1 00:00:01,400 --> 00:00:04,200 Speaker 1: On Theme is a production of iHeartRadio and fair Weather 2 00:00:04,280 --> 00:00:21,720 Speaker 1: Friends Media. 3 00:00:28,960 --> 00:00:31,480 Speaker 2: What did the five fingers say to the face. 4 00:00:32,200 --> 00:00:38,320 Speaker 1: My wife's name, your fucking n not you remixing that 5 00:00:38,400 --> 00:00:40,559 Speaker 1: joke in the messiest way possible. 6 00:00:41,280 --> 00:00:43,879 Speaker 2: Sometimes you gotta stand on business and hand out some slaps. 7 00:00:44,120 --> 00:00:46,920 Speaker 1: Nah, putting your hands on another real life person like 8 00:00:46,960 --> 00:00:51,360 Speaker 1: that is a wild How about fictional slaps for fictional characters. 9 00:00:51,880 --> 00:00:54,840 Speaker 2: I'm good with that. We're diving into a realm filled 10 00:00:54,880 --> 00:00:58,240 Speaker 2: with characters who often make us greate, our teeth, furrow 11 00:00:58,320 --> 00:01:02,880 Speaker 2: our brows, and sometimes, let's go ahead admit it, make 12 00:01:03,000 --> 00:01:05,720 Speaker 2: us each to reach into that story and deliver a 13 00:01:05,800 --> 00:01:16,919 Speaker 2: perfectly executed whack. Today's episode, this episode slaps, I'm. 14 00:01:16,840 --> 00:01:18,200 Speaker 1: Katie and I'm Eves. 15 00:01:18,920 --> 00:01:21,200 Speaker 2: You know, I think the highest compliment you can give 16 00:01:21,200 --> 00:01:23,280 Speaker 2: a storyteller is wanting to slap the shit out of 17 00:01:23,319 --> 00:01:24,160 Speaker 2: one of their characters. 18 00:01:24,720 --> 00:01:26,399 Speaker 1: Okay, please elaborate. 19 00:01:27,040 --> 00:01:29,600 Speaker 2: I mean, as storytellers, one of the main goals is 20 00:01:29,640 --> 00:01:32,960 Speaker 2: to make your audience feel something, So to elicit such 21 00:01:32,959 --> 00:01:36,000 Speaker 2: a visceral reaction from one of your characters really speaks 22 00:01:36,040 --> 00:01:37,320 Speaker 2: to the skill of the storyteller. 23 00:01:37,840 --> 00:01:40,480 Speaker 1: Okay, I see what you're saying. Wanting to slap a 24 00:01:40,560 --> 00:01:43,600 Speaker 1: character doesn't mean you want to slap the creator or 25 00:01:43,600 --> 00:01:45,279 Speaker 1: that you don't like the work as a whole. 26 00:01:45,920 --> 00:01:48,960 Speaker 2: Nah. See, one of my favorite novels has a character 27 00:01:49,000 --> 00:01:51,280 Speaker 2: that I would just need sixty seconds with to put 28 00:01:51,280 --> 00:01:52,120 Speaker 2: the pause on her. 29 00:01:52,240 --> 00:01:53,600 Speaker 1: Okay, which character is that? 30 00:01:54,000 --> 00:01:56,640 Speaker 2: I can't help but think of Leoni and Jessmine Wards 31 00:01:56,680 --> 00:01:57,840 Speaker 2: sing Unburied Sing? 32 00:01:58,160 --> 00:02:00,240 Speaker 1: Have you read it not yet? But it is on 33 00:02:00,280 --> 00:02:00,680 Speaker 1: my list? 34 00:02:02,000 --> 00:02:05,280 Speaker 2: Okay. So it follows a young boy named Jojo and 35 00:02:05,400 --> 00:02:09,240 Speaker 2: his troubled family, his mom, Leoni, grappling with addiction, and 36 00:02:09,280 --> 00:02:12,919 Speaker 2: his grandfather Pop, a tough old man hiding some deep secrets. 37 00:02:13,280 --> 00:02:15,840 Speaker 2: Leoni decides to take Jojo and his little sister on 38 00:02:15,919 --> 00:02:17,960 Speaker 2: a road trip to pick up their father, who's getting 39 00:02:18,000 --> 00:02:22,239 Speaker 2: released from prison. But this isn't your typical family road trip. Ghosts, 40 00:02:22,240 --> 00:02:24,960 Speaker 2: both figurative and literal, starts showing up in the past, 41 00:02:24,960 --> 00:02:27,600 Speaker 2: intertwines with the present in some really haunting ways. 42 00:02:28,240 --> 00:02:31,480 Speaker 1: That sounds very layered. I couldn't imagine why you want 43 00:02:31,520 --> 00:02:33,320 Speaker 1: to slap any of these characters. 44 00:02:33,639 --> 00:02:36,400 Speaker 2: Well, here's the thing. The narrative doesn't just focus on 45 00:02:36,400 --> 00:02:40,639 Speaker 2: one character's perspective. We get inside the minds of Jojo, Leoni, 46 00:02:40,720 --> 00:02:43,320 Speaker 2: and even the ghosts themselves. And so we're hearing from 47 00:02:43,360 --> 00:02:46,200 Speaker 2: Jojo a little boy I feel immense sympathy for because 48 00:02:46,280 --> 00:02:50,360 Speaker 2: he's in this family that's highly dysfunctional, and he's painting 49 00:02:50,360 --> 00:02:53,800 Speaker 2: this picture of his mom is irresponsible and emotionally unavailable. 50 00:02:54,240 --> 00:02:55,320 Speaker 1: That is kind of sad. 51 00:02:55,680 --> 00:02:58,359 Speaker 2: Yeah, I felt so bad for Jojo, and Leoni had 52 00:02:58,400 --> 00:03:01,920 Speaker 2: her own trauma that was a contributing factor to the 53 00:03:01,919 --> 00:03:04,480 Speaker 2: way she's acting. So I do want to extend some 54 00:03:04,600 --> 00:03:07,359 Speaker 2: empathy her way. But what really got me is her 55 00:03:07,400 --> 00:03:10,320 Speaker 2: need for validation from white men and how that negatively 56 00:03:10,360 --> 00:03:11,360 Speaker 2: impacts her children. 57 00:03:11,720 --> 00:03:12,320 Speaker 1: Oh lot. 58 00:03:13,040 --> 00:03:16,600 Speaker 2: Okay, Soa Leoni's brother was killed by a white man 59 00:03:16,800 --> 00:03:20,079 Speaker 2: fifteen years prior to the story beginning. She has two 60 00:03:20,160 --> 00:03:23,919 Speaker 2: babies by the cousin of the white man who kills 61 00:03:23,919 --> 00:03:27,280 Speaker 2: her brother. Okay, like, out of all the people in 62 00:03:27,320 --> 00:03:30,760 Speaker 2: the world, that's who you choose. So her baby daddy's 63 00:03:30,800 --> 00:03:34,120 Speaker 2: in jail, which you know she happens, But the kid's 64 00:03:34,560 --> 00:03:38,080 Speaker 2: white grandfather is racist and makes it abundantly clear that 65 00:03:38,160 --> 00:03:40,200 Speaker 2: having black grandkids is unacceptable. 66 00:03:40,480 --> 00:03:43,080 Speaker 1: Okay, I do see how that's hard for Jojo. 67 00:03:43,720 --> 00:03:47,640 Speaker 2: I'm really sensitive about kids, even fictional ones. And Leoni's 68 00:03:47,640 --> 00:03:50,200 Speaker 2: brother was killed when she was a kid, which you 69 00:03:50,520 --> 00:03:53,360 Speaker 2: don't really know how something like that will affect someone, 70 00:03:53,840 --> 00:03:56,080 Speaker 2: but it's very clear to me that she's making sure 71 00:03:56,080 --> 00:04:00,200 Speaker 2: she passes down that generational trauma. Like, no circle are 72 00:04:00,240 --> 00:04:03,200 Speaker 2: being broken here, Let the circle. 73 00:04:02,920 --> 00:04:05,480 Speaker 1: Be a broken child. Sounds like you want to slap 74 00:04:05,520 --> 00:04:06,320 Speaker 1: some sense into her. 75 00:04:06,920 --> 00:04:09,000 Speaker 2: Yeah, that's true. I guess I don't have to put 76 00:04:09,040 --> 00:04:12,120 Speaker 2: the pause on her all the way. But there is 77 00:04:12,160 --> 00:04:14,680 Speaker 2: a character I believe there is no hope in talking 78 00:04:14,720 --> 00:04:19,280 Speaker 2: sense into them, so a Will Smith level slap is necessary. 79 00:04:19,880 --> 00:04:22,400 Speaker 1: Will Smith to smack the shit out of it. 80 00:04:22,400 --> 00:04:27,760 Speaker 2: A word, yep, I'll let you know who after the break, 81 00:04:41,400 --> 00:04:41,720 Speaker 2: all right? 82 00:04:41,880 --> 00:04:42,960 Speaker 1: Who is it? Who is it? 83 00:04:44,200 --> 00:04:46,160 Speaker 2: Okay? So I might be cheating a little bit because 84 00:04:46,160 --> 00:04:47,920 Speaker 2: this character actually does get slapped. 85 00:04:47,960 --> 00:04:48,800 Speaker 1: Definitely cheating. 86 00:04:49,200 --> 00:04:51,960 Speaker 2: But she only got slapped near the very end, and 87 00:04:52,040 --> 00:04:54,040 Speaker 2: how she was moving, she should have been slapped at 88 00:04:54,040 --> 00:04:58,000 Speaker 2: the beginning, middle and two times at the end. Drum 89 00:04:58,080 --> 00:05:04,760 Speaker 2: roll please. The Mom and Medea's family reunion played by 90 00:05:05,040 --> 00:05:09,080 Speaker 2: the Lynn Whitfield. And when I tell you Lynn Whitfield 91 00:05:09,080 --> 00:05:11,200 Speaker 2: can play a villain, I'm always going to put some 92 00:05:11,240 --> 00:05:14,000 Speaker 2: respect on her name. Because the way she could teach 93 00:05:14,080 --> 00:05:17,960 Speaker 2: an advance course on villain try at an ivy league. 94 00:05:18,200 --> 00:05:21,920 Speaker 1: It sounds like you would be the one leading that class, not. 95 00:05:21,920 --> 00:05:24,920 Speaker 2: Be being that villain. I'm speaking oie facts. The mom 96 00:05:25,000 --> 00:05:27,000 Speaker 2: whose name is Victoria in the movie really did her 97 00:05:27,040 --> 00:05:27,640 Speaker 2: kids dirty. 98 00:05:27,800 --> 00:05:28,800 Speaker 1: I'm seeing a pattern. 99 00:05:29,200 --> 00:05:34,240 Speaker 2: Ooh, you're right well. One, she offers one of her 100 00:05:34,320 --> 00:05:37,680 Speaker 2: daughters to her husband to sexually assault when she was 101 00:05:37,720 --> 00:05:41,239 Speaker 2: a little girl and shows literally no remorse. She tells 102 00:05:41,279 --> 00:05:43,520 Speaker 2: her she should feel good that she was able to 103 00:05:43,560 --> 00:05:47,000 Speaker 2: keep her family together by being assaulted. And two, she's 104 00:05:47,120 --> 00:05:49,920 Speaker 2: using her other daughter as a bank account, trying to 105 00:05:49,960 --> 00:05:51,799 Speaker 2: marry her off to an abusive, wealthy man. 106 00:05:52,279 --> 00:05:55,039 Speaker 1: So do you extend that same empathy to Victoria like 107 00:05:55,080 --> 00:05:57,680 Speaker 1: you did to Leone? Because I remember in that movie 108 00:05:57,800 --> 00:05:59,680 Speaker 1: Victoria says she had a rough childhood. 109 00:06:00,160 --> 00:06:02,640 Speaker 2: Yes, she did say her mother was neglectful and abusive. 110 00:06:02,760 --> 00:06:06,640 Speaker 2: But you know what I don't like at your big age, 111 00:06:06,800 --> 00:06:08,880 Speaker 2: you know what you're doing and you know it's wrong, 112 00:06:09,000 --> 00:06:11,600 Speaker 2: and you just don't care how it's impacting anybody else 113 00:06:11,640 --> 00:06:13,360 Speaker 2: as long as you feel like you're coming up at 114 00:06:13,360 --> 00:06:16,039 Speaker 2: the end of the day. And Lisa, the one who 115 00:06:16,200 --> 00:06:19,839 Speaker 2: was assaulted by her mom's husband as a child. Does 116 00:06:19,880 --> 00:06:22,240 Speaker 2: slap Victoria at the family reunion, but. 117 00:06:22,279 --> 00:06:23,000 Speaker 1: That maun loves you. 118 00:06:23,080 --> 00:06:24,320 Speaker 2: He's a damn food. 119 00:06:24,520 --> 00:06:26,000 Speaker 1: You are such a bitch. 120 00:06:31,880 --> 00:06:34,480 Speaker 2: But the other sister should have slapped her too, like 121 00:06:34,600 --> 00:06:36,080 Speaker 2: she was trying to get you to marry this fool 122 00:06:36,080 --> 00:06:39,000 Speaker 2: who's blackening your eye and busting your lip. It's payback time. 123 00:06:39,120 --> 00:06:42,160 Speaker 2: It's time to knuck and buck. So I'm curious which 124 00:06:42,160 --> 00:06:45,000 Speaker 2: fictional characters leave you wanting to give them a good 125 00:06:45,000 --> 00:06:46,400 Speaker 2: old fashioned. 126 00:06:47,080 --> 00:06:50,000 Speaker 1: My first vote is for Troy Maxon in August Wilson's 127 00:06:50,040 --> 00:06:51,240 Speaker 1: play Fences. 128 00:06:51,839 --> 00:06:54,239 Speaker 2: Ooh nah, that is a character who's easy to dislike. 129 00:06:54,880 --> 00:06:58,080 Speaker 1: Yeah, not a villain, not at all. But he is 130 00:06:58,160 --> 00:07:01,440 Speaker 1: not charming or agreeable. He had some odds stacked up 131 00:07:01,480 --> 00:07:03,840 Speaker 1: against him, and he had lived a tough life by 132 00:07:03,880 --> 00:07:05,480 Speaker 1: the time we get to know him in the nineteen 133 00:07:05,520 --> 00:07:09,280 Speaker 1: fifties and sixties Pittsburgh. But that doesn't change the fact 134 00:07:09,320 --> 00:07:13,520 Speaker 1: that he is high key annoying and makes some poor choices. 135 00:07:14,360 --> 00:07:15,400 Speaker 2: That's putting it nicely. 136 00:07:15,840 --> 00:07:18,600 Speaker 1: Look, Troy is kind of a mess, but he has 137 00:07:18,600 --> 00:07:21,160 Speaker 1: some weight on his shoulders, so I give him some grace, 138 00:07:21,680 --> 00:07:24,680 Speaker 1: but not enough to not want to slap him. To 139 00:07:24,680 --> 00:07:27,040 Speaker 1: be real, He's not the only character in the play 140 00:07:27,080 --> 00:07:29,720 Speaker 1: that made me smack my teeth more than once, but 141 00:07:30,000 --> 00:07:32,320 Speaker 1: he's the main source of my irritation in that story. 142 00:07:33,160 --> 00:07:35,600 Speaker 2: All right, So tell me what is it about him 143 00:07:35,600 --> 00:07:36,800 Speaker 2: that bothered you so much? 144 00:07:37,080 --> 00:07:40,400 Speaker 1: Okay, let me start with the easy one. So he's 145 00:07:40,440 --> 00:07:43,640 Speaker 1: been with his wife Rose for eighteen years, and he 146 00:07:43,680 --> 00:07:47,000 Speaker 1: has a baby with another woman, and he tells Rose 147 00:07:47,080 --> 00:07:49,520 Speaker 1: this at the same time he tells her that he's 148 00:07:49,600 --> 00:07:50,680 Speaker 1: having the affair. 149 00:07:50,960 --> 00:07:52,280 Speaker 2: Okay, just driving by. 150 00:07:53,760 --> 00:07:55,960 Speaker 1: Talking all this stuff about how the other woman makes 151 00:07:56,040 --> 00:07:59,600 Speaker 1: him laugh, he feels comfortable with her. The way that 152 00:07:59,640 --> 00:08:02,960 Speaker 1: commerce station goes, it's like a woe is me. I've 153 00:08:03,000 --> 00:08:05,640 Speaker 1: tried to live well and be a good husband, but 154 00:08:05,720 --> 00:08:08,480 Speaker 1: it's been hard being here with you, even though you've 155 00:08:08,520 --> 00:08:11,040 Speaker 1: been a good woman. And when she tries to say 156 00:08:11,040 --> 00:08:13,240 Speaker 1: her piece, when Rose does, when she talks about how 157 00:08:13,280 --> 00:08:15,200 Speaker 1: she's hurt, he gets mad. 158 00:08:16,000 --> 00:08:19,480 Speaker 2: It's giving gaslighting, absolutely girl. 159 00:08:19,640 --> 00:08:21,800 Speaker 1: And the scenes we see with him this deep into 160 00:08:21,800 --> 00:08:24,960 Speaker 1: his marriage to Rose, he's not super loving with her. 161 00:08:25,520 --> 00:08:28,960 Speaker 1: And his relationship with his son Corey. He was basically 162 00:08:28,960 --> 00:08:32,240 Speaker 1: holding that boy hostage. It's for sure coming from a 163 00:08:32,240 --> 00:08:35,520 Speaker 1: place of concern for Corey's future based on his own 164 00:08:35,559 --> 00:08:39,680 Speaker 1: negative experiences. But well intentioned doesn't always mean right. 165 00:08:39,760 --> 00:08:43,560 Speaker 2: Oh say that again, But well intentioned don't always mean right, okay, 166 00:08:43,840 --> 00:08:46,439 Speaker 2: and he tries to control his son's dreams and keep 167 00:08:46,520 --> 00:08:48,000 Speaker 2: him working the way that he wanted him to. 168 00:08:48,800 --> 00:08:51,240 Speaker 1: There's a moment when Corey tries to pass Troy on 169 00:08:51,280 --> 00:08:53,920 Speaker 1: the steps leading up to their front door, and Corey 170 00:08:53,960 --> 00:08:57,640 Speaker 1: doesn't say, excuse me. Troy's already on the outs and 171 00:08:57,679 --> 00:09:00,000 Speaker 1: outs with his family, and he's definitely in his feeling 172 00:09:00,280 --> 00:09:02,640 Speaker 1: and yearning for a power play, so he goes so 173 00:09:02,720 --> 00:09:06,480 Speaker 1: far us to tell his son, nigga, that's what you are. 174 00:09:06,520 --> 00:09:12,480 Speaker 2: You just just another nigga on the street to me. 175 00:09:13,120 --> 00:09:15,440 Speaker 1: Corey ends up trying to hit Troy with his own back, 176 00:09:15,600 --> 00:09:20,600 Speaker 1: but he couldn't take the swing. Dun Corey, that nigga right. 177 00:09:20,760 --> 00:09:23,120 Speaker 1: He tried to, he couldn't do it. I know, I'm 178 00:09:23,120 --> 00:09:26,000 Speaker 1: with you, kitty, What can I say? The play starts 179 00:09:26,000 --> 00:09:28,080 Speaker 1: with the August Wilson quote. When the sins of our 180 00:09:28,120 --> 00:09:30,600 Speaker 1: fathers visit us, we do not have to play host. 181 00:09:31,000 --> 00:09:33,480 Speaker 1: We can banish them with forgiveness. As God, in his 182 00:09:33,640 --> 00:09:34,880 Speaker 1: largeness and loss. 183 00:09:35,800 --> 00:09:37,640 Speaker 2: So we should know that somebody in this story is 184 00:09:37,640 --> 00:09:40,079 Speaker 2: going to test our nerves like from the very beginning. 185 00:09:40,000 --> 00:09:42,000 Speaker 1: And did Wilson Moore does? Now? 186 00:09:42,720 --> 00:09:45,920 Speaker 2: So who else made you feel like a loving backhand 187 00:09:45,960 --> 00:09:46,480 Speaker 2: was in order? 188 00:09:47,120 --> 00:09:49,480 Speaker 1: Well, we got to take a quick break first, but 189 00:09:49,559 --> 00:09:52,360 Speaker 1: when we come back, we'll get into the last character 190 00:09:52,440 --> 00:10:08,160 Speaker 1: on our list that brings up them fighting feelings. Now, 191 00:10:08,160 --> 00:10:11,400 Speaker 1: this last character is from another classic work, this time 192 00:10:11,520 --> 00:10:12,520 Speaker 1: from the seventies. 193 00:10:12,760 --> 00:10:16,719 Speaker 2: Ooh, a golden era that it was, especially in R 194 00:10:16,800 --> 00:10:20,319 Speaker 2: and B. All the romance, the breakups, the broken hearts, 195 00:10:20,360 --> 00:10:23,200 Speaker 2: the dramas, the fights. Seventies R and B is full 196 00:10:23,320 --> 00:10:24,520 Speaker 2: of dramatic love stories. 197 00:10:24,600 --> 00:10:27,720 Speaker 1: M hm. So you know it's no stranger to the lying, 198 00:10:28,000 --> 00:10:29,320 Speaker 1: cheating significant other. 199 00:10:30,040 --> 00:10:32,520 Speaker 2: Uh oh, give us the last character. 200 00:10:32,240 --> 00:10:34,800 Speaker 1: Now, okay, if you haven't seen it already, there is 201 00:10:34,920 --> 00:10:38,439 Speaker 1: quite a pattern and both of our choices here. So 202 00:10:38,840 --> 00:10:42,280 Speaker 1: my last choice is Sureley in the song Woman to Woman. 203 00:10:45,000 --> 00:10:49,600 Speaker 2: Ain't it the same thing? You know what? Okay? 204 00:10:50,040 --> 00:10:53,199 Speaker 1: By Shirley Brown. So I think some of the kids 205 00:10:53,200 --> 00:10:55,440 Speaker 1: these days might call her a pick me. 206 00:10:56,080 --> 00:11:01,920 Speaker 2: Oh yeah, I mean, in my opinion, both of them 207 00:11:01,920 --> 00:11:05,240 Speaker 2: were pigmies, both of them, both Shirley and Barbara. 208 00:11:05,320 --> 00:11:07,240 Speaker 1: Oh, Shirley and Barbara and the song were both picknies. 209 00:11:07,360 --> 00:11:10,760 Speaker 2: Absolutely, yeah, yeah, okay, yes, I agree with you. 210 00:11:11,120 --> 00:11:13,600 Speaker 1: But she was also a very complex person with a 211 00:11:13,600 --> 00:11:15,920 Speaker 1: lot of feelings. She was a woman in love. She 212 00:11:16,120 --> 00:11:20,079 Speaker 1: was deeply hurt, deeply troubled, but she was still faithful 213 00:11:20,160 --> 00:11:21,640 Speaker 1: to her two time and man. 214 00:11:22,520 --> 00:11:24,880 Speaker 2: Yeah, I mean, how could I forget? Shirley picked off 215 00:11:24,880 --> 00:11:27,360 Speaker 2: her phone and called the other woman. 216 00:11:28,920 --> 00:11:35,120 Speaker 1: Yep, wrung her and said, then proceeded to tell Barbara 217 00:11:35,200 --> 00:11:37,400 Speaker 1: how she was going through her man's pockets and found 218 00:11:37,440 --> 00:11:41,960 Speaker 1: her name and number. Very bold, yes, But then Shirley 219 00:11:42,000 --> 00:11:45,960 Speaker 1: went on to tell Barbara how she's basically this man's lifeline. 220 00:11:46,160 --> 00:11:50,920 Speaker 1: She buys his clothes, his food, his bed, and she 221 00:11:50,960 --> 00:11:52,600 Speaker 1: pays his car note every month. 222 00:11:53,320 --> 00:11:56,040 Speaker 2: Okay, daddy wore books stop. 223 00:11:55,800 --> 00:11:58,520 Speaker 1: Playing, but for real, she said, she wasn't gonna give 224 00:11:58,600 --> 00:12:01,559 Speaker 1: him up. He's hers, and she wasn't gonna let Barbara 225 00:12:01,640 --> 00:12:03,640 Speaker 1: break up her happy home. 226 00:12:04,160 --> 00:12:07,320 Speaker 2: Happy is doing a lot of work there. Hey, Shirley's words, 227 00:12:07,480 --> 00:12:10,800 Speaker 2: not mine. She also asked, Barbara, wouldn't you have done 228 00:12:10,800 --> 00:12:14,040 Speaker 2: the same thing? Okay, So Barbara Mason had a few 229 00:12:14,080 --> 00:12:16,559 Speaker 2: of her own choice words in her own song from 230 00:12:16,640 --> 00:12:22,640 Speaker 2: his Woman to You. Wait, I did not know that 231 00:12:22,679 --> 00:12:25,559 Speaker 2: she had a response. They were they were going back 232 00:12:25,600 --> 00:12:28,079 Speaker 2: and forth. Yes, I wonder, Wait was this true story? 233 00:12:28,280 --> 00:12:30,680 Speaker 1: No, it wasn't. No, this was made up by writers. 234 00:12:32,480 --> 00:12:33,920 Speaker 1: I think it was kind of one of those things like, oh, 235 00:12:34,000 --> 00:12:36,720 Speaker 1: it's a universal experience that a lot of people have. 236 00:12:37,080 --> 00:12:39,680 Speaker 1: But it wasn't based on something that actually happened in 237 00:12:39,720 --> 00:12:40,600 Speaker 1: their two lives. 238 00:12:40,760 --> 00:12:43,280 Speaker 2: Okay, So they wasn't going like bar for Bara would 239 00:12:43,280 --> 00:12:43,480 Speaker 2: each other. 240 00:12:44,040 --> 00:12:46,160 Speaker 1: It wasn't. It wasn't any kind of battle R and 241 00:12:46,240 --> 00:12:47,280 Speaker 1: B situation. 242 00:12:47,080 --> 00:12:50,080 Speaker 2: Okay, because that would have been a real messy, real tea. 243 00:12:50,520 --> 00:12:53,439 Speaker 1: Yes, but Barbara Mason did come back with the heat now, okay, 244 00:12:53,520 --> 00:12:56,760 Speaker 1: because she has some stuff to say. So, as you 245 00:12:56,840 --> 00:12:58,679 Speaker 1: can tell by the title of the song, she was 246 00:12:58,720 --> 00:13:02,120 Speaker 1: claiming him too. From is woman to you she was like, 247 00:13:02,679 --> 00:13:04,319 Speaker 1: I'm his woman. Now you got it wrong. It's a 248 00:13:04,440 --> 00:13:08,839 Speaker 1: rich text, yes, yes, ma'am. And Barbara was cold. She 249 00:13:08,960 --> 00:13:12,240 Speaker 1: said that she was broke but and I quote, he's 250 00:13:12,320 --> 00:13:14,719 Speaker 1: been giving me what he's getting from you. 251 00:13:15,040 --> 00:13:19,199 Speaker 2: Okay, that have pissed me off, And yes. 252 00:13:19,160 --> 00:13:21,120 Speaker 1: It would have pissed me off too, But she was 253 00:13:21,200 --> 00:13:24,000 Speaker 1: really bold about it. Barbara, she went and put salt 254 00:13:24,040 --> 00:13:26,640 Speaker 1: on the womb. I feel bad for Shirley, I really do. 255 00:13:27,280 --> 00:13:30,160 Speaker 1: This man is a silent third party in Woman to Woman. 256 00:13:30,280 --> 00:13:33,040 Speaker 2: Wait, he didn't have his own track like it's two by. 257 00:13:33,080 --> 00:13:40,560 Speaker 1: Bitch, not that I know of. That might be somewhere 258 00:13:40,679 --> 00:13:43,839 Speaker 1: in the cannon that I'm unfamiliar with. I've never heard it, 259 00:13:43,920 --> 00:13:45,520 Speaker 1: but if the people want to correct me about that, 260 00:13:45,679 --> 00:13:49,120 Speaker 1: they can do so. They also never said this man's name, 261 00:13:49,600 --> 00:13:51,760 Speaker 1: so I'm guessing they wouldn't because they went with Shirley 262 00:13:51,800 --> 00:13:54,840 Speaker 1: and Barbara, but they didn't say They didn't say his name, 263 00:13:55,360 --> 00:13:58,199 Speaker 1: which they gave him more length than they should have 264 00:13:58,559 --> 00:14:00,439 Speaker 1: because out that man out him. 265 00:14:00,720 --> 00:14:04,839 Speaker 2: Okay, they said, we know his name, yes, and we 266 00:14:05,000 --> 00:14:07,040 Speaker 2: know he ain't no good, so I'm not letting him 267 00:14:07,080 --> 00:14:08,000 Speaker 2: off the hook here. 268 00:14:08,360 --> 00:14:11,360 Speaker 1: Okay. Shirley said that the best of her years went 269 00:14:11,440 --> 00:14:14,000 Speaker 1: to him, and it sounded like she was singing to 270 00:14:14,120 --> 00:14:17,760 Speaker 1: convince herself that she had control over the situation, which 271 00:14:17,840 --> 00:14:22,400 Speaker 1: honestly makes me pretty sad thinking about, like the emotions 272 00:14:22,400 --> 00:14:25,080 Speaker 1: were really coming out in that song. But I still 273 00:14:25,120 --> 00:14:25,720 Speaker 1: want to slapper. 274 00:14:26,040 --> 00:14:26,200 Speaker 2: Hey. 275 00:14:26,760 --> 00:14:29,440 Speaker 1: I know I don't know the whole story, but Sureley 276 00:14:29,800 --> 00:14:33,200 Speaker 1: truly she played herself, calling Barbara and claiming. 277 00:14:32,960 --> 00:14:36,640 Speaker 2: That man play stupid games, win stupid prizes. 278 00:14:36,880 --> 00:14:39,400 Speaker 1: Mm hmm, make a move that Bowld. Gotta be prepared 279 00:14:39,760 --> 00:14:41,120 Speaker 1: for whatever may come your way. 280 00:14:42,840 --> 00:14:48,360 Speaker 2: Okay, So it's interesting the ones we picked that, Yeah, because. 281 00:14:48,120 --> 00:14:50,440 Speaker 1: Most of yours had to do with mistreatment of children. 282 00:14:50,560 --> 00:14:56,119 Speaker 2: Yes, was about ancient men and women. 283 00:14:56,240 --> 00:14:58,160 Speaker 1: Which has nothing to do with my real life. I 284 00:14:58,240 --> 00:15:01,040 Speaker 1: must say, I've never experienced in such situation. 285 00:15:01,760 --> 00:15:03,400 Speaker 2: But why do you think like those are the two 286 00:15:03,480 --> 00:15:05,120 Speaker 2: examples that really stood out to you. 287 00:15:06,320 --> 00:15:12,680 Speaker 1: I think it's because it's insidious, like it's a betrayal, 288 00:15:13,040 --> 00:15:16,120 Speaker 1: and I think betrayals make really great stories and they 289 00:15:16,160 --> 00:15:19,560 Speaker 1: also make really salacious stories. So there's romance involved, there's 290 00:15:19,600 --> 00:15:23,600 Speaker 1: sex involved, there's like companionship involved. So it's also like 291 00:15:24,760 --> 00:15:29,000 Speaker 1: there is another layer of deep friendship underneath all of that. 292 00:15:29,240 --> 00:15:31,400 Speaker 1: So there's like a good story in here somewhere, because 293 00:15:31,720 --> 00:15:34,640 Speaker 1: clearly Shirley had some good years with this man. So 294 00:15:34,760 --> 00:15:38,040 Speaker 1: I feel like, I mean, I love a good character study, 295 00:15:39,720 --> 00:15:44,400 Speaker 1: and I feel like I may I don't know if 296 00:15:44,440 --> 00:15:46,280 Speaker 1: I really know the answer to it, but I feel 297 00:15:46,320 --> 00:15:47,960 Speaker 1: like I may have picked both of these that are 298 00:15:48,000 --> 00:15:52,800 Speaker 1: similar just because they're so deeply hurtful, I guess, and 299 00:15:52,960 --> 00:15:54,760 Speaker 1: that's why what would make me want to slap these people, 300 00:15:54,880 --> 00:15:57,800 Speaker 1: like don't you don't you know better? Can't you do better? 301 00:15:58,440 --> 00:15:59,920 Speaker 1: Haven't you been thinking at all? 302 00:16:00,520 --> 00:16:00,760 Speaker 2: Hmm? 303 00:16:01,400 --> 00:16:03,760 Speaker 1: Okay, but maybe we can go deeper. But you tell me, 304 00:16:04,480 --> 00:16:06,400 Speaker 1: you tell me why you think he chose the ones 305 00:16:06,480 --> 00:16:07,600 Speaker 1: you did well. 306 00:16:07,720 --> 00:16:09,960 Speaker 2: I think kind of the opposite of you, Like your 307 00:16:10,320 --> 00:16:12,560 Speaker 2: examples are people that are like choosing to be in 308 00:16:13,040 --> 00:16:16,200 Speaker 2: relationship with each other, and then mine are like, I mean, 309 00:16:16,560 --> 00:16:17,920 Speaker 2: at a certain point, you can choose to be in 310 00:16:18,000 --> 00:16:20,920 Speaker 2: relationship with your parents, but as a child, you really 311 00:16:21,000 --> 00:16:24,280 Speaker 2: don't have that agency. And so Jojo definitely doesn't have 312 00:16:24,320 --> 00:16:26,880 Speaker 2: that agency. He's still in the house with Leoni. In 313 00:16:26,920 --> 00:16:29,560 Speaker 2: the Tyler Perry example, the kids are grown, but the 314 00:16:29,720 --> 00:16:32,960 Speaker 2: mom is very much like trying to control a lot 315 00:16:33,000 --> 00:16:36,960 Speaker 2: of things still, And so I think that is interesting 316 00:16:37,040 --> 00:16:40,720 Speaker 2: to me. It's like how people who are in positions 317 00:16:40,760 --> 00:16:44,240 Speaker 2: of power treat others, especially those that you would think, oh, 318 00:16:44,240 --> 00:16:46,480 Speaker 2: they're supposed to have like this unconditional love for them, 319 00:16:46,880 --> 00:16:49,840 Speaker 2: but really you see them looking out for themselves first. 320 00:16:50,240 --> 00:16:54,720 Speaker 2: And I don't even think Leoni necessarily is malicious because 321 00:16:54,720 --> 00:16:56,760 Speaker 2: she just has like so much other shit going on. 322 00:16:57,080 --> 00:16:59,320 Speaker 2: You know, she's addicted to drugs. She's like literally seeing 323 00:16:59,320 --> 00:17:02,880 Speaker 2: the ghost of her murdered brother. You know, maybe if 324 00:17:03,120 --> 00:17:05,160 Speaker 2: that was me, I wouldn't be the best mother either. 325 00:17:06,000 --> 00:17:08,800 Speaker 2: So it makes sense. But then you think, like, Okay, well, 326 00:17:09,480 --> 00:17:11,720 Speaker 2: at a certain point, Jojo has no choice in the 327 00:17:11,800 --> 00:17:16,600 Speaker 2: matter when leone, you know, as an adult who chose 328 00:17:16,680 --> 00:17:19,159 Speaker 2: to be with the man she wit, you know what 329 00:17:19,200 --> 00:17:22,560 Speaker 2: I'm saying, you know, chose to be into the stuff 330 00:17:22,600 --> 00:17:25,200 Speaker 2: she's in two as far as like the recreational drugs 331 00:17:25,200 --> 00:17:27,760 Speaker 2: she's in two. So I think what's interesting to me 332 00:17:27,920 --> 00:17:31,280 Speaker 2: is like the choice or lack thereof in those stories. 333 00:17:32,160 --> 00:17:34,600 Speaker 1: And the children are innocent parties in all of this. 334 00:17:35,119 --> 00:17:38,200 Speaker 2: Yeah, I think more innocent. I do think in the 335 00:17:38,320 --> 00:17:41,480 Speaker 2: media example, which you know how I feel about media, 336 00:17:42,600 --> 00:17:43,280 Speaker 2: I do, But do. 337 00:17:43,359 --> 00:17:46,359 Speaker 1: The people know how you feel about media talk about it. 338 00:17:46,560 --> 00:17:49,640 Speaker 2: I think the bougie blacks have gotten on the bandwagon 339 00:17:49,960 --> 00:17:53,280 Speaker 2: of not liking Medea, and for good reason. 340 00:17:55,320 --> 00:17:55,960 Speaker 1: Let's start there. 341 00:17:56,080 --> 00:17:58,359 Speaker 2: I a go I ain't gonna hold you for good reason. 342 00:17:58,480 --> 00:18:01,920 Speaker 2: Some of the some of the movies are terrible. I 343 00:18:02,080 --> 00:18:06,160 Speaker 2: tried to watch the Halloween movies boo. Yeah, I don't 344 00:18:06,200 --> 00:18:08,160 Speaker 2: even I don't even know if it's Madea's hallween or boo, 345 00:18:08,280 --> 00:18:10,840 Speaker 2: whatever it's called. I tried to watch that terrible, could 346 00:18:10,880 --> 00:18:13,440 Speaker 2: not watch it. So some of them are just like 347 00:18:13,560 --> 00:18:16,200 Speaker 2: money grabs. But I do think his earlier works he 348 00:18:16,320 --> 00:18:18,920 Speaker 2: was trying. I do think Wndia's Family he was trying. 349 00:18:18,960 --> 00:18:22,399 Speaker 2: There was a lot going on in the story. He wrote, 350 00:18:23,040 --> 00:18:25,680 Speaker 2: produced and starred them, so it's a lot of work 351 00:18:26,480 --> 00:18:29,800 Speaker 2: very you know, into the movies. But in the Tyler 352 00:18:29,840 --> 00:18:32,159 Speaker 2: Perry example, I do think because the kids are older 353 00:18:32,320 --> 00:18:35,000 Speaker 2: and like you would think, just like girl, you and 354 00:18:35,080 --> 00:18:37,760 Speaker 2: yo mid thirties, like stand up, you know what I mean. 355 00:18:38,359 --> 00:18:41,200 Speaker 2: But in the same token, they could really be stuck 356 00:18:41,400 --> 00:18:45,800 Speaker 2: in that childlike mindset around their mom, just like letting 357 00:18:45,880 --> 00:18:48,000 Speaker 2: her just do anything and like run the show and 358 00:18:48,080 --> 00:18:51,399 Speaker 2: like abuse them in these like really hurtful ways, just 359 00:18:51,480 --> 00:18:55,159 Speaker 2: because that's what the dynamic they already set up. So 360 00:18:55,359 --> 00:18:57,480 Speaker 2: it's kind of sad to see you just like continuing on. 361 00:18:58,880 --> 00:19:02,240 Speaker 2: But the mom definitely used to get yes again. 362 00:19:04,520 --> 00:19:08,679 Speaker 1: Yeah, I don't know, there's something that's rewarding about feeling 363 00:19:08,680 --> 00:19:09,880 Speaker 1: that way about a character too. 364 00:19:10,680 --> 00:19:14,240 Speaker 2: Yeah, but Lynn Whitfield. I think like she will bring 365 00:19:14,320 --> 00:19:17,000 Speaker 2: that out of you. I feel like, even if the 366 00:19:17,960 --> 00:19:20,920 Speaker 2: character isn't a bad person, I don't think I've seen 367 00:19:20,960 --> 00:19:23,920 Speaker 2: her play like a really nice character. No, she'd be mean. 368 00:19:24,280 --> 00:19:25,440 Speaker 1: She know how to do it well too. 369 00:19:25,560 --> 00:19:27,640 Speaker 2: She's been typecasted, but she'd be playing her role. 370 00:19:27,840 --> 00:19:28,520 Speaker 1: Yeah, so. 371 00:19:30,480 --> 00:19:31,320 Speaker 2: Go miss wild. 372 00:19:31,760 --> 00:19:34,280 Speaker 1: But yeah, I think your examples are a lot more 373 00:19:34,359 --> 00:19:37,480 Speaker 1: noble than mine are, because I guess I'm I feel 374 00:19:37,480 --> 00:19:40,040 Speaker 1: like I'm expecting too much out of people for mine 375 00:19:40,240 --> 00:19:44,680 Speaker 1: to be like you knew better and you should have 376 00:19:44,760 --> 00:19:48,320 Speaker 1: done better, but like also understanding that they're flawed. So 377 00:19:49,000 --> 00:19:52,520 Speaker 1: for the people in my instances, I wanted to slap 378 00:19:52,640 --> 00:19:57,600 Speaker 1: Troy because he just did some stupid stuff and he 379 00:19:57,720 --> 00:19:59,960 Speaker 1: knew better, and it was clear that he did because 380 00:20:00,240 --> 00:20:04,159 Speaker 1: throughout the whole play in Fensis, Troy was talking to 381 00:20:04,280 --> 00:20:07,639 Speaker 1: his friend being like, yeah, I ain't doing nothing with 382 00:20:07,760 --> 00:20:10,280 Speaker 1: that woman, Like he tried to deny it for so long. 383 00:20:11,480 --> 00:20:14,160 Speaker 2: So it's like, if you really thought nothing was wrong, 384 00:20:14,240 --> 00:20:15,760 Speaker 2: then why are you lying? Why are you trying to 385 00:20:15,800 --> 00:20:16,520 Speaker 2: cover your tracks? 386 00:20:16,680 --> 00:20:20,520 Speaker 1: Yeah? Why? But it's like people do that all the time, 387 00:20:21,240 --> 00:20:24,359 Speaker 1: and it's because he knew that the consequences wouldn't be great, 388 00:20:24,560 --> 00:20:27,320 Speaker 1: But he wasn't. He didn't have enough integrity to face 389 00:20:27,440 --> 00:20:30,600 Speaker 1: up to like what he did and the consequences of 390 00:20:30,640 --> 00:20:32,840 Speaker 1: the thing that he did and he knew was wrong 391 00:20:33,400 --> 00:20:34,040 Speaker 1: from the jump. 392 00:20:34,480 --> 00:20:36,440 Speaker 2: Yeah, if you really that nigga Union got a lie 393 00:20:37,400 --> 00:20:37,760 Speaker 2: and there. 394 00:20:37,800 --> 00:20:40,560 Speaker 1: Was nothing, there's no impediment for him, like I feel 395 00:20:40,560 --> 00:20:42,480 Speaker 1: like there is for the people in your stories and 396 00:20:42,600 --> 00:20:44,760 Speaker 1: what they were going through and the reasons why they 397 00:20:44,840 --> 00:20:47,720 Speaker 1: acted as they did. Maybe not none, but just like 398 00:20:47,800 --> 00:20:52,239 Speaker 1: in comparison to Troy, his choice to not tell her 399 00:20:52,400 --> 00:20:55,399 Speaker 1: was a lot less challenged by other things going on 400 00:20:55,520 --> 00:20:58,800 Speaker 1: in his life. What you mean? He wasn't addicted to 401 00:20:58,840 --> 00:21:02,600 Speaker 1: any substances. He lived a good home life, His wife 402 00:21:02,960 --> 00:21:06,280 Speaker 1: Rose treated him well, he lived with his children, He 403 00:21:06,359 --> 00:21:08,200 Speaker 1: had gotten out of prison after being in prison for 404 00:21:08,280 --> 00:21:12,119 Speaker 1: a long time and claimed to have turned his ways around. 405 00:21:13,160 --> 00:21:18,879 Speaker 1: So there really wasn't much in his way to like 406 00:21:19,200 --> 00:21:21,200 Speaker 1: even cheat on her in the first place, but also 407 00:21:21,400 --> 00:21:25,119 Speaker 1: to not tell her in a way that like you 408 00:21:25,280 --> 00:21:26,920 Speaker 1: just need to you need to do what you gotta do. 409 00:21:27,119 --> 00:21:32,600 Speaker 1: You gotta you gotta step up. Why you not? So? 410 00:21:33,200 --> 00:21:35,240 Speaker 2: I know for me in real life, like if I 411 00:21:35,280 --> 00:21:38,320 Speaker 2: see someone mistreating a kid, like I'm ready to go 412 00:21:38,440 --> 00:21:40,639 Speaker 2: to war for it. Are you the same way as 413 00:21:40,800 --> 00:21:44,560 Speaker 2: when you see like someone being unfaithful? Are you like 414 00:21:44,640 --> 00:21:50,520 Speaker 2: ready to slap that person? No, probably not in real life, 415 00:21:50,920 --> 00:21:52,600 Speaker 2: or like not ready to slap them, But do you 416 00:21:52,680 --> 00:21:54,880 Speaker 2: not feel any type of way? Do you feel away 417 00:21:54,920 --> 00:21:56,680 Speaker 2: when you see that? Or it's just like I'm on 418 00:21:56,760 --> 00:21:57,280 Speaker 2: my business. 419 00:21:58,600 --> 00:22:01,040 Speaker 1: If it's somebody I know close, then I would say 420 00:22:01,359 --> 00:22:06,920 Speaker 1: I definitely am judging that person, but I also understand 421 00:22:07,080 --> 00:22:11,399 Speaker 1: that we don't always make logical decisions, and that also 422 00:22:12,040 --> 00:22:17,399 Speaker 1: I'm not their partner, so their tolerances for cheating might 423 00:22:17,440 --> 00:22:21,000 Speaker 1: be completely different than mine are. So like, who am 424 00:22:21,040 --> 00:22:23,320 Speaker 1: I to say that for the other person? 425 00:22:23,400 --> 00:22:25,680 Speaker 2: At least so you'll judge them and not say nothing. 426 00:22:26,240 --> 00:22:29,359 Speaker 2: Probably so, depending on how deep it is, though, Like 427 00:22:29,480 --> 00:22:31,359 Speaker 2: if it's a friend who's coming to me over and 428 00:22:31,480 --> 00:22:36,560 Speaker 2: over telling me about their cheating trials, then it might 429 00:22:36,640 --> 00:22:40,000 Speaker 2: be different. But I haven't experienced that, so you'll know 430 00:22:40,440 --> 00:22:43,320 Speaker 2: how it would manifest in the real world. 431 00:22:43,600 --> 00:22:43,800 Speaker 1: Yeah. 432 00:22:44,840 --> 00:22:47,800 Speaker 2: I think what's interesting in the examples of who we 433 00:22:47,920 --> 00:22:50,639 Speaker 2: wanted to slap it was because of how they were 434 00:22:50,680 --> 00:22:53,679 Speaker 2: treating other people, So it really could have also been 435 00:22:53,720 --> 00:22:56,480 Speaker 2: like who we wanted to hug because like, I really 436 00:22:56,800 --> 00:22:59,840 Speaker 2: want to hug Jojo and be like, oh baby, it's okay. 437 00:23:00,800 --> 00:23:03,879 Speaker 2: And the daughters in the Tyler Perry movie it's like 438 00:23:04,480 --> 00:23:06,800 Speaker 2: kind of like girl like, yeah, I have to deal 439 00:23:06,840 --> 00:23:08,840 Speaker 2: with this, you know, like really talk to them and stuff. 440 00:23:09,160 --> 00:23:11,920 Speaker 2: And it seems like it might be similar with with 441 00:23:12,080 --> 00:23:15,119 Speaker 2: your examples with Rose, like would you want to like 442 00:23:16,000 --> 00:23:18,880 Speaker 2: hug Rows and be like Jysis. 443 00:23:19,400 --> 00:23:21,720 Speaker 1: Yeah, I would definitely want to hug Rows. She put 444 00:23:21,800 --> 00:23:24,240 Speaker 1: up with a lot, she was there through it all. 445 00:23:25,040 --> 00:23:28,200 Speaker 1: She was there after Troy's death. She was there for 446 00:23:28,359 --> 00:23:31,639 Speaker 1: his child, mind you, which I didn't mention. Yeah, for 447 00:23:31,760 --> 00:23:33,840 Speaker 1: the people who don't know, she raised his child that 448 00:23:33,920 --> 00:23:35,040 Speaker 1: he had with the other woman. 449 00:23:36,240 --> 00:23:38,360 Speaker 2: I feel like that's kind of normal though. 450 00:23:39,200 --> 00:23:42,040 Speaker 1: I mean, this is one of those child situations like. 451 00:23:42,400 --> 00:23:44,000 Speaker 2: Yeah, because like what are you gonna do put a 452 00:23:44,040 --> 00:23:46,000 Speaker 2: baby on a fucking cardboard box on the side of 453 00:23:46,040 --> 00:23:46,360 Speaker 2: the road. 454 00:23:47,000 --> 00:23:55,159 Speaker 1: Some people, Yeah, I ain't done nothing, didn't deserve it, 455 00:23:56,480 --> 00:23:58,840 Speaker 1: So yes, it made sense. But she was here for 456 00:23:58,960 --> 00:24:02,320 Speaker 1: it very quickly, Like in the in the play, he 457 00:24:02,520 --> 00:24:05,240 Speaker 1: was like, well, what, I gotta go get the baby, 458 00:24:05,320 --> 00:24:07,080 Speaker 1: I gotta raise the baby, and she was like, I 459 00:24:07,119 --> 00:24:09,840 Speaker 1: ain't fucking with you when I'm fucking with that baby 460 00:24:10,600 --> 00:24:12,480 Speaker 1: in that moment, and I was like, I don't know 461 00:24:12,520 --> 00:24:16,840 Speaker 1: if I would have had it in me to so 462 00:24:18,040 --> 00:24:21,720 Speaker 1: self assured, so composed and so thoughtful in that moment. 463 00:24:22,520 --> 00:24:24,480 Speaker 1: And that's how she was, That's how her character was. 464 00:24:26,040 --> 00:24:28,000 Speaker 1: She was used to his ship, but an affair is 465 00:24:28,000 --> 00:24:32,600 Speaker 1: a different level. And that was still new news. You said, 466 00:24:33,000 --> 00:24:35,360 Speaker 1: it just starts compounding and it gets easier and easier 467 00:24:35,440 --> 00:24:40,560 Speaker 1: over time to just yes, that's settling. 468 00:24:47,080 --> 00:24:49,760 Speaker 2: And now it's time for roll credits, where we give 469 00:24:49,880 --> 00:24:52,520 Speaker 2: credit to a person, place, or a thing that we've 470 00:24:52,680 --> 00:24:56,399 Speaker 2: encountered during the week. Eaves, who are what would you 471 00:24:56,680 --> 00:24:58,200 Speaker 2: like to give credit to today? 472 00:24:58,200 --> 00:25:00,080 Speaker 1: I want to give credit to walking. Walking. It is 473 00:25:00,160 --> 00:25:02,600 Speaker 1: something that's so accessible, it's easy to do every day. 474 00:25:02,840 --> 00:25:06,840 Speaker 1: It's good for our health, it's easy to do from anywhere. 475 00:25:07,440 --> 00:25:09,679 Speaker 1: It doesn't take a lot for me to get up 476 00:25:09,720 --> 00:25:13,760 Speaker 1: and want to go and walk, and it's really it 477 00:25:13,800 --> 00:25:16,760 Speaker 1: can be meditative as well. So that's what I want 478 00:25:16,760 --> 00:25:19,879 Speaker 1: to give credit to you today. Nice, I too like 479 00:25:19,960 --> 00:25:20,280 Speaker 1: to walk. 480 00:25:21,080 --> 00:25:23,480 Speaker 2: It's been a little cult for me though, because I 481 00:25:23,600 --> 00:25:25,320 Speaker 2: like to walk in the morning, but when it's like 482 00:25:25,600 --> 00:25:28,320 Speaker 2: in the twenties. I'm gonna hold on to that bed. 483 00:25:29,119 --> 00:25:31,000 Speaker 1: Hold on tight, I'm a hold Oh. 484 00:25:32,119 --> 00:25:37,359 Speaker 2: I would like to give credit to libraries. They're just 485 00:25:37,440 --> 00:25:41,800 Speaker 2: really great and your girl be running through a library. 486 00:25:42,520 --> 00:25:44,520 Speaker 2: I love a library. I love getting a book. And 487 00:25:44,560 --> 00:25:46,080 Speaker 2: I'm a little receipt. They tell you how much money 488 00:25:46,080 --> 00:25:48,920 Speaker 2: you saved, You're like, yes, and you know what. I 489 00:25:49,119 --> 00:25:52,640 Speaker 2: encourage everyone to get a library card, even if you're 490 00:25:52,680 --> 00:25:55,200 Speaker 2: not really going to the library like that. They based 491 00:25:55,240 --> 00:25:59,080 Speaker 2: the funding in part on how many people are signing 492 00:25:59,160 --> 00:26:03,040 Speaker 2: up for library cards, like renewing their library cards. I 493 00:26:03,119 --> 00:26:06,119 Speaker 2: have library card at multiple cities. Don't tell nobody I 494 00:26:06,200 --> 00:26:07,800 Speaker 2: got DC New York. 495 00:26:08,200 --> 00:26:12,480 Speaker 1: Do it then wherever you go library cards and different 496 00:26:12,480 --> 00:26:13,119 Speaker 1: area codes. 497 00:26:13,320 --> 00:26:15,760 Speaker 2: Yeah, because even when you're traveling, like say you're traveling 498 00:26:15,800 --> 00:26:17,240 Speaker 2: somewhere for like a week or two, I think you 499 00:26:17,320 --> 00:26:20,600 Speaker 2: can get like a little guests library cards. And they 500 00:26:20,640 --> 00:26:23,720 Speaker 2: don't just have books, you know, they have music, movies, puzzles. 501 00:26:24,240 --> 00:26:29,000 Speaker 2: Some places with real good libraries be having appliances and 502 00:26:29,359 --> 00:26:32,560 Speaker 2: yard equipment and stuff like that. So yeah, shout out 503 00:26:32,560 --> 00:26:34,840 Speaker 2: to the local libraries period. 504 00:26:35,160 --> 00:26:37,400 Speaker 1: Yes, all the resources and cultural passes too. 505 00:26:37,760 --> 00:26:39,159 Speaker 2: Oh yeah, you can go to the zoo. You can 506 00:26:39,160 --> 00:26:42,720 Speaker 2: go to museums. Lots of stuff going on. Oh yes, 507 00:26:42,840 --> 00:26:45,520 Speaker 2: the parks, lots and lots of stuff going on. To 508 00:26:45,640 --> 00:26:49,760 Speaker 2: the library. They have classes there, they have book clubs there, 509 00:26:50,520 --> 00:26:54,879 Speaker 2: podcast clubs, podcast clubs there, usually the people too. 510 00:26:55,560 --> 00:26:59,800 Speaker 1: If you like a recommendations will provide recommendations that are 511 00:27:00,080 --> 00:27:02,280 Speaker 1: tune too different things that are going on during the year, 512 00:27:02,400 --> 00:27:06,120 Speaker 1: like Native American Heritage months are if it's around Halloween, 513 00:27:06,200 --> 00:27:07,920 Speaker 1: it will be spooky recommendations. 514 00:27:08,040 --> 00:27:11,600 Speaker 2: M H. And shout out to the library that do 515 00:27:11,760 --> 00:27:12,720 Speaker 2: not like cops in here. 516 00:27:13,480 --> 00:27:15,479 Speaker 1: And shout out to the libraries that let people who 517 00:27:15,960 --> 00:27:19,119 Speaker 1: don't have housing stay at them. I love that, Katie. 518 00:27:19,200 --> 00:27:22,240 Speaker 1: You know I love libraries too, So I'm a fan 519 00:27:22,520 --> 00:27:23,800 Speaker 1: of your choice for this week. 520 00:27:24,600 --> 00:27:26,720 Speaker 2: Thanks for listening, See you next week. 521 00:27:27,040 --> 00:27:40,600 Speaker 1: Bye bye. On Theme is a production of iHeartRadio and 522 00:27:40,880 --> 00:27:44,639 Speaker 1: Fairweather Friends Media. This episode was written by Eves, Jeffco 523 00:27:44,800 --> 00:27:45,560 Speaker 1: and Katie Mitchell. 524 00:27:45,840 --> 00:27:48,560 Speaker 2: It was produced by Tari Harrison and edited in sound 525 00:27:48,600 --> 00:27:49,919 Speaker 2: designed by Dylan Fagan. 526 00:27:50,320 --> 00:27:53,560 Speaker 1: Follow us on Instagram at on Theme Show. You can 527 00:27:53,600 --> 00:27:56,640 Speaker 1: also send us an email at Hello at on Theme 528 00:27:56,920 --> 00:27:59,760 Speaker 1: dot Show. 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