080 --> 00:29:52,760
Speaker 1: a lot of the wiki wikis in there. I'm sure, yes, yeah.

548
00:29:52,880 --> 00:29:57,960
Speaker 1: So Maya, my beloved Maya, was the first member. Maya

549
00:29:58,240 --> 00:30:00,200
Speaker 1: picks up the phone, You son of a bitch, I'm

550
00:30:00,240 --> 00:30:04,120
Speaker 1: in uh because this was on Interscope. Jimmy Iovin he

551
00:30:04,160 --> 00:30:06,640
Speaker 1: was was put up. It was the money man behind this.

552
00:30:06,800 --> 00:30:11,000
Speaker 1: He was the he was the Elliott gold figure. So

553
00:30:11,080 --> 00:30:13,320
Speaker 1: she was on Interscope and she had Case of the

554
00:30:13,480 --> 00:30:15,280
Speaker 1: X that had just come out, and she had worked

555
00:30:15,280 --> 00:30:19,400
Speaker 1: with Missy Elliott and she and Pink are both Pennsylvania girls.

556
00:30:19,800 --> 00:30:22,920
Speaker 1: They'd worked with the same producers in Philly, and Maya

557
00:30:23,000 --> 00:30:25,960
Speaker 1: later said, I knew Pink when she was Alicia, and

558
00:30:26,200 --> 00:30:28,200
Speaker 1: you know you noted this. I felt this in my

559
00:30:28,280 --> 00:30:30,880
Speaker 1: heart before you noted this, But for all of the

560
00:30:30,920 --> 00:30:34,240
Speaker 1: other egos in this, Maya is the one that everyone loves.

561
00:30:34,840 --> 00:30:39,080
Speaker 1: She stayed friends with everyone. She's the m Yeah. Little Kim, herself,

562
00:30:39,160 --> 00:30:42,080
Speaker 1: no stranger to feuds, would later say, may is my girl,

563
00:30:42,840 --> 00:30:46,000
Speaker 1: not a compliment. She gives lightly, And here we go.

564
00:30:46,400 --> 00:30:48,480
Speaker 1: Here's the land in the whale, land in the big

565
00:30:48,480 --> 00:30:51,400
Speaker 1: shark is Chris No whale, I mean like a big donor,

566
00:30:51,640 --> 00:30:54,560
Speaker 1: like a like a like a god cut that I

567
00:30:54,560 --> 00:30:57,560
Speaker 1: don't need people coming after me for that. Whale is

568
00:30:57,600 --> 00:30:59,720
Speaker 1: like a big donor, like like someone who gives a

569
00:30:59,720 --> 00:31:03,920
Speaker 1: lot of shut up. So irving as Off is Christina

570
00:31:04,000 --> 00:31:08,640
Speaker 1: Aguilera's manager at this point, and as people were in

571
00:31:08,800 --> 00:31:11,680
Speaker 1: doing before the bottom fell out of the music industry,

572
00:31:11,720 --> 00:31:14,000
Speaker 1: they were playing hardball, I mean irving as Off. It

573
00:31:14,080 --> 00:31:16,200
Speaker 1: was a terrifying man. I mean, he's the one that

574
00:31:16,400 --> 00:31:19,640
Speaker 1: he was the Eagles manager. And they don't no less

575
00:31:19,640 --> 00:31:22,800
Speaker 1: a figure than Don Henley one set of irving A's off.

576
00:31:23,000 --> 00:31:27,200
Speaker 1: He may be satan, but he's our satan. Love it

577
00:31:27,360 --> 00:31:31,960
Speaker 1: and Don, Yeah, it's very true. But Christina loved Missy

578
00:31:32,000 --> 00:31:35,240
Speaker 1: Elliott and also loved Little Kim, and so they got

579
00:31:35,280 --> 00:31:38,200
Speaker 1: Little Kim in it. And ultimately they pulled Christina on board.

580
00:31:38,560 --> 00:31:41,320
Speaker 1: And despite what comes later, these women were all really

581
00:31:41,400 --> 00:31:43,720
Speaker 1: excited to work with each other. This is the era

582
00:31:43,800 --> 00:31:45,560
Speaker 1: when a lot of them were just being pulled on

583
00:31:45,600 --> 00:31:49,200
Speaker 1: to sing the hooks in rap songs or being paired

584
00:31:49,200 --> 00:31:51,920
Speaker 1: in duets with boy band singers. So this was a

585
00:31:52,000 --> 00:31:54,240
Speaker 1: chance for all of these four women to sing together.

586
00:31:54,560 --> 00:31:56,680
Speaker 1: The song was being produced by Missy, there was a

587
00:31:56,720 --> 00:32:00,280
Speaker 1: female choreographer, female costumer, and Maya said in an interview

588
00:32:00,320 --> 00:32:02,440
Speaker 1: with Rolling Stone just last year, she said, with men,

589
00:32:02,600 --> 00:32:05,080
Speaker 1: you're kind of like the little sister and everyone's on

590
00:32:05,120 --> 00:32:07,160
Speaker 1: the lookout, so you don't have the platform to be

591
00:32:07,200 --> 00:32:09,920
Speaker 1: totally free. When I got with the girls, it was

592
00:32:09,960 --> 00:32:13,440
Speaker 1: like a playground. Now I'm gonna break some hearts with

593
00:32:13,440 --> 00:32:16,280
Speaker 1: this revelation because I really like to imagine all four

594
00:32:16,360 --> 00:32:19,120
Speaker 1: of them in the studio, gathered around one mic, just

595
00:32:19,280 --> 00:32:23,840
Speaker 1: like letting it rip, all having these incredible ad libs,

596
00:32:23,840 --> 00:32:27,520
Speaker 1: singing this all together at once. That was sadly not

597
00:32:27,560 --> 00:32:30,840
Speaker 1: the case due to scheduling conflicts. All the parts of

598
00:32:30,920 --> 00:32:33,560
Speaker 1: recorded separately, and they worked out who was going to

599
00:32:33,680 --> 00:32:36,120
Speaker 1: sing each verse in advance, but they wanted to record

600
00:32:36,160 --> 00:32:39,800
Speaker 1: them all singing the entire song individually so they could

601
00:32:39,800 --> 00:32:43,560
Speaker 1: isolate their vocal ad libs. And this guy, Ron Fair

602
00:32:43,800 --> 00:32:46,160
Speaker 1: was tapped to act as a vocal producer for the track.

603
00:32:46,560 --> 00:32:49,680
Speaker 1: He was then the vice president of UM of the

604
00:32:49,760 --> 00:32:53,400
Speaker 1: label Interscope, and uh he was tight with Christina Aguilera.

605
00:32:53,880 --> 00:32:57,200
Speaker 1: So he's a boardroom a high profile boardroom figure at

606
00:32:57,200 --> 00:32:59,680
Speaker 1: this stage, and he's brought out of retirement to produce

607
00:32:59,680 --> 00:33:02,720
Speaker 1: the book. He's the he's the Carl Reiner figure in

608
00:33:02,760 --> 00:33:05,600
Speaker 1: this Oceans eleven. He's brought out of retirement to do

609
00:33:05,720 --> 00:33:08,080
Speaker 1: what he does best, which just tweaked the vocals for

610
00:33:08,240 --> 00:33:11,840
Speaker 1: this Lady Marmalad remake. And he did this insane, beautiful

611
00:33:11,920 --> 00:33:16,800
Speaker 1: mind style thing where he extracted twenty five vocal ad libs,

612
00:33:16,840 --> 00:33:19,760
Speaker 1: which are like all the you know, strays and ohs

613
00:33:19,920 --> 00:33:22,680
Speaker 1: and vocal runs that aren't part of the main song.

614
00:33:22,920 --> 00:33:25,360
Speaker 1: He extracted twenty five of these ad libs from each

615
00:33:25,440 --> 00:33:28,640
Speaker 1: singer and then took two keyboards which have eight eight

616
00:33:28,760 --> 00:33:31,840
Speaker 1: keys a piece, and put had every key be a

617
00:33:31,880 --> 00:33:35,160
Speaker 1: different vocal ad lib and then he would add these

618
00:33:35,200 --> 00:33:37,640
Speaker 1: little vocal flourishes to the track with the push of

619
00:33:37,640 --> 00:33:40,720
Speaker 1: a button, repeat that in a way that makes more

620
00:33:40,720 --> 00:33:44,240
Speaker 1: sense to people because that's that. I don't think he

621
00:33:44,360 --> 00:33:46,720
Speaker 1: sequenced it. I think he just treated every single one

622
00:33:46,760 --> 00:33:49,320
Speaker 1: of them like an individual sample. And because he was

623
00:33:49,400 --> 00:33:51,640
Speaker 1: maybe a keyboard player or just made sense to him,

624
00:33:51,680 --> 00:33:58,240
Speaker 1: he just laid out every single and get you. I

625
00:33:58,280 --> 00:34:00,160
Speaker 1: don't know, I'm gonna stop doing that everything and go

626
00:34:00,200 --> 00:34:01,960
Speaker 1: one of them. So what's the eight eight times two

627
00:34:04,320 --> 00:34:07,440
Speaker 1: hundred seventy two something like that? Hundred seventy two vocal

628
00:34:07,520 --> 00:34:10,840
Speaker 1: ad libs at his fingertips and just you know, he

629
00:34:11,040 --> 00:34:14,440
Speaker 1: played the main track and we just maybe punch the crawl,

630
00:34:14,480 --> 00:34:17,279
Speaker 1: I know. I like imagining like the Looney Tunes thing

631
00:34:17,280 --> 00:34:19,880
Speaker 1: with Daffy Duck and like in Who Framed Roger Rabbit?

632
00:34:19,920 --> 00:34:22,280
Speaker 1: When Daffy Duck and Donald Duck are doing the Rockmann

633
00:34:22,280 --> 00:34:26,799
Speaker 1: and offing. Ye, that's how it took place. He also

634
00:34:26,800 --> 00:34:30,000
Speaker 1: participated in this incredible Billboard Oral History, which if you

635
00:34:30,000 --> 00:34:32,680
Speaker 1: haven't read, totally check out. He said that there were

636
00:34:32,719 --> 00:34:35,560
Speaker 1: thirteen days when he did not sleep, and this is

637
00:34:35,560 --> 00:34:40,879
Speaker 1: a quote. It was an absolutely holy experience making that record. Yeah,

638
00:34:40,880 --> 00:34:43,480
Speaker 1: I mean doing that many vocal comps after thirteen days

639
00:34:43,520 --> 00:34:46,839
Speaker 1: will make you see God so good on round Fair

640
00:34:46,880 --> 00:34:49,960
Speaker 1: for sacrificing his sanity to get those amazing vocal parts.

641
00:34:50,280 --> 00:34:53,360
Speaker 1: Although the weaving and the interplay like it really sounds

642
00:34:53,400 --> 00:34:56,280
Speaker 1: like they're all I mean, not only in the same studio,

643
00:34:56,280 --> 00:34:58,480
Speaker 1: on the same mic. It really sounds like they're all together.

644
00:34:58,880 --> 00:35:02,680
Speaker 1: But unfortunately Ron Fair helped so the seeds of the

645
00:35:02,719 --> 00:35:06,359
Speaker 1: feud between Pink and Christina Aguilera. They were, I guess,

646
00:35:06,360 --> 00:35:09,120
Speaker 1: having a pre production meeting and this guy, Ron Fair,

647
00:35:09,160 --> 00:35:13,719
Speaker 1: I guess, apparently, according to Pink, took a very standoffish approach.

648
00:35:13,920 --> 00:35:17,560
Speaker 1: He was very much Christina Aguilera's guy, and I guess

649
00:35:17,560 --> 00:35:20,080
Speaker 1: it was felt that he favored her, at least according

650
00:35:20,120 --> 00:35:22,239
Speaker 1: to Pink, and she talked about this in her Behind

651
00:35:22,239 --> 00:35:25,080
Speaker 1: the Music episode in two thousand nine. Ron Fair, I

652
00:35:25,120 --> 00:35:27,960
Speaker 1: guess walked into the meeting without saying hello, and his

653
00:35:28,000 --> 00:35:30,080
Speaker 1: first words out of his mouth where what's the high part?

654
00:35:30,360 --> 00:35:33,359
Speaker 1: What's the most singing part? Christina is going to take

655
00:35:33,440 --> 00:35:36,560
Speaker 1: that part? And it kind of came across as Christina

656
00:35:36,640 --> 00:35:39,080
Speaker 1: just bullying her way on the climax of the song

657
00:35:39,160 --> 00:35:41,799
Speaker 1: by bringing this big shot label executive to the meeting

658
00:35:41,800 --> 00:35:44,879
Speaker 1: who was clearly in her corner and Pink, she says

659
00:35:44,920 --> 00:35:47,839
Speaker 1: at least telling the story, stood up and sarcastically said,

660
00:35:48,040 --> 00:35:50,120
Speaker 1: oh hi, how are you so nice of you to

661
00:35:50,200 --> 00:35:53,680
Speaker 1: introduce yourself? He hadn't. I'm pink, she will not be

662
00:35:53,760 --> 00:35:56,760
Speaker 1: taking that part. I think that's what this meeting is about,

663
00:35:57,080 --> 00:35:59,720
Speaker 1: and she later admitted from that point on she became

664
00:35:59,760 --> 00:36:02,480
Speaker 1: an her words, the asshole of the meeting and um.

665
00:36:02,760 --> 00:36:06,080
Speaker 1: Of course, Christina Aguilera did wind up getting that part, though,

666
00:36:06,360 --> 00:36:09,840
Speaker 1: which you know was well deserved, but it ruffled some feathers.

667
00:36:09,880 --> 00:36:12,200
Speaker 1: But also, I mean, who else was going to get

668
00:36:14,520 --> 00:36:17,399
Speaker 1: I'm sorry, I don't you know, I don't respond well

669
00:36:17,480 --> 00:36:20,840
Speaker 1: to like ego or power plays. But Christina Aguilera is

670
00:36:20,880 --> 00:36:23,560
Speaker 1: the best singer in that lineup by not a mile,

671
00:36:24,480 --> 00:36:27,920
Speaker 1: not many miles, by like a light year. I mean,

672
00:36:27,960 --> 00:36:32,120
Speaker 1: have you seen the she does a James Brown tribute

673
00:36:32,239 --> 00:36:36,080
Speaker 1: at she does It's a man's man's world, Man's world,

674
00:36:36,120 --> 00:36:41,840
Speaker 1: I think, and she does his like like inward uh,

675
00:36:41,880 --> 00:36:45,040
Speaker 1: like high pitched scream. I mean the woman. Yeah, I

676
00:36:45,080 --> 00:36:46,799
Speaker 1: don't know why I'm still talking about this whatever, She's

677
00:36:46,840 --> 00:36:48,719
Speaker 1: the best singer in that group by light years. I

678
00:36:48,760 --> 00:36:51,640
Speaker 1: don't I I like pink. I bear, I bear, I

679
00:36:51,680 --> 00:36:55,160
Speaker 1: bear pink. No quarrel, but no the idea that you

680
00:36:55,200 --> 00:36:58,239
Speaker 1: would walk into any meeting where Christina Aguilar is the

681
00:36:58,239 --> 00:37:03,279
Speaker 1: other singer and be like, oh, come on, I think

682
00:37:03,600 --> 00:37:05,440
Speaker 1: I think it was probably less quarreling with our ability

683
00:37:05,440 --> 00:37:07,200
Speaker 1: and more of the way that it was a yeah,

684
00:37:07,280 --> 00:37:11,400
Speaker 1: that's fair, that's fair. But when the track was I

685
00:37:11,400 --> 00:37:14,760
Speaker 1: guess almost complete, Missy Elliott wanted to take a reference

686
00:37:14,800 --> 00:37:16,640
Speaker 1: mix home to listen to. And this was the days

687
00:37:16,640 --> 00:37:19,560
Speaker 1: when the first CD burners were on laptops and they

688
00:37:19,560 --> 00:37:23,680
Speaker 1: couldn't get the burner to work, so instead, Missy Elliott

689
00:37:23,719 --> 00:37:27,920
Speaker 1: called her own answering machine at home and just recorded

690
00:37:27,960 --> 00:37:30,840
Speaker 1: it the version of Lady Marmola that she just finished,

691
00:37:31,160 --> 00:37:33,439
Speaker 1: onto her answering machine at home so she could play

692
00:37:33,480 --> 00:37:35,759
Speaker 1: it at home, which is a very two thousand one

693
00:37:35,800 --> 00:37:38,319
Speaker 1: solution to a very two thousand one problem. It's like

694
00:37:38,320 --> 00:37:41,239
Speaker 1: when they went to record um this one bad Brain song,

695
00:37:41,400 --> 00:37:44,480
Speaker 1: the lead singer was in jail for marijuana possession, so

696
00:37:44,520 --> 00:37:47,799
Speaker 1: he used his phone call to record the vocals. Oh

697
00:37:47,880 --> 00:37:50,120
Speaker 1: my god, they just like patch the They patched the

698
00:37:50,160 --> 00:37:52,719
Speaker 1: phone from the studio in and he and it's on

699
00:37:52,760 --> 00:37:55,759
Speaker 1: the record. It's on a song. What is it? Sacred Love?

700
00:37:55,960 --> 00:37:58,640
Speaker 1: It's it's a bad brain song that yeah, hr recorded

701
00:37:58,640 --> 00:38:02,000
Speaker 1: from jail, which rules, Uh, there's probably we could probably

702
00:38:02,040 --> 00:38:04,040
Speaker 1: do a whole thing about songs recorded over the phone.

703
00:38:04,120 --> 00:38:05,760
Speaker 1: I bet there's I bet there's a lot of those

704
00:38:06,400 --> 00:38:11,359
Speaker 1: speaking of that Basil urban upset that they didn't use

705
00:38:11,360 --> 00:38:13,080
Speaker 1: footage from this movie in the video. I don't know

706
00:38:13,120 --> 00:38:15,560
Speaker 1: if you remember this era of soundtrack videos. My The

707
00:38:15,600 --> 00:38:18,200
Speaker 1: most indelible one for me is Kiss from a Rose

708
00:38:18,239 --> 00:38:20,840
Speaker 1: by Seal where you had him on like the Batman

709
00:38:21,040 --> 00:38:23,440
Speaker 1: stage with his shirt rippling in the wind. So this

710
00:38:23,480 --> 00:38:25,719
Speaker 1: is the era when you if you did a soundtrack

711
00:38:25,800 --> 00:38:29,240
Speaker 1: movie soundtrack song, you cut the movie into the song

712
00:38:29,360 --> 00:38:31,600
Speaker 1: that was written in stone. And they hired a director

713
00:38:31,680 --> 00:38:35,120
Speaker 1: named Paul Hunter, who has a CV that is just

714
00:38:35,800 --> 00:38:40,000
Speaker 1: should be an MTV Greatest Hits Video compilation. Honey by

715
00:38:40,040 --> 00:38:43,279
Speaker 1: Mariah Carey, Hippo Ties by Notorious b I g One

716
00:38:43,320 --> 00:38:46,799
Speaker 1: in a Million, One in a Million for Leah, You

717
00:38:46,800 --> 00:38:49,719
Speaker 1: guys say another I Get Lonely by Janet Jacks, Another

718
00:38:49,760 --> 00:38:53,960
Speaker 1: one Father of Mine by every One, fly Away by

719
00:38:54,040 --> 00:38:58,040
Speaker 1: Lenny Kravit, Puff Daddy Maze j Loo, If You Have

720
00:38:58,160 --> 00:39:01,719
Speaker 1: My Love, TLC's Unpretty d Angelo untitled which man, that

721
00:39:01,880 --> 00:39:05,040
Speaker 1: video made me feel some things. Will Smith's why did

722
00:39:05,120 --> 00:39:07,800
Speaker 1: you end this list? With Will Smiths Wild Wild West

723
00:39:08,160 --> 00:39:11,720
Speaker 1: one of my most hated songs of all time. Anyway,

724
00:39:11,719 --> 00:39:14,359
Speaker 1: this guy was a team You go ahead, you you

725
00:39:14,560 --> 00:39:16,960
Speaker 1: talked about this. Yeah, there's a really interesting podcast I

726
00:39:17,000 --> 00:39:20,520
Speaker 1: listened to called The Commissioner by a guy called Randy Soason,

727
00:39:21,000 --> 00:39:24,359
Speaker 1: and he was the music video Commissioner, which I didn't

728
00:39:24,360 --> 00:39:27,720
Speaker 1: realize was a real term for Interscope and A and M,

729
00:39:27,760 --> 00:39:29,560
Speaker 1: which was a label that was doing the soundtrack from

730
00:39:29,640 --> 00:39:31,960
Speaker 1: Ulan Rouge. And he talks about going to see a

731
00:39:32,040 --> 00:39:34,239
Speaker 1: rough cut of the film with Paul Hunter, the guy

732
00:39:34,239 --> 00:39:36,480
Speaker 1: that they were going to get to direct the music video,

733
00:39:36,960 --> 00:39:38,480
Speaker 1: and they were talking about what they were gonna do

734
00:39:38,480 --> 00:39:40,799
Speaker 1: for the video, and Paul Hunter, I guess, said, this

735
00:39:40,880 --> 00:39:42,960
Speaker 1: movie is incredible. It's a real work of art, but

736
00:39:43,480 --> 00:39:45,160
Speaker 1: I don't think I can use any of this for

737
00:39:45,239 --> 00:39:49,120
Speaker 1: the music video. And as you said, this time, music

738
00:39:49,200 --> 00:39:52,680
Speaker 1: videos were basically an excuse to have another trailer for

739
00:39:52,719 --> 00:39:56,880
Speaker 1: the movie, and so eliminating the film footage did not

740
00:39:57,120 --> 00:40:00,520
Speaker 1: sit well with Fox, the studio who not only made

741
00:40:00,560 --> 00:40:02,799
Speaker 1: the movie, they were putting up half the budget for

742
00:40:02,800 --> 00:40:05,840
Speaker 1: the music video. I guess the record label Interscope was

743
00:40:05,880 --> 00:40:07,680
Speaker 1: putting up the other half. So this was at one

744
00:40:07,680 --> 00:40:10,880
Speaker 1: point six million dollar video and Fox were pissed that

745
00:40:10,920 --> 00:40:13,839
Speaker 1: they were showing out eight hundred thousand dollars and not

746
00:40:13,960 --> 00:40:16,719
Speaker 1: having their movie directly plugged in the most obvious way.

747
00:40:17,040 --> 00:40:20,480
Speaker 1: So they were really justifiably so yeah, but you know

748
00:40:20,520 --> 00:40:25,920
Speaker 1: who was really piste on bas Basilerman. According to Randy Soason,

749
00:40:26,040 --> 00:40:30,600
Speaker 1: basil Erman was furious and he took it very, very

750
00:40:30,719 --> 00:40:34,200
Speaker 1: very personally that they were not using his film footage

751
00:40:34,200 --> 00:40:36,680
Speaker 1: in this music video. And to try to make amends,

752
00:40:37,000 --> 00:40:40,319
Speaker 1: the producers had the actual red curtains that they used

753
00:40:40,320 --> 00:40:43,560
Speaker 1: in the Mulon Rouge film shipped over from Boz's Australian

754
00:40:43,600 --> 00:40:46,799
Speaker 1: home base at great expense to try to make it

755
00:40:46,880 --> 00:40:53,080
Speaker 1: up to him. And having said all that, we'll be

756
00:40:53,160 --> 00:40:55,879
Speaker 1: right back with more too much information right after this.

757
00:41:05,080 --> 00:41:07,919
Speaker 1: You know who doesn't suck is Little Kim, another person

758
00:41:07,960 --> 00:41:10,400
Speaker 1: I had kind of a crush on, truly a rap pioneer,

759
00:41:10,840 --> 00:41:13,319
Speaker 1: iconic video artist in her own right. She did not

760
00:41:13,440 --> 00:41:16,080
Speaker 1: know she had to dance. She was not a trained dancer.

761
00:41:16,200 --> 00:41:20,040
Speaker 1: She was a rapper. She had bars, she didn't dance. UM.

762
00:41:20,080 --> 00:41:23,080
Speaker 1: The shoot for this video two days March seventeen and

763
00:41:23,200 --> 00:41:25,680
Speaker 1: eighteen at the l A Theater in Downtown l A,

764
00:41:25,800 --> 00:41:28,440
Speaker 1: which was Downtown l A at this point was probably

765
00:41:28,440 --> 00:41:30,839
Speaker 1: not a fun place to be, so it was made

766
00:41:30,880 --> 00:41:33,560
Speaker 1: up obviously. Is anyone who've seen it ten thousand times?

767
00:41:33,600 --> 00:41:36,640
Speaker 1: As we did to resemble a French nightclub, and this

768
00:41:36,719 --> 00:41:38,680
Speaker 1: is the first time that all of these women met

769
00:41:38,680 --> 00:41:41,880
Speaker 1: face to face and a film crew from making the video.

770
00:41:42,120 --> 00:41:44,520
Speaker 1: Is there saw on YouTube? Check it out? It's so good.

771
00:41:44,960 --> 00:41:46,799
Speaker 1: So each one of the singers had their own hair

772
00:41:46,840 --> 00:41:51,320
Speaker 1: and makeup people, both two as the offspring, so indeubibly

773
00:41:51,360 --> 00:41:54,319
Speaker 1: saying keep them separated and to ensure that they each

774
00:41:54,360 --> 00:41:56,920
Speaker 1: had their own distinctive look for the video, but they

775
00:41:56,920 --> 00:42:02,520
Speaker 1: did use a consistent wardrobe. Costumer Tris Merville, who went

776
00:42:02,600 --> 00:42:05,080
Speaker 1: to go on to create the Assless Chaps look for

777
00:42:05,200 --> 00:42:09,560
Speaker 1: Christina for Dirty, which isn't assless chaps redundant? Aren't all

778
00:42:09,840 --> 00:42:16,000
Speaker 1: chaps assless? Because there she worked at a Bunch in Hollywood.

779
00:42:16,040 --> 00:42:18,800
Speaker 1: Since then, she's done stuff with Fincher. She did Mank

780
00:42:18,880 --> 00:42:23,319
Speaker 1: recently and UM the Mod Squad and also leprichn three.

781
00:42:23,400 --> 00:42:25,760
Speaker 1: Because you gotta pay ramp. I'm not familiar with lepric

782
00:42:25,880 --> 00:42:27,920
Speaker 1: on one, two or three. You don't really have to

783
00:42:27,960 --> 00:42:30,319
Speaker 1: see past one. I think it's Jennifer Aniston's one of

784
00:42:30,360 --> 00:42:34,000
Speaker 1: her first movies. Um. They used the same choreographer to

785
00:42:34,120 --> 00:42:36,560
Speaker 1: keep all of the moves from woman to woman consistent,

786
00:42:36,680 --> 00:42:40,000
Speaker 1: and that choreographer was a woman named Tina Landon. She

787
00:42:40,040 --> 00:42:43,640
Speaker 1: started out as a Lakers cheerleader when Paula Abduel was

788
00:42:43,680 --> 00:42:47,000
Speaker 1: the team choreographer, went on to go tour with Janet

789
00:42:47,080 --> 00:42:49,960
Speaker 1: Jackson as a dancer on the Rhythm Nation tour. She

790
00:42:49,960 --> 00:42:52,840
Speaker 1: would keep working with Janet. She choreographed the Janet and

791
00:42:52,920 --> 00:42:56,200
Speaker 1: Velvet Wrote world tours, and she previously worked with Ricky

792
00:42:56,239 --> 00:42:59,239
Speaker 1: Martin on the Livin Levita Loca video, which I don't

793
00:42:59,280 --> 00:43:02,960
Speaker 1: remember having particularly good choreography, although I guess everyone in

794
00:43:02,960 --> 00:43:05,320
Speaker 1: that video who's not him is kind of doing pretty

795
00:43:05,320 --> 00:43:08,399
Speaker 1: impressive choreography, and that there's like Latin dancing in there.

796
00:43:08,440 --> 00:43:11,360
Speaker 1: It's also dancing. So she had previously worked with Christina

797
00:43:11,400 --> 00:43:15,000
Speaker 1: Aguilera on What a Girl Wants and the aforementioned case

798
00:43:15,040 --> 00:43:19,360
Speaker 1: of the X by Maya and Tina gave each singer

799
00:43:19,400 --> 00:43:23,200
Speaker 1: a prop pink got a chair, which I would have

800
00:43:23,200 --> 00:43:26,720
Speaker 1: called the top hat her prop, but sure fine, um.

801
00:43:26,960 --> 00:43:28,560
Speaker 1: And this apparently has caused her a little bit of

802
00:43:28,600 --> 00:43:31,759
Speaker 1: consternation because Britney Speace had just done the video for Stronger,

803
00:43:32,000 --> 00:43:35,240
Speaker 1: in which she has a chair, uh to great effect,

804
00:43:36,120 --> 00:43:38,839
Speaker 1: and Um Landon had to go out of her way

805
00:43:38,880 --> 00:43:40,479
Speaker 1: to say, pink, this is going to be a different

806
00:43:40,560 --> 00:43:44,480
Speaker 1: kind of chair situation. Maya got a whip, which she

807
00:43:44,520 --> 00:43:46,880
Speaker 1: felt nervous about because her mom was on the set,

808
00:43:46,920 --> 00:43:50,120
Speaker 1: which yeah, I get that. Um. Christina gets the long

809
00:43:50,160 --> 00:43:54,080
Speaker 1: satin gloves that she pulls off. Apparently she was she was.

810
00:43:54,560 --> 00:43:56,920
Speaker 1: No one was happy with their props in this. Christina

811
00:43:57,040 --> 00:43:58,840
Speaker 1: was like, you have to kind of convince me to

812
00:43:58,840 --> 00:44:01,200
Speaker 1: do that. Bit's work. I mean if somebody else gets

813
00:44:01,200 --> 00:44:03,160
Speaker 1: a whip and somebody because the chain, you got gloves,

814
00:44:03,160 --> 00:44:06,280
Speaker 1: that's that's not a prop, that's an article of clothing. Okay,

815
00:44:06,400 --> 00:44:09,640
Speaker 1: fair point, fair point, fair point. Uh. Little Kim was

816
00:44:09,680 --> 00:44:17,759
Speaker 1: given cash and Chez Lande. I don't know how to

817
00:44:17,760 --> 00:44:21,279
Speaker 1: pronounce that. It's just Chase lounge. Okay. Either way, she

818
00:44:21,360 --> 00:44:25,120
Speaker 1: got this piece of furniture and uh was delivered wine

819
00:44:25,280 --> 00:44:28,440
Speaker 1: and diamonds, which, as you so indelibly put. It is

820
00:44:28,600 --> 00:44:31,640
Speaker 1: the two food groups. Anyway, As we alluded to at

821
00:44:31,640 --> 00:44:33,719
Speaker 1: the top of this bit, Kim shows up and she

822
00:44:33,760 --> 00:44:36,920
Speaker 1: doesn't realize she's supposed to dance. That makes me somebody

823
00:44:36,960 --> 00:44:39,560
Speaker 1: who hates dancing and is a non that that makes

824
00:44:39,560 --> 00:44:42,520
Speaker 1: me really sad that she was like, I have to

825
00:44:42,560 --> 00:44:47,960
Speaker 1: do this. Yeah, it sounds terrifying, and choreographer Tina Landon

826
00:44:48,040 --> 00:44:51,840
Speaker 1: recalls this moment when she first met the wrath of Kim.

827
00:44:51,880 --> 00:44:55,040
Speaker 1: It's eight o'clock at night, she's got dark sunglasses. It's

828
00:44:55,080 --> 00:44:58,480
Speaker 1: my first time meeting her. She really wasn't happy about it.

829
00:44:58,640 --> 00:45:01,480
Speaker 1: She struggled with the choreograph just because that wasn't her thing.

830
00:45:01,880 --> 00:45:04,480
Speaker 1: But I think the product says it all. You can't

831
00:45:04,480 --> 00:45:07,960
Speaker 1: tell because she really worked hard and this is interesting.

832
00:45:08,120 --> 00:45:11,400
Speaker 1: Little Kim, this will here, This will interest you. Little

833
00:45:11,480 --> 00:45:14,880
Speaker 1: Kim had sung the refrain of this song years earlier

834
00:45:15,000 --> 00:45:17,360
Speaker 1: on a track she did with Little Cease called Crash

835
00:45:17,480 --> 00:45:19,759
Speaker 1: On You and you Can Get You Get You yah

836
00:45:19,840 --> 00:45:22,279
Speaker 1: Ya with the marmalade was the hook she sang on

837
00:45:22,320 --> 00:45:24,800
Speaker 1: that song. So that's I had no idea about that.

838
00:45:24,640 --> 00:45:28,320
Speaker 1: That's wild. Go ahead, moving on. Despite the collaborative spirit

839
00:45:28,360 --> 00:45:31,319
Speaker 1: between these strong and creative women. The video was the

840
00:45:31,360 --> 00:45:35,280
Speaker 1: scene of another incident between Pink and Christina, which kicked

841
00:45:35,280 --> 00:45:38,120
Speaker 1: off a cold war between them that lasted for more

842
00:45:38,160 --> 00:45:40,120
Speaker 1: than a decade. Many many years. I mean, you know,

843
00:45:40,200 --> 00:45:42,520
Speaker 1: so many of these onset flare up things are played

844
00:45:42,560 --> 00:45:44,760
Speaker 1: up in the press, but this one was apparently legit.

845
00:45:45,080 --> 00:45:48,480
Speaker 1: Choreographer Tina Landon later said there was probably more tension

846
00:45:48,480 --> 00:45:50,760
Speaker 1: between Christina and Pink than the rest of the group

847
00:45:51,280 --> 00:45:55,160
Speaker 1: in Little Kim also recalled quote a little tension on

848
00:45:55,160 --> 00:45:57,759
Speaker 1: the set of the video, said it was mostly because

849
00:45:57,760 --> 00:46:00,520
Speaker 1: the four had never really met before, didn't really know

850
00:46:00,560 --> 00:46:03,960
Speaker 1: one another. Randy Soson tells this story on his Commissioner

851
00:46:03,960 --> 00:46:07,560
Speaker 1: podcast too, So this little incident, this little kerfuffle, is

852
00:46:07,600 --> 00:46:11,520
Speaker 1: well documented. What basically happened was that each of the

853
00:46:11,520 --> 00:46:14,960
Speaker 1: women filmed their solo dance spots individually, and while this

854
00:46:15,120 --> 00:46:18,319
Speaker 1: was going on, Christina Aguilera stated in her trailer all

855
00:46:18,440 --> 00:46:21,640
Speaker 1: day working on her her look, with her glam squad

856
00:46:21,800 --> 00:46:24,520
Speaker 1: and just generally getting in the zone. And this went

857
00:46:24,560 --> 00:46:26,520
Speaker 1: on for something like ten hours, like it was a

858
00:46:26,560 --> 00:46:29,920
Speaker 1: long time, and when she emerged, just jaws hit the floor.

859
00:46:29,960 --> 00:46:32,920
Speaker 1: Because you gotta remember this is like Christina fresh off

860
00:46:32,960 --> 00:46:35,520
Speaker 1: of Virginie and a bottle Era, and now she was

861
00:46:35,600 --> 00:46:38,799
Speaker 1: dressed like twisted sister with the teased hair and the

862
00:46:38,840 --> 00:46:42,840
Speaker 1: heavy makeup. Uh so she looked amazing, she looked crazy

863
00:46:42,840 --> 00:46:45,759
Speaker 1: look cool. By this point, Pink, who had done her

864
00:46:45,800 --> 00:46:47,640
Speaker 1: part earlier in the day, she'd had a few drinks

865
00:46:47,640 --> 00:46:50,280
Speaker 1: and she was still a little sore from that whole

866
00:46:50,440 --> 00:46:53,560
Speaker 1: pre recording session meeting where she thought Christina had gotten

867
00:46:53,600 --> 00:46:56,919
Speaker 1: preferential treatment, and now she kept everyone waiting all day.

868
00:46:56,960 --> 00:46:59,359
Speaker 1: And I think everybody else was kind of on the set,

869
00:46:59,560 --> 00:47:01,920
Speaker 1: like watch everybody else, and she was kind of off

870
00:47:01,960 --> 00:47:04,440
Speaker 1: on her own. So Pink was pissed. She had a

871
00:47:04,440 --> 00:47:07,480
Speaker 1: few drinks. She got a little little strappy to use

872
00:47:07,640 --> 00:47:11,960
Speaker 1: use the term okay, So Christina was filming her part,

873
00:47:12,080 --> 00:47:14,560
Speaker 1: Pink was sitting next to the director, Paul Hunter, and

874
00:47:14,640 --> 00:47:18,600
Speaker 1: made loud comments. And precisely what these loud comments were

875
00:47:18,680 --> 00:47:21,360
Speaker 1: depending on who tells the story. Tina Landon and the

876
00:47:21,400 --> 00:47:26,040
Speaker 1: choreographers claimed that Christina couldn't hear Paul Hunter's directorial comments,

877
00:47:26,440 --> 00:47:28,960
Speaker 1: and Pink was just repeating them louder, and then Christina

878
00:47:29,000 --> 00:47:31,080
Speaker 1: would snap, I was talking to Paul you know one

879
00:47:31,080 --> 00:47:34,279
Speaker 1: of those things, And you know, I I could see

880
00:47:34,320 --> 00:47:36,839
Speaker 1: that being legit. Like if you're on stage and you're

881
00:47:36,840 --> 00:47:39,200
Speaker 1: stressed out and everybody's watching and you're missing something and

882
00:47:39,200 --> 00:47:42,279
Speaker 1: the director's calling comments to you and you're asking him

883
00:47:42,320 --> 00:47:44,480
Speaker 1: to repeat it, and somebody else, you know, one of

884
00:47:44,520 --> 00:47:47,160
Speaker 1: your fellow artists, who's what you're supposedly your pier is

885
00:47:47,200 --> 00:47:49,640
Speaker 1: like yelling it back to you. That's got to throw you.

886
00:47:49,719 --> 00:47:53,480
Speaker 1: So I understand that. According to Christina uh And this

887
00:47:53,520 --> 00:47:55,960
Speaker 1: is when she was on Watch What Happens Live in

888
00:47:57,080 --> 00:47:59,840
Speaker 1: she claimed that Pink was just heckling her from the audience.

889
00:47:59,840 --> 00:48:01,920
Speaker 1: She said, that's what she did back then, she was

890
00:48:01,960 --> 00:48:04,560
Speaker 1: heckling me from the audience. I mean, Pink did talk

891
00:48:04,600 --> 00:48:06,640
Speaker 1: a lot of She has that line in one of

892
00:48:06,640 --> 00:48:09,760
Speaker 1: her songs that she calls out l A read. Remember

893
00:48:09,880 --> 00:48:11,680
Speaker 1: l A told me you'll be a pop star. Yeah,

894
00:48:11,760 --> 00:48:13,480
Speaker 1: all you have to do is change everything you are.

895
00:48:13,560 --> 00:48:16,439
Speaker 1: So yeah, I have no but I mean maybe Eli

896
00:48:16,520 --> 00:48:19,000
Speaker 1: just sounds like Eli deserved it. Well yeah, I'm not

897
00:48:19,040 --> 00:48:21,080
Speaker 1: saying none of these things are true, but I have

898
00:48:21,200 --> 00:48:24,040
Speaker 1: no trouble believing that Pink was like caught stirring the pot.

899
00:48:24,280 --> 00:48:27,560
Speaker 1: It probably started with her semi sort of trying to

900
00:48:27,560 --> 00:48:30,520
Speaker 1: be helpful, and when she couldn't hear what the director

901
00:48:30,600 --> 00:48:33,400
Speaker 1: was saying, repeating it back to Christina. Christina, ever reacted,

902
00:48:33,600 --> 00:48:35,600
Speaker 1: and then Pink probably took it to another level and

903
00:48:35,680 --> 00:48:38,799
Speaker 1: started being antagonistic that we'll get to the bottom of

904
00:48:38,840 --> 00:48:42,160
Speaker 1: this yet. In any event, Christina left the stage, she

905
00:48:42,239 --> 00:48:45,560
Speaker 1: left the set, she left the theater. Word was handed

906
00:48:45,560 --> 00:48:47,880
Speaker 1: back from her people. She's not coming back today, she

907
00:48:48,000 --> 00:48:50,560
Speaker 1: might not come back tomorrow. She's really not happy with

908
00:48:50,600 --> 00:48:52,880
Speaker 1: how the production is going. She doesn't like to be

909
00:48:52,920 --> 00:48:55,680
Speaker 1: told what to do by another artist, which is all

910
00:48:55,840 --> 00:49:00,320
Speaker 1: fair and irving A's off. Her terrifying manager was across town,

911
00:49:00,600 --> 00:49:03,480
Speaker 1: apparently at an Eagles reunion show at the Staples Center,

912
00:49:03,760 --> 00:49:06,719
Speaker 1: and he texted, uh, somebody on the set, the interscope guy,

913
00:49:06,800 --> 00:49:09,479
Speaker 1: Randy Soson, good luck with you shoot tomorrow. We won't

914
00:49:09,480 --> 00:49:12,839
Speaker 1: be coming back, which, for those of you not well

915
00:49:12,960 --> 00:49:15,800
Speaker 1: versed in music industry reps speak, this is a giant

916
00:49:15,800 --> 00:49:18,720
Speaker 1: middle finger. This is this is not good. So everybody

917
00:49:18,760 --> 00:49:20,600
Speaker 1: decides to kind of let the dust settle and see

918
00:49:20,640 --> 00:49:22,680
Speaker 1: if Christina would chill out, you know, the next day,

919
00:49:22,719 --> 00:49:25,280
Speaker 1: after sleeping on it, Pink did her part by sending

920
00:49:25,320 --> 00:49:27,920
Speaker 1: flowers to a bunch of people involved in the production

921
00:49:27,960 --> 00:49:32,000
Speaker 1: and apologizing for getting a little rowdy the day before. Ultimately,

922
00:49:32,080 --> 00:49:34,440
Speaker 1: Christina appeared on the set the next day. They let

923
00:49:34,440 --> 00:49:37,440
Speaker 1: bygones be bygones. They filmed all the group dancing shots,

924
00:49:37,520 --> 00:49:40,520
Speaker 1: which was fairly drama free, and it looked great. Tina

925
00:49:40,600 --> 00:49:43,760
Speaker 1: Landon later said in one of the many oral histories

926
00:49:43,800 --> 00:49:46,040
Speaker 1: from the twentieth anniversary of the film last year that

927
00:49:46,120 --> 00:49:48,840
Speaker 1: came out, this one was in Cosmo. When we finally

928
00:49:48,880 --> 00:49:51,600
Speaker 1: got to the dance section, the tension dissolved. They all

929
00:49:51,640 --> 00:49:54,400
Speaker 1: wanted to do their best. They wanted to shine. No

930
00:49:54,480 --> 00:49:57,600
Speaker 1: one wanted to be the weak link. The competitive, collaborative

931
00:49:57,600 --> 00:50:00,440
Speaker 1: spirit took over. So for years after this there were

932
00:50:00,480 --> 00:50:03,480
Speaker 1: rumors of a feud between Pink and Christina, and they

933
00:50:03,520 --> 00:50:05,759
Speaker 1: both got into it on separate occasions when they were

934
00:50:05,760 --> 00:50:08,799
Speaker 1: on Watch What Happens Live with Andy Cohen. Pink went

935
00:50:08,840 --> 00:50:12,560
Speaker 1: first in seventeen and she claimed that Christina tried to

936
00:50:12,640 --> 00:50:16,360
Speaker 1: punch her had a nightclub, which she said was quote

937
00:50:16,600 --> 00:50:19,799
Speaker 1: hilarious and it is. Yeah, there's that quote from there

938
00:50:19,800 --> 00:50:21,799
Speaker 1: from around the time of the election, which is it's

939
00:50:21,800 --> 00:50:24,880
Speaker 1: impossible to fight anyone from Philly because they take fights

940
00:50:24,920 --> 00:50:28,000
Speaker 1: as a compliment and the invitation to fight also as

941
00:50:28,000 --> 00:50:33,719
Speaker 1: a compliment. Yes, Pink is a Philly lady. Christina Aguilera

942
00:50:33,800 --> 00:50:38,719
Speaker 1: was Staten Island, no contest. Yeah no, I mean, and

943
00:50:38,920 --> 00:50:41,200
Speaker 1: I think Pink was kind of like a little more

944
00:50:41,280 --> 00:50:43,600
Speaker 1: rough and tumble during her early days. Oh yeah, she

945
00:50:43,719 --> 00:50:46,600
Speaker 1: was legit. She she was a fighter. I mean she.

946
00:50:46,760 --> 00:50:51,080
Speaker 1: I know Christina had that song, but Pink actually was Anyway,

947
00:50:51,320 --> 00:50:54,160
Speaker 1: Christina claimed that this never happened. She appeared on Watch

948
00:50:54,160 --> 00:50:57,200
Speaker 1: What Happens Live two years later in nineteen and she

949
00:50:57,239 --> 00:51:00,880
Speaker 1: said I wouldn't swing on Pink she and beat my ass,

950
00:51:01,160 --> 00:51:04,839
Speaker 1: which is a thousand percent true. And yeah, there were

951
00:51:04,920 --> 00:51:07,600
Speaker 1: years of barbed comments between the two and the press

952
00:51:07,600 --> 00:51:10,200
Speaker 1: and side eyes on red carpets and all that stuff,

953
00:51:10,360 --> 00:51:12,440
Speaker 1: but they apparently made up when Pink appeared on the

954
00:51:12,520 --> 00:51:16,120
Speaker 1: Voice in Christina was one of the judges. Uh and

955
00:51:16,160 --> 00:51:20,280
Speaker 1: Pink shared a War's Over tweet about it in seventeen,

956
00:51:20,440 --> 00:51:23,319
Speaker 1: saying that the pair had quote made amends, and she

957
00:51:23,360 --> 00:51:26,760
Speaker 1: elaborated on this during her Watch What Happens appearance quote.

958
00:51:26,840 --> 00:51:29,160
Speaker 1: We were super young and super new with the whole thing.

959
00:51:29,560 --> 00:51:32,200
Speaker 1: I'm an alpha and she's an alpha, and I'm used

960
00:51:32,200 --> 00:51:34,959
Speaker 1: to taking my altercations physical and she's used to having

961
00:51:34,960 --> 00:51:37,839
Speaker 1: them verbal. And we're very different. Women have to learn

962
00:51:37,880 --> 00:51:41,000
Speaker 1: how support each other. It's not taught on the playground. Uh.

963
00:51:41,160 --> 00:51:44,640
Speaker 1: Christina was effusive about Pink's talent and called her such

964
00:51:44,640 --> 00:51:47,760
Speaker 1: a powerhouse and definitely paved the way, setting the precedent

965
00:51:47,800 --> 00:51:51,360
Speaker 1: of pushing back if something didn't feel right. Apparently, the

966
00:51:51,360 --> 00:51:54,440
Speaker 1: two recorded a song together for one of Christina's albums,

967
00:51:54,480 --> 00:51:58,040
Speaker 1: but according to Christina, it didn't quite make the final cut,

968
00:51:58,440 --> 00:52:02,400
Speaker 1: which I take to be rude. That's a feud report

969
00:52:02,440 --> 00:52:05,320
Speaker 1: for another day. The videos wrapped, they're getting ready to

970
00:52:05,400 --> 00:52:09,160
Speaker 1: release this song on apos one, just a few weeks

971
00:52:09,200 --> 00:52:12,720
Speaker 1: before the movie Goes gets its wide release in mid May.

972
00:52:12,760 --> 00:52:15,160
Speaker 1: In two thousand one, Mulan Rouge was at a crossroads.

973
00:52:16,840 --> 00:52:19,560
Speaker 1: But despite the fact this is asinine, despite the fact

974
00:52:19,560 --> 00:52:22,080
Speaker 1: that this song has for the biggest artists of the time,

975
00:52:22,280 --> 00:52:24,680
Speaker 1: one of the biggest radio stations in the country refused

976
00:52:24,719 --> 00:52:27,439
Speaker 1: to play it. Jimmy Iovine's team brought it the song

977
00:52:27,520 --> 00:52:30,160
Speaker 1: to Z one D New York and they turned it

978
00:52:30,200 --> 00:52:31,919
Speaker 1: down because they didn't want to play a cover song,

979
00:52:32,520 --> 00:52:36,359
Speaker 1: so Apex Petty. They just truck across town to Hot

980
00:52:36,440 --> 00:52:40,799
Speaker 1: ninety seven hip hop station, who obviously recognize what's in

981
00:52:40,840 --> 00:52:44,640
Speaker 1: front of them and added to the rotation. Phones explode,

982
00:52:44,800 --> 00:52:47,279
Speaker 1: you know, Marvin Barry is on the phone talking to

983
00:52:47,320 --> 00:52:51,879
Speaker 1: his cousin Chuck about the new sound. Yeah. Yeah, and

984
00:52:52,120 --> 00:52:57,000
Speaker 1: they're hanging out of windows windows. What's that song? I

985
00:52:57,040 --> 00:53:00,520
Speaker 1: gotta hear it. We cut to the cigar chomping executive

986
00:53:00,560 --> 00:53:06,080
Speaker 1: going get me Lady Marmalade. Uh Ze obviously recognizes their

987
00:53:06,160 --> 00:53:09,279
Speaker 1: mistake and they start playing it and it becomes a

988
00:53:09,320 --> 00:53:13,280
Speaker 1: world beating success. It hits number one in June, stays

989
00:53:13,320 --> 00:53:16,480
Speaker 1: on the chart for five weeks, twenty six years after

990
00:53:16,560 --> 00:53:19,239
Speaker 1: Labelle's version had reached number one. And it's so that

991
00:53:19,280 --> 00:53:23,200
Speaker 1: makes Lady Marmalade the ninth song in history to top

992
00:53:23,280 --> 00:53:27,920
Speaker 1: the US chart performed by different artists. This is a

993
00:53:28,040 --> 00:53:32,440
Speaker 1: very granular stat the third airplay only song in Billboard

994
00:53:32,560 --> 00:53:35,920
Speaker 1: chart history to hit number one without being released in

995
00:53:35,960 --> 00:53:39,160
Speaker 1: a major league, major commercially available single format. So this

996
00:53:39,200 --> 00:53:40,879
Speaker 1: is back when singles were a thing and you would

997
00:53:40,920 --> 00:53:45,160
Speaker 1: release a single. Lady Marmalade not released as a single,

998
00:53:45,400 --> 00:53:47,960
Speaker 1: A single that doesn't make any sense. I would guess

999
00:53:48,040 --> 00:53:50,960
Speaker 1: rights issues. Probably they didn't want to release a non

1000
00:53:51,760 --> 00:53:54,640
Speaker 1: not part of the soundtrack album after Try Again by

1001
00:53:54,719 --> 00:54:04,920
Speaker 1: Leah and Shaggy. Remember Shaggy his two thousand unsung angels.

1002
00:54:07,200 --> 00:54:11,040
Speaker 1: Uh didn't collaborate with Sting recently. That's the whole album,

1003
00:54:11,120 --> 00:54:14,320
Speaker 1: moving the whole album. Oh yeah, yeah, yeah, yeah, yeah, God,

1004
00:54:14,360 --> 00:54:17,960
Speaker 1: that's must suck um. It reached the top spot in

1005
00:54:18,360 --> 00:54:23,840
Speaker 1: fifteen plus countries including the UK, became the third collaboration,

1006
00:54:23,920 --> 00:54:27,120
Speaker 1: only the third collaboration by individual female artists in history

1007
00:54:27,120 --> 00:54:29,920
Speaker 1: to hit number one, and the first ever song to

1008
00:54:29,920 --> 00:54:33,360
Speaker 1: top the chart with more than two credited female artists

1009
00:54:33,400 --> 00:54:37,640
Speaker 1: and say. Unsurprisingly, contemporary critics were not kind to this remake.

1010
00:54:37,719 --> 00:54:41,480
Speaker 1: Entertainment Weekly called it cluttered. The Washington Post called it gaudy,

1011
00:54:41,640 --> 00:54:44,759
Speaker 1: which maybe both are true, but that's what I like

1012
00:54:44,840 --> 00:54:48,440
Speaker 1: about it. Yeah. Rolling Stone simply called it god awful,

1013
00:54:48,640 --> 00:54:51,719
Speaker 1: and they would later retract that review as they are

1014
00:54:51,840 --> 00:54:54,960
Speaker 1: wont to do, which we have covered in Harvest led Zeppelin,

1015
00:54:55,120 --> 00:54:58,920
Speaker 1: et cetera. They did one retrospective piece about the Stone

1016
00:54:58,920 --> 00:55:01,719
Speaker 1: and Rolling Stone writer Matt few Jacob's called it the

1017
00:55:01,800 --> 00:55:06,760
Speaker 1: most exciting multicultural partnership since Aerosmith and run DMC joined

1018
00:55:06,760 --> 00:55:09,279
Speaker 1: forces for Walk This Way, which is a bit of

1019
00:55:09,320 --> 00:55:14,399
Speaker 1: breathless hyperbole. I don't necessarily co sign either way. Enter

1020
00:55:14,560 --> 00:55:19,040
Speaker 1: from stage left, Patti Labell. Critics be damned. This song

1021
00:55:19,120 --> 00:55:22,920
Speaker 1: took home to MTV Video Music Awards both Video of

1022
00:55:22,920 --> 00:55:26,160
Speaker 1: the Year and Best Video from a Film, as well

1023
00:55:26,200 --> 00:55:29,719
Speaker 1: as the Grammy for Best Pop Collaboration with Vocals. The

1024
00:55:29,800 --> 00:55:32,359
Speaker 1: quartet performed the song on stage at each of these

1025
00:55:32,360 --> 00:55:35,799
Speaker 1: awards shows, marking the only time they've ever performed at altogether,

1026
00:55:36,120 --> 00:55:38,200
Speaker 1: which is a tragedy. I feel like they should have

1027
00:55:38,200 --> 00:55:42,560
Speaker 1: done twenty anniversary. Yeah. Um. At the Grammys, they were

1028
00:55:42,640 --> 00:55:46,640
Speaker 1: joined on stage by Patti LaBelle herself and I love

1029
00:55:46,719 --> 00:55:49,840
Speaker 1: this so much. She arrived at rehearsals carrying a clutch

1030
00:55:50,239 --> 00:55:56,320
Speaker 1: containing only hot sauce and a makeup compact. Yes so good.

1031
00:55:56,760 --> 00:55:59,680
Speaker 1: She actually had a brief snaff food during the performance,

1032
00:56:00,040 --> 00:56:02,960
Speaker 1: and her red chiffon gown got caught as she went

1033
00:56:03,080 --> 00:56:05,480
Speaker 1: down the banister of the staircase that they used as

1034
00:56:05,480 --> 00:56:08,359
Speaker 1: a set during the telecast, and Pink had to free

1035
00:56:08,400 --> 00:56:10,319
Speaker 1: it for her and also play it off like it

1036
00:56:10,360 --> 00:56:12,399
Speaker 1: was all part of the act, which if you watch

1037
00:56:12,440 --> 00:56:14,279
Speaker 1: that performance you kind of don't really notice that they

1038
00:56:14,320 --> 00:56:16,120
Speaker 1: did a good job of trying to downplay the fact

1039
00:56:16,160 --> 00:56:19,360
Speaker 1: that they're professionals. Yeah, that's true. All in all, it

1040
00:56:19,440 --> 00:56:23,120
Speaker 1: was a tough performance because, as Maya would later say,

1041
00:56:23,239 --> 00:56:26,239
Speaker 1: they're all in corsets, which constricts your diaphragm and makes

1042
00:56:26,280 --> 00:56:29,480
Speaker 1: it really tough to sing, especially to belt. But they

1043
00:56:29,520 --> 00:56:32,280
Speaker 1: all pull it off like champs. And these days, whenever

1044
00:56:32,680 --> 00:56:35,279
Speaker 1: Patty Labell performs Lady Marmalade, she performs it with the

1045
00:56:35,360 --> 00:56:37,480
Speaker 1: lyrics that were amended for the movie. You know that

1046
00:56:37,640 --> 00:56:41,719
Speaker 1: she met Marmalade down in Old Neulan rouge Um and

1047
00:56:41,760 --> 00:56:44,480
Speaker 1: that is just part of the legacy of this revamped

1048
00:56:44,600 --> 00:56:47,200
Speaker 1: Lady Marmalade. But you know what else was part of

1049
00:56:47,280 --> 00:56:50,960
Speaker 1: the legacy of this revamped Lady Marmalade. The Pussycat Dolls,

1050
00:56:51,760 --> 00:56:55,520
Speaker 1: Ladies and gentlemen, the Pussycat Dolls. Uh. You know, there

1051
00:56:55,560 --> 00:56:57,400
Speaker 1: was a bunch of oral histories that came out for

1052
00:56:57,440 --> 00:57:01,600
Speaker 1: the anniversary of this song, and bad As claimed that

1053
00:57:02,080 --> 00:57:05,160
Speaker 1: Jimmy Iovini wanted to collaborate with him again and put

1054
00:57:05,160 --> 00:57:08,839
Speaker 1: a group together, and Baz Baz told him they had

1055
00:57:08,840 --> 00:57:11,560
Speaker 1: to move on. He had to move on to produce

1056
00:57:11,640 --> 00:57:15,879
Speaker 1: Australia with his mus Nicole Kidman and everyone else's mus

1057
00:57:15,960 --> 00:57:19,520
Speaker 1: Hugh Jackman. So he turned him down. But Jimmy turned

1058
00:57:19,560 --> 00:57:21,760
Speaker 1: his attention as he is wont to do, to a

1059
00:57:21,840 --> 00:57:25,760
Speaker 1: burlesque dance troupe called the Pussycat Dolls, which date back

1060
00:57:25,800 --> 00:57:29,200
Speaker 1: to in l A when they had a weekly residency

1061
00:57:29,200 --> 00:57:31,880
Speaker 1: at the Viper Room, famously the Club on Sunset where

1062
00:57:31,960 --> 00:57:35,800
Speaker 1: River Phoenix Uh died. Um. They danced to fifties and

1063
00:57:35,840 --> 00:57:39,600
Speaker 1: sixties pop standards and easy listening tracks by like like

1064
00:57:39,680 --> 00:57:42,520
Speaker 1: Henry Mancini songs, and you know they got a lot

1065
00:57:42,560 --> 00:57:45,560
Speaker 1: of grassroots momentum. They were featured in a Playboy and Playboy,

1066
00:57:45,880 --> 00:57:48,720
Speaker 1: They had bit parts in Charlie's Angels Full Throttle and

1067
00:57:48,880 --> 00:57:52,080
Speaker 1: Pinks music video for Trouble in two thousand three and

1068
00:57:52,360 --> 00:57:56,560
Speaker 1: old Ron Fair comes back into the fold because he

1069
00:57:56,720 --> 00:57:59,840
Speaker 1: and Iovene get their hands on the Pussycat Dolls and

1070
00:58:00,040 --> 00:58:02,640
Speaker 1: turn them from a dance franchise into a recording act.

1071
00:58:03,240 --> 00:58:06,760
Speaker 1: They bring in people like Nicole Scherzinger, Melody Thornton and uh,

1072
00:58:06,920 --> 00:58:10,120
Speaker 1: we get that song, don't you out of It? The

1073
00:58:10,400 --> 00:58:16,200
Speaker 1: buttons to be. I don't know, none of this matters. Sorry,

1074
00:58:18,280 --> 00:58:20,040
Speaker 1: I'm not throwing that one to you. You just have

1075
00:58:20,160 --> 00:58:22,840
Speaker 1: to cold open into it. Yes, I'll tell you what

1076
00:58:22,960 --> 00:58:25,640
Speaker 1: doesn't matter the fact that Ed Sheran wanted to do

1077
00:58:25,680 --> 00:58:29,240
Speaker 1: an all male version of Lady Marmalade no one, no

1078
00:58:29,280 --> 00:58:33,640
Speaker 1: one asked for this. Yeah, no, I mean okay, taking

1079
00:58:33,600 --> 00:58:36,120
Speaker 1: it back a little bit, the Lady Marmalade remake helped

1080
00:58:36,200 --> 00:58:39,480
Speaker 1: craft the template for the sort of all female supergroup

1081
00:58:39,640 --> 00:58:43,560
Speaker 1: streaming service bait stuff like Bang Bang with Ariana Grande,

1082
00:58:43,840 --> 00:58:46,080
Speaker 1: Jesse J and Nicki Minaj, which was a great song,

1083
00:58:46,680 --> 00:58:50,200
Speaker 1: and also the slightly less great and significantly less successful

1084
00:58:50,240 --> 00:58:53,720
Speaker 1: Don't Call Me Angel from the twenty nineteen Charlie's Angels remake,

1085
00:58:53,960 --> 00:58:57,720
Speaker 1: which had Ariana Grande again, Miley Cyrus, and Lana del Rey.

1086
00:58:57,840 --> 00:59:00,000
Speaker 1: A lot of these songs, I I kind of feel

1087
00:59:00,240 --> 00:59:03,720
Speaker 1: exists to game the streaming services by having all these

1088
00:59:03,720 --> 00:59:06,200
Speaker 1: big names on it. But some of them are pretty good,

1089
00:59:06,200 --> 00:59:08,520
Speaker 1: like this Bang Bang one I was. I love that

1090
00:59:08,560 --> 00:59:14,480
Speaker 1: song a lot. That's interesting in Rita Aura said she

1091
00:59:14,520 --> 00:59:17,600
Speaker 1: wanted to make They've been trying to make Rita Aura

1092
00:59:17,680 --> 00:59:20,280
Speaker 1: happen for so long. In this country. Yeah, I know,

1093
00:59:20,800 --> 00:59:24,720
Speaker 1: industry playing, yeah, But in She said she wanted to

1094
00:59:24,760 --> 00:59:27,600
Speaker 1: make a version of Lady Marmalade with the then new

1095
00:59:27,680 --> 00:59:30,920
Speaker 1: class of pop divas, including Miley, Cyrus, Charlie xc X

1096
00:59:30,920 --> 00:59:34,160
Speaker 1: would have been awesome, and Iggy Azalea. This didn't happen,

1097
00:59:34,240 --> 00:59:36,880
Speaker 1: but she got sort of close with the All Star

1098
00:59:36,960 --> 00:59:40,920
Speaker 1: Collaboration Girls, which had Charlie xc X, Cardi B and

1099
00:59:41,000 --> 00:59:43,439
Speaker 1: b B Rexa. I have no memory of this song,

1100
00:59:43,520 --> 00:59:46,080
Speaker 1: but that's a pretty amazing lineup. A year later, in

1101
00:59:46,520 --> 00:59:51,080
Speaker 1: nineteen Ed Sheeran said that his Number six Collaborations project

1102
00:59:51,280 --> 00:59:54,240
Speaker 1: was inspired by wanting to make an all male version

1103
00:59:54,240 --> 00:59:59,600
Speaker 1: of Lady Marmalade with Ed himself, Justin Bieber and Bruno Mars.

1104
01:00:00,520 --> 01:00:04,520
Speaker 1: I would Budd Dwyer myself. In an interview with Ed

1105
01:00:04,600 --> 01:00:07,640
Speaker 1: she and and sharing if that happened, Actually, it's funnier

1106
01:00:07,640 --> 01:00:10,240
Speaker 1: if they're in drag. But you know they'd never acquiesced

1107
01:00:10,240 --> 01:00:13,160
Speaker 1: to that. Maybe Bruno Mars would. Bruno Mars is a

1108
01:00:13,200 --> 01:00:15,520
Speaker 1: computer program. He's a hologram. You can get him to

1109
01:00:15,560 --> 01:00:18,080
Speaker 1: do anything. I don't know if Justin Bieber would do drag.

1110
01:00:18,960 --> 01:00:20,640
Speaker 1: I could see its gray enough, but I don't think

1111
01:00:20,640 --> 01:00:24,560
Speaker 1: he would, ed might He's like a whip funny. He's funny.

1112
01:00:24,640 --> 01:00:28,080
Speaker 1: I'm putting that in quote marks and sharing is funny.

1113
01:00:28,760 --> 01:00:30,720
Speaker 1: That's the dumbest thing I've ever heard in my life.

1114
01:00:30,840 --> 01:00:34,120
Speaker 1: My god. But for a lot of these these retrospective pieces,

1115
01:00:34,480 --> 01:00:36,840
Speaker 1: I love how I'm just just trying to steer everybody

1116
01:00:36,840 --> 01:00:40,040
Speaker 1: away from your anchor right now with okay kids, it's

1117
01:00:40,040 --> 01:00:43,400
Speaker 1: okay kids, let's go good ice cream. In all, a

1118
01:00:43,400 --> 01:00:47,280
Speaker 1: lot of these twenty anniversary retrospective pieces, the people who

1119
01:00:47,320 --> 01:00:50,240
Speaker 1: participated in the Lady Marmaloud remake, we're asked who they

1120
01:00:50,280 --> 01:00:53,720
Speaker 1: would want to make a new version of Lady Marmalade. Maya,

1121
01:00:54,120 --> 01:00:56,560
Speaker 1: You're You're One and True Love was was asked to

1122
01:00:57,000 --> 01:00:59,320
Speaker 1: she would want to see do a Lady marmal would remake,

1123
01:00:59,360 --> 01:01:02,160
Speaker 1: and she flowed a drag Queen edition featuring people like

1124
01:01:02,240 --> 01:01:05,919
Speaker 1: Rue Paul, which I'm sort of surprised hasn't happened yet

1125
01:01:05,920 --> 01:01:08,440
Speaker 1: and maybe it has on Drag Race. Patty LaBelle was

1126
01:01:08,480 --> 01:01:13,560
Speaker 1: also asked and she suggested Jasmine Sullivan, Halsey, Fantasia and

1127
01:01:13,640 --> 01:01:16,840
Speaker 1: Jennifer Hudson, and her quote is it would be new

1128
01:01:16,880 --> 01:01:21,720
Speaker 1: Diva's killing it, and that would be incredible. Jasmine Sullivan's hotels.

1129
01:01:21,760 --> 01:01:26,360
Speaker 1: That's a great record. He's got pipes. Fantasia's got pipe Jennifer, Yeah,

1130
01:01:26,360 --> 01:01:28,600
Speaker 1: that would be that's a great line. Trust Patty Labell

1131
01:01:28,680 --> 01:01:31,919
Speaker 1: to put together something like a record. Executive's went dream there. Yeah,

1132
01:01:31,960 --> 01:01:35,360
Speaker 1: that I mean, that's what I mean. That should absolutely happen.

1133
01:01:35,520 --> 01:01:39,920
Speaker 1: I mean, seg new Diva's killing it. Yes, that is

1134
01:01:39,960 --> 01:01:44,440
Speaker 1: truly what Lady Marmalade the remake rather is about Diva's

1135
01:01:44,520 --> 01:01:46,880
Speaker 1: killing it. More than a way to sell a huge movie,

1136
01:01:47,320 --> 01:01:50,439
Speaker 1: more than a precursor to Christina aguilera stripped look, more

1137
01:01:50,480 --> 01:01:53,040
Speaker 1: than a prototype for the pop cultural phenomenon known as

1138
01:01:53,080 --> 01:01:56,560
Speaker 1: the Pussycat Dolls. The song Lady Marmalade and especially the

1139
01:01:56,680 --> 01:02:00,840
Speaker 1: video are a celebration of strong, independent women coming together

1140
01:02:00,880 --> 01:02:04,760
Speaker 1: from all different backgrounds and all different genres, confident in themselves,

1141
01:02:04,920 --> 01:02:08,000
Speaker 1: their artistry, and their sexuality. It was a moment to

1142
01:02:08,040 --> 01:02:12,800
Speaker 1: be big, big voices, big hair, big costumes, big personalities.

1143
01:02:13,200 --> 01:02:16,680
Speaker 1: As Cristina Aguilera said in The Billboard Oral History, it

1144
01:02:16,760 --> 01:02:20,720
Speaker 1: wasn't for anyone else. It was truly about celebrating ourselves

1145
01:02:20,720 --> 01:02:23,600
Speaker 1: as women, and she gave a similar quote to Cosmo.

1146
01:02:23,720 --> 01:02:26,200
Speaker 1: The message was awesome because every woman wants to feel

1147
01:02:26,240 --> 01:02:28,720
Speaker 1: good in their own skin. Every woman wants to own

1148
01:02:28,720 --> 01:02:31,360
Speaker 1: the sexuality, whether you want to put on a corset

1149
01:02:31,440 --> 01:02:35,920
Speaker 1: or not. And uh, inclusivity in the collaborative spirit were

1150
01:02:35,960 --> 01:02:38,040
Speaker 1: brought to the four in a time when the tabloids

1151
01:02:38,040 --> 01:02:41,280
Speaker 1: were really pitting women against one another, and Christina Aguilera

1152
01:02:41,440 --> 01:02:44,560
Speaker 1: and Britney Spears were just the most obvious example. The

1153
01:02:44,680 --> 01:02:47,080
Speaker 1: chance for women to work with other women, and not

1154
01:02:47,160 --> 01:02:50,600
Speaker 1: just the stars, but the choreographer, the costumer and other creatives.

1155
01:02:50,600 --> 01:02:53,240
Speaker 1: This was huge, and Maya talked about this in the

1156
01:02:53,280 --> 01:02:57,000
Speaker 1: Billboard Oral History. It was all about representation too, because

1157
01:02:57,000 --> 01:02:59,800
Speaker 1: we didn't see that type of collaboration happening often much

1158
01:03:00,040 --> 01:03:02,400
Speaker 1: us with women. I had worked with so many male

1159
01:03:02,480 --> 01:03:05,280
Speaker 1: rappers or singers and it was pretty cutting edge. So

1160
01:03:05,320 --> 01:03:07,640
Speaker 1: to be invited to work with women, and the ones

1161
01:03:07,680 --> 01:03:09,840
Speaker 1: that I was a fan of and familiar with, I

1162
01:03:09,880 --> 01:03:11,960
Speaker 1: thought they were really amazing at what they did. I

1163
01:03:12,040 --> 01:03:15,840
Speaker 1: was fangirling the whole time. So please think of all

1164
01:03:15,840 --> 01:03:18,760
Speaker 1: these points next time the DJ bumps Lady Marmalade at

1165
01:03:18,760 --> 01:03:21,160
Speaker 1: your friend's wedding, or you start thinking about buying a

1166
01:03:21,200 --> 01:03:26,600
Speaker 1: top hat. Thank you for taking this widely digressive tour

1167
01:03:26,760 --> 01:03:30,840
Speaker 1: with us of Lady Marmalade, and uh, we'll see you

1168
01:03:30,840 --> 01:03:33,880
Speaker 1: next time. On Too Much Information, I'm Alex Hegel, I'm

1169
01:03:33,960 --> 01:03:41,840
Speaker 1: Jordan runt Talk. Thanks for listening. Too Much Information was

1170
01:03:41,880 --> 01:03:45,000
Speaker 1: a production of I Heart Radio. The show's executive producers

1171
01:03:45,000 --> 01:03:48,200
Speaker 1: are Noel Brown and Jordan Runtalk. The supervising producer is

1172
01:03:48,240 --> 01:03:51,320
Speaker 1: Mike John's. The show was researched, written and hosted by

1173
01:03:51,400 --> 01:03:54,640
Speaker 1: Jordan Runtalk and Alex Heigel, with original music by Seth

1174
01:03:54,680 --> 01:03:57,440
Speaker 1: Applebaum and the Ghost Funk Orchestra. If you like what

1175
01:03:57,520 --> 01:04:00,000
Speaker 1: you heard, please subscribe and leave us a review from

1176
01:04:00,000 --> 01:04:03,000
Speaker 1: our podcast on iHeart Radio, visit the I heart Radio app,

1177
01:04:03,120 --> 01:04:06,000
Speaker 1: Apple podcast, or wherever you listen to your favorite shows,