Speaker 1: On Theme is a production of iHeartRadio and fair Weather
Speaker 1: Friends Media.
Speaker 2: What did the five fingers say to the face.
Speaker 1: My wife's name, your fucking n not you remixing that
Speaker 1: joke in the messiest way possible.
Speaker 2: Sometimes you gotta stand on business and hand out some slaps.
Speaker 1: Nah, putting your hands on another real life person like
Speaker 1: that is a wild How about fictional slaps for fictional characters.
Speaker 2: I'm good with that. We're diving into a realm filled
Speaker 2: with characters who often make us greate, our teeth, furrow
Speaker 2: our brows, and sometimes, let's go ahead admit it, make
Speaker 2: us each to reach into that story and deliver a
Speaker 2: perfectly executed whack. Today's episode, this episode slaps, I'm.
Speaker 1: Katie and I'm Eves.
Speaker 2: You know, I think the highest compliment you can give
Speaker 2: a storyteller is wanting to slap the shit out of
Speaker 2: one of their characters.
Speaker 1: Okay, please elaborate.
Speaker 2: I mean, as storytellers, one of the main goals is
Speaker 2: to make your audience feel something, So to elicit such
Speaker 2: a visceral reaction from one of your characters really speaks
Speaker 2: to the skill of the storyteller.
Speaker 1: Okay, I see what you're saying. Wanting to slap a
Speaker 1: character doesn't mean you want to slap the creator or
Speaker 1: that you don't like the work as a whole.
Speaker 2: Nah. See, one of my favorite novels has a character
Speaker 2: that I would just need sixty seconds with to put
Speaker 2: the pause on her.
Speaker 1: Okay, which character is that?
Speaker 2: I can't help but think of Leoni and Jessmine Wards
Speaker 2: sing Unburied Sing?
Speaker 1: Have you read it not yet? But it is on
Speaker 1: my list?
Speaker 2: Okay. So it follows a young boy named Jojo and
Speaker 2: his troubled family, his mom, Leoni, grappling with addiction, and
Speaker 2: his grandfather Pop, a tough old man hiding some deep secrets.
Speaker 2: Leoni decides to take Jojo and his little sister on
Speaker 2: a road trip to pick up their father, who's getting
Speaker 2: released from prison. But this isn't your typical family road trip. Ghosts,
Speaker 2: both figurative and literal, starts showing up in the past,
Speaker 2: intertwines with the present in some really haunting ways.
Speaker 1: That sounds very layered. I couldn't imagine why you want
Speaker 1: to slap any of these characters.
Speaker 2: Well, here's the thing. The narrative doesn't just focus on
Speaker 2: one character's perspective. We get inside the minds of Jojo, Leoni,
Speaker 2: and even the ghosts themselves. And so we're hearing from
Speaker 2: Jojo a little boy I feel immense sympathy for because
Speaker 2: he's in this family that's highly dysfunctional, and he's painting
Speaker 2: this picture of his mom is irresponsible and emotionally unavailable.
Speaker 1: That is kind of sad.
Speaker 2: Yeah, I felt so bad for Jojo, and Leoni had
Speaker 2: her own trauma that was a contributing factor to the
Speaker 2: way she's acting. So I do want to extend some
Speaker 2: empathy her way. But what really got me is her
Speaker 2: need for validation from white men and how that negatively
Speaker 2: impacts her children.
Speaker 1: Oh lot.
Speaker 2: Okay, Soa Leoni's brother was killed by a white man
Speaker 2: fifteen years prior to the story beginning. She has two
Speaker 2: babies by the cousin of the white man who kills
Speaker 2: her brother. Okay, like, out of all the people in
Speaker 2: the world, that's who you choose. So her baby daddy's
Speaker 2: in jail, which you know she happens, But the kid's
Speaker 2: white grandfather is racist and makes it abundantly clear that
Speaker 2: having black grandkids is unacceptable.
Speaker 1: Okay, I do see how that's hard for Jojo.
Speaker 2: I'm really sensitive about kids, even fictional ones. And Leoni's
Speaker 2: brother was killed when she was a kid, which you
Speaker 2: don't really know how something like that will affect someone,
Speaker 2: but it's very clear to me that she's making sure
Speaker 2: she passes down that generational trauma. Like, no circle are
Speaker 2: being broken here, Let the circle.
Speaker 1: Be a broken child. Sounds like you want to slap
Speaker 1: some sense into her.
Speaker 2: Yeah, that's true. I guess I don't have to put
Speaker 2: the pause on her all the way. But there is
Speaker 2: a character I believe there is no hope in talking
Speaker 2: sense into them, so a Will Smith level slap is necessary.
Speaker 1: Will Smith to smack the shit out of it.
Speaker 2: A word, yep, I'll let you know who after the break,
Speaker 2: all right?
Speaker 1: Who is it? Who is it?
Speaker 2: Okay? So I might be cheating a little bit because
Speaker 2: this character actually does get slapped.
Speaker 1: Definitely cheating.
Speaker 2: But she only got slapped near the very end, and
Speaker 2: how she was moving, she should have been slapped at
Speaker 2: the beginning, middle and two times at the end. Drum
Speaker 2: roll please. The Mom and Medea's family reunion played by
Speaker 2: the Lynn Whitfield. And when I tell you Lynn Whitfield
Speaker 2: can play a villain, I'm always going to put some
Speaker 2: respect on her name. Because the way she could teach
Speaker 2: an advance course on villain try at an ivy league.
Speaker 1: It sounds like you would be the one leading that class, not.
Speaker 2: Be being that villain. I'm speaking oie facts. The mom
Speaker 2: whose name is Victoria in the movie really did her
Speaker 2: kids dirty.
Speaker 1: I'm seeing a pattern.
Speaker 2: Ooh, you're right well. One, she offers one of her
Speaker 2: daughters to her husband to sexually assault when she was
Speaker 2: a little girl and shows literally no remorse. She tells
Speaker 2: her she should feel good that she was able to
Speaker 2: keep her family together by being assaulted. And two, she's
Speaker 2: using her other daughter as a bank account, trying to
Speaker 2: marry her off to an abusive, wealthy man.
Speaker 1: So do you extend that same empathy to Victoria like
Speaker 1: you did to Leone? Because I remember in that movie
Speaker 1: Victoria says she had a rough childhood.
Speaker 2: Yes, she did say her mother was neglectful and abusive.
Speaker 2: But you know what I don't like at your big age,
Speaker 2: you know what you're doing and you know it's wrong,
Speaker 2: and you just don't care how it's impacting anybody else
Speaker 2: as long as you feel like you're coming up at
Speaker 2: the end of the day. And Lisa, the one who
Speaker 2: was assaulted by her mom's husband as a child. Does
Speaker 2: slap Victoria at the family reunion, but.
Speaker 1: That maun loves you.
Speaker 2: He's a damn food.
Speaker 1: You are such a bitch.
Speaker 2: But the other sister should have slapped her too, like
Speaker 2: she was trying to get you to marry this fool
Speaker 2: who's blackening your eye and busting your lip. It's payback time.
Speaker 2: It's time to knuck and buck. So I'm curious which
Speaker 2: fictional characters leave you wanting to give them a good
Speaker 2: old fashioned.
Speaker 1: My first vote is for Troy Maxon in August Wilson's
Speaker 1: play Fences.
Speaker 2: Ooh nah, that is a character who's easy to dislike.
Speaker 1: Yeah, not a villain, not at all. But he is
Speaker 1: not charming or agreeable. He had some odds stacked up
Speaker 1: against him, and he had lived a tough life by
Speaker 1: the time we get to know him in the nineteen
Speaker 1: fifties and sixties Pittsburgh. But that doesn't change the fact
Speaker 1: that he is high key annoying and makes some poor choices.
Speaker 2: That's putting it nicely.
Speaker 1: Look, Troy is kind of a mess, but he has
Speaker 1: some weight on his shoulders, so I give him some grace,
Speaker 1: but not enough to not want to slap him. To
Speaker 1: be real, He's not the only character in the play
Speaker 1: that made me smack my teeth more than once, but
Speaker 1: he's the main source of my irritation in that story.
Speaker 2: All right, So tell me what is it about him
Speaker 2: that bothered you so much?
Speaker 1: Okay, let me start with the easy one. So he's
Speaker 1: been with his wife Rose for eighteen years, and he
Speaker 1: has a baby with another woman, and he tells Rose
Speaker 1: this at the same time he tells her that he's
Speaker 1: having the affair.
Speaker 2: Okay, just driving by.
Speaker 1: Talking all this stuff about how the other woman makes
Speaker 1: him laugh, he feels comfortable with her. The way that
Speaker 1: commerce station goes, it's like a woe is me. I've
Speaker 1: tried to live well and be a good husband, but
Speaker 1: it's been hard being here with you, even though you've
Speaker 1: been a good woman. And when she tries to say
Speaker 1: her piece, when Rose does, when she talks about how
Speaker 1: she's hurt, he gets mad.
Speaker 2: It's giving gaslighting, absolutely girl.
Speaker 1: And the scenes we see with him this deep into
Speaker 1: his marriage to Rose, he's not super loving with her.
Speaker 1: And his relationship with his son Corey. He was basically
Speaker 1: holding that boy hostage. It's for sure coming from a
Speaker 1: place of concern for Corey's future based on his own
Speaker 1: negative experiences. But well intentioned doesn't always mean right.
Speaker 2: Oh say that again, But well intentioned don't always mean right, okay,
Speaker 2: and he tries to control his son's dreams and keep
Speaker 2: him working the way that he wanted him to.
Speaker 1: There's a moment when Corey tries to pass Troy on
Speaker 1: the steps leading up to their front door, and Corey
Speaker 1: doesn't say, excuse me. Troy's already on the outs and
Speaker 1: outs with his family, and he's definitely in his feeling
Speaker 1: and yearning for a power play, so he goes so
Speaker 1: far us to tell his son, nigga, that's what you are.
Speaker 2: You just just another nigga on the street to me.
Speaker 1: Corey ends up trying to hit Troy with his own back,
Speaker 1: but he couldn't take the swing. Dun Corey, that nigga right.
Speaker 1: He tried to, he couldn't do it. I know, I'm
Speaker 1: with you, kitty, What can I say? The play starts
Speaker 1: with the August Wilson quote. When the sins of our
Speaker 1: fathers visit us, we do not have to play host.
Speaker 1: We can banish them with forgiveness. As God, in his
Speaker 1: largeness and loss.
Speaker 2: So we should know that somebody in this story is
Speaker 2: going to test our nerves like from the very beginning.
Speaker 1: And did Wilson Moore does? Now?
Speaker 2: So who else made you feel like a loving backhand
Speaker 2: was in order?
Speaker 1: Well, we got to take a quick break first, but
Speaker 1: when we come back, we'll get into the last character
Speaker 1: on our list that brings up them fighting feelings. Now,
Speaker 1: this last character is from another classic work, this time
Speaker 1: from the seventies.
Speaker 2: Ooh, a golden era that it was, especially in R
Speaker 2: and B. All the romance, the breakups, the broken hearts,
Speaker 2: the dramas, the fights. Seventies R and B is full
Speaker 2: of dramatic love stories.
Speaker 1: M hm. So you know it's no stranger to the lying,
Speaker 1: cheating significant other.
Speaker 2: Uh oh, give us the last character.
Speaker 1: Now, okay, if you haven't seen it already, there is
Speaker 1: quite a pattern and both of our choices here. So
Speaker 1: my last choice is Sureley in the song Woman to Woman.
Speaker 2: Ain't it the same thing? You know what? Okay?
Speaker 1: By Shirley Brown. So I think some of the kids
Speaker 1: these days might call her a pick me.
Speaker 2: Oh yeah, I mean, in my opinion, both of them
Speaker 2: were pigmies, both of them, both Shirley and Barbara.
Speaker 1: Oh, Shirley and Barbara and the song were both picknies.
Speaker 2: Absolutely, yeah, yeah, okay, yes, I agree with you.
Speaker 1: But she was also a very complex person with a
Speaker 1: lot of feelings. She was a woman in love. She
Speaker 1: was deeply hurt, deeply troubled, but she was still faithful
Speaker 1: to her two time and man.
Speaker 2: Yeah, I mean, how could I forget? Shirley picked off
Speaker 2: her phone and called the other woman.
Speaker 1: Yep, wrung her and said, then proceeded to tell Barbara
Speaker 1: how she was going through her man's pockets and found
Speaker 1: her name and number. Very bold, yes, But then Shirley
Speaker 1: went on to tell Barbara how she's basically this man's lifeline.
Speaker 1: She buys his clothes, his food, his bed, and she
Speaker 1: pays his car note every month.
Speaker 2: Okay, daddy wore books stop.
Speaker 1: Playing, but for real, she said, she wasn't gonna give
Speaker 1: him up. He's hers, and she wasn't gonna let Barbara
Speaker 1: break up her happy home.
Speaker 2: Happy is doing a lot of work there. Hey, Shirley's words,
Speaker 2: not mine. She also asked, Barbara, wouldn't you have done
Speaker 2: the same thing? Okay, So Barbara Mason had a few
Speaker 2: of her own choice words in her own song from
Speaker 2: his Woman to You. Wait, I did not know that
Speaker 2: she had a response. They were they were going back
Speaker 2: and forth. Yes, I wonder, Wait was this true story?
Speaker 1: No, it wasn't. No, this was made up by writers.
Speaker 1: I think it was kind of one of those things like, oh,
Speaker 1: it's a universal experience that a lot of people have.
Speaker 1: But it wasn't based on something that actually happened in
Speaker 1: their two lives.
Speaker 2: Okay, So they wasn't going like bar for Bara would
Speaker 2: each other.
Speaker 1: It wasn't. It wasn't any kind of battle R and
Speaker 1: B situation.
Speaker 2: Okay, because that would have been a real messy, real tea.
Speaker 1: Yes, but Barbara Mason did come back with the heat now, okay,
Speaker 1: because she has some stuff to say. So, as you
Speaker 1: can tell by the title of the song, she was
Speaker 1: claiming him too. From is woman to you she was like,
Speaker 1: I'm his woman. Now you got it wrong. It's a
Speaker 1: rich text, yes, yes, ma'am. And Barbara was cold. She
Speaker 1: said that she was broke but and I quote, he's
Speaker 1: been giving me what he's getting from you.
Speaker 2: Okay, that have pissed me off, And yes.
Speaker 1: It would have pissed me off too, But she was
Speaker 1: really bold about it. Barbara, she went and put salt
Speaker 1: on the womb. I feel bad for Shirley, I really do.
Speaker 1: This man is a silent third party in Woman to Woman.
Speaker 2: Wait, he didn't have his own track like it's two by.
Speaker 1: Bitch, not that I know of. That might be somewhere
Speaker 1: in the cannon that I'm unfamiliar with. I've never heard it,
Speaker 1: but if the people want to correct me about that,
Speaker 1: they can do so. They also never said this man's name,
Speaker 1: so I'm guessing they wouldn't because they went with Shirley
Speaker 1: and Barbara, but they didn't say They didn't say his name,
Speaker 1: which they gave him more length than they should have
Speaker 1: because out that man out him.
Speaker 2: Okay, they said, we know his name, yes, and we
Speaker 2: know he ain't no good, so I'm not letting him
Speaker 2: off the hook here.
Speaker 1: Okay. Shirley said that the best of her years went
Speaker 1: to him, and it sounded like she was singing to
Speaker 1: convince herself that she had control over the situation, which
Speaker 1: honestly makes me pretty sad thinking about, like the emotions
Speaker 1: were really coming out in that song. But I still
Speaker 1: want to slapper.
Speaker 2: Hey.
Speaker 1: I know I don't know the whole story, but Sureley
Speaker 1: truly she played herself, calling Barbara and claiming.
Speaker 2: That man play stupid games, win stupid prizes.
Speaker 1: Mm hmm, make a move that Bowld. Gotta be prepared
Speaker 1: for whatever may come your way.
Speaker 2: Okay, So it's interesting the ones we picked that, Yeah, because.
Speaker 1: Most of yours had to do with mistreatment of children.
Speaker 2: Yes, was about ancient men and women.
Speaker 1: Which has nothing to do with my real life. I
Speaker 1: must say, I've never experienced in such situation.
Speaker 2: But why do you think like those are the two
Speaker 2: examples that really stood out to you.
Speaker 1: I think it's because it's insidious, like it's a betrayal,
Speaker 1: and I think betrayals make really great stories and they
Speaker 1: also make really salacious stories. So there's romance involved, there's
Speaker 1: sex involved, there's like companionship involved. So it's also like
Speaker 1: there is another layer of deep friendship underneath all of that.
Speaker 1: So there's like a good story in here somewhere, because
Speaker 1: clearly Shirley had some good years with this man. So
Speaker 1: I feel like, I mean, I love a good character study,
Speaker 1: and I feel like I may I don't know if
Speaker 1: I really know the answer to it, but I feel
Speaker 1: like I may have picked both of these that are
Speaker 1: similar just because they're so deeply hurtful, I guess, and
Speaker 1: that's why what would make me want to slap these people,
Speaker 1: like don't you don't you know better? Can't you do better?
Speaker 1: Haven't you been thinking at all?
Speaker 2: Hmm?
Speaker 1: Okay, but maybe we can go deeper. But you tell me,
Speaker 1: you tell me why you think he chose the ones
Speaker 1: you did well.
Speaker 2: I think kind of the opposite of you, Like your
Speaker 2: examples are people that are like choosing to be in
Speaker 2: relationship with each other, and then mine are like, I mean,
Speaker 2: at a certain point, you can choose to be in
Speaker 2: relationship with your parents, but as a child, you really
Speaker 2: don't have that agency. And so Jojo definitely doesn't have
Speaker 2: that agency. He's still in the house with Leoni. In
Speaker 2: the Tyler Perry example, the kids are grown, but the
Speaker 2: mom is very much like trying to control a lot
Speaker 2: of things still, And so I think that is interesting
Speaker 2: to me. It's like how people who are in positions
Speaker 2: of power treat others, especially those that you would think, oh,
Speaker 2: they're supposed to have like this unconditional love for them,
Speaker 2: but really you see them looking out for themselves first.
Speaker 2: And I don't even think Leoni necessarily is malicious because
Speaker 2: she just has like so much other shit going on.
Speaker 2: You know, she's addicted to drugs. She's like literally seeing
Speaker 2: the ghost of her murdered brother. You know, maybe if
Speaker 2: that was me, I wouldn't be the best mother either.
Speaker 2: So it makes sense. But then you think, like, Okay, well,
Speaker 2: at a certain point, Jojo has no choice in the
Speaker 2: matter when leone, you know, as an adult who chose
Speaker 2: to be with the man she wit, you know what
Speaker 2: I'm saying, you know, chose to be into the stuff
Speaker 2: she's in two as far as like the recreational drugs
Speaker 2: she's in two. So I think what's interesting to me
Speaker 2: is like the choice or lack thereof in those stories.
Speaker 1: And the children are innocent parties in all of this.
Speaker 2: Yeah, I think more innocent. I do think in the
Speaker 2: media example, which you know how I feel about media,
Speaker 2: I do, But do.
Speaker 1: The people know how you feel about media talk about it.
Speaker 2: I think the bougie blacks have gotten on the bandwagon
Speaker 2: of not liking Medea, and for good reason.
Speaker 1: Let's start there.
Speaker 2: I a go I ain't gonna hold you for good reason.
Speaker 2: Some of the some of the movies are terrible. I
Speaker 2: tried to watch the Halloween movies boo. Yeah, I don't
Speaker 2: even I don't even know if it's Madea's hallween or boo,
Speaker 2: whatever it's called. I tried to watch that terrible, could
Speaker 2: not watch it. So some of them are just like
Speaker 2: money grabs. But I do think his earlier works he
Speaker 2: was trying. I do think Wndia's Family he was trying.
Speaker 2: There was a lot going on in the story. He wrote,
Speaker 2: produced and starred them, so it's a lot of work
Speaker 2: very you know, into the movies. But in the Tyler
Speaker 2: Perry example, I do think because the kids are older
Speaker 2: and like you would think, just like girl, you and
Speaker 2: yo mid thirties, like stand up, you know what I mean.
Speaker 2: But in the same token, they could really be stuck
Speaker 2: in that childlike mindset around their mom, just like letting
Speaker 2: her just do anything and like run the show and
Speaker 2: like abuse them in these like really hurtful ways, just
Speaker 2: because that's what the dynamic they already set up. So
Speaker 2: it's kind of sad to see you just like continuing on.
Speaker 2: But the mom definitely used to get yes again.
Speaker 1: Yeah, I don't know, there's something that's rewarding about feeling
Speaker 1: that way about a character too.
Speaker 2: Yeah, but Lynn Whitfield. I think like she will bring
Speaker 2: that out of you. I feel like, even if the
Speaker 2: character isn't a bad person, I don't think I've seen
Speaker 2: her play like a really nice character. No, she'd be mean.
Speaker 1: She know how to do it well too.
Speaker 2: She's been typecasted, but she'd be playing her role.
Speaker 1: Yeah, so.
Speaker 2: Go miss wild.
Speaker 1: But yeah, I think your examples are a lot more
Speaker 1: noble than mine are, because I guess I'm I feel
Speaker 1: like I'm expecting too much out of people for mine
Speaker 1: to be like you knew better and you should have
Speaker 1: done better, but like also understanding that they're flawed. So
Speaker 1: for the people in my instances, I wanted to slap
Speaker 1: Troy because he just did some stupid stuff and he
Speaker 1: knew better, and it was clear that he did because
Speaker 1: throughout the whole play in Fensis, Troy was talking to
Speaker 1: his friend being like, yeah, I ain't doing nothing with
Speaker 1: that woman, Like he tried to deny it for so long.
Speaker 2: So it's like, if you really thought nothing was wrong,
Speaker 2: then why are you lying? Why are you trying to
Speaker 2: cover your tracks?
Speaker 1: Yeah? Why? But it's like people do that all the time,
Speaker 1: and it's because he knew that the consequences wouldn't be great,
Speaker 1: But he wasn't. He didn't have enough integrity to face
Speaker 1: up to like what he did and the consequences of
Speaker 1: the thing that he did and he knew was wrong
Speaker 1: from the jump.
Speaker 2: Yeah, if you really that nigga Union got a lie
Speaker 2: and there.
Speaker 1: Was nothing, there's no impediment for him, like I feel
Speaker 1: like there is for the people in your stories and
Speaker 1: what they were going through and the reasons why they
Speaker 1: acted as they did. Maybe not none, but just like
Speaker 1: in comparison to Troy, his choice to not tell her
Speaker 1: was a lot less challenged by other things going on
Speaker 1: in his life. What you mean? He wasn't addicted to
Speaker 1: any substances. He lived a good home life, His wife
Speaker 1: Rose treated him well, he lived with his children, He
Speaker 1: had gotten out of prison after being in prison for
Speaker 1: a long time and claimed to have turned his ways around.
Speaker 1: So there really wasn't much in his way to like
Speaker 1: even cheat on her in the first place, but also
Speaker 1: to not tell her in a way that like you
Speaker 1: just need to you need to do what you gotta do.
Speaker 1: You gotta you gotta step up. Why you not? So?
Speaker 2: I know for me in real life, like if I
Speaker 2: see someone mistreating a kid, like I'm ready to go
Speaker 2: to war for it. Are you the same way as
Speaker 2: when you see like someone being unfaithful? Are you like
Speaker 2: ready to slap that person? No, probably not in real life,
Speaker 2: or like not ready to slap them, But do you
Speaker 2: not feel any type of way? Do you feel away
Speaker 2: when you see that? Or it's just like I'm on
Speaker 2: my business.
Speaker 1: If it's somebody I know close, then I would say
Speaker 1: I definitely am judging that person, but I also understand
Speaker 1: that we don't always make logical decisions, and that also
Speaker 1: I'm not their partner, so their tolerances for cheating might
Speaker 1: be completely different than mine are. So like, who am
Speaker 1: I to say that for the other person?
Speaker 2: At least so you'll judge them and not say nothing.
Speaker 2: Probably so, depending on how deep it is, though, Like
Speaker 2: if it's a friend who's coming to me over and
Speaker 2: over telling me about their cheating trials, then it might
Speaker 2: be different. But I haven't experienced that, so you'll know
Speaker 2: how it would manifest in the real world.
Speaker 1: Yeah.
Speaker 2: I think what's interesting in the examples of who we
Speaker 2: wanted to slap it was because of how they were
Speaker 2: treating other people, So it really could have also been
Speaker 2: like who we wanted to hug because like, I really
Speaker 2: want to hug Jojo and be like, oh baby, it's okay.
Speaker 2: And the daughters in the Tyler Perry movie it's like
Speaker 2: kind of like girl like, yeah, I have to deal
Speaker 2: with this, you know, like really talk to them and stuff.
Speaker 2: And it seems like it might be similar with with
Speaker 2: your examples with Rose, like would you want to like
Speaker 2: hug Rows and be like Jysis.
Speaker 1: Yeah, I would definitely want to hug Rows. She put
Speaker 1: up with a lot, she was there through it all.
Speaker 1: She was there after Troy's death. She was there for
Speaker 1: his child, mind you, which I didn't mention. Yeah, for
Speaker 1: the people who don't know, she raised his child that
Speaker 1: he had with the other woman.
Speaker 2: I feel like that's kind of normal though.
Speaker 1: I mean, this is one of those child situations like.
Speaker 2: Yeah, because like what are you gonna do put a
Speaker 2: baby on a fucking cardboard box on the side of
Speaker 2: the road.
Speaker 1: Some people, Yeah, I ain't done nothing, didn't deserve it,
Speaker 1: So yes, it made sense. But she was here for
Speaker 1: it very quickly, Like in the in the play, he
Speaker 1: was like, well, what, I gotta go get the baby,
Speaker 1: I gotta raise the baby, and she was like, I
Speaker 1: ain't fucking with you when I'm fucking with that baby
Speaker 1: in that moment, and I was like, I don't know
Speaker 1: if I would have had it in me to so
Speaker 1: self assured, so composed and so thoughtful in that moment.
Speaker 1: And that's how she was, That's how her character was.
Speaker 1: She was used to his ship, but an affair is
Speaker 1: a different level. And that was still new news. You said,
Speaker 1: it just starts compounding and it gets easier and easier
Speaker 1: over time to just yes, that's settling.
Speaker 2: And now it's time for roll credits, where we give
Speaker 2: credit to a person, place, or a thing that we've
Speaker 2: encountered during the week. Eaves, who are what would you
Speaker 2: like to give credit to today?
Speaker 1: I want to give credit to walking. Walking. It is
Speaker 1: something that's so accessible, it's easy to do every day.
Speaker 1: It's good for our health, it's easy to do from anywhere.
Speaker 1: It doesn't take a lot for me to get up
Speaker 1: and want to go and walk, and it's really it
Speaker 1: can be meditative as well. So that's what I want
Speaker 1: to give credit to you today. Nice, I too like
Speaker 1: to walk.
Speaker 2: It's been a little cult for me though, because I
Speaker 2: like to walk in the morning, but when it's like
Speaker 2: in the twenties. I'm gonna hold on to that bed.
Speaker 1: Hold on tight, I'm a hold Oh.
Speaker 2: I would like to give credit to libraries. They're just
Speaker 2: really great and your girl be running through a library.
Speaker 2: I love a library. I love getting a book. And
Speaker 2: I'm a little receipt. They tell you how much money
Speaker 2: you saved, You're like, yes, and you know what. I
Speaker 2: encourage everyone to get a library card, even if you're
Speaker 2: not really going to the library like that. They based
Speaker 2: the funding in part on how many people are signing
Speaker 2: up for library cards, like renewing their library cards. I
Speaker 2: have library card at multiple cities. Don't tell nobody I
Speaker 2: got DC New York.
Speaker 1: Do it then wherever you go library cards and different
Speaker 1: area codes.
Speaker 2: Yeah, because even when you're traveling, like say you're traveling
Speaker 2: somewhere for like a week or two, I think you
Speaker 2: can get like a little guests library cards. And they
Speaker 2: don't just have books, you know, they have music, movies, puzzles.
Speaker 2: Some places with real good libraries be having appliances and
Speaker 2: yard equipment and stuff like that. So yeah, shout out
Speaker 2: to the local libraries period.
Speaker 1: Yes, all the resources and cultural passes too.
Speaker 2: Oh yeah, you can go to the zoo. You can
Speaker 2: go to museums. Lots of stuff going on. Oh yes,
Speaker 2: the parks, lots and lots of stuff going on. To
Speaker 2: the library. They have classes there, they have book clubs there,
Speaker 2: podcast clubs, podcast clubs there, usually the people too.
Speaker 1: If you like a recommendations will provide recommendations that are
Speaker 1: tune too different things that are going on during the year,
Speaker 1: like Native American Heritage months are if it's around Halloween,
Speaker 1: it will be spooky recommendations.
Speaker 2: M H. And shout out to the library that do
Speaker 2: not like cops in here.
Speaker 1: And shout out to the libraries that let people who
Speaker 1: don't have housing stay at them. I love that, Katie.
Speaker 1: You know I love libraries too, So I'm a fan
Speaker 1: of your choice for this week.
Speaker 2: Thanks for listening, See you next week.
Speaker 1: Bye bye. On Theme is a production of iHeartRadio and
Speaker 1: Fairweather Friends Media. This episode was written by Eves, Jeffco
Speaker 1: and Katie Mitchell.
Speaker 2: It was produced by Tari Harrison and edited in sound
Speaker 2: designed by Dylan Fagan.
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