1 00:00:00,520 --> 00:00:04,120 Speaker 1: My guess is Nathaniel Nicole and was born in on 2 00:00:04,440 --> 00:00:07,520 Speaker 1: Army base in Germany to a Black Southern woman born 3 00:00:07,560 --> 00:00:11,440 Speaker 1: in the West African man from Ghana. Nicole, as he's 4 00:00:11,440 --> 00:00:15,200 Speaker 1: affectionately known, was raised in Detroit, Michigan, the Motor City. 5 00:00:15,440 --> 00:00:18,600 Speaker 1: He just mystifies the myths around Southern black men, black 6 00:00:18,640 --> 00:00:21,920 Speaker 1: gay men, and those identifying in the non binary space 7 00:00:22,280 --> 00:00:24,520 Speaker 1: and if they live four lives that they can lead. 8 00:00:25,040 --> 00:00:28,000 Speaker 1: Nico originated the role of Uncle Clifford in the popular 9 00:00:28,080 --> 00:00:31,440 Speaker 1: show P Valley and played that characters is twenty eleven 10 00:00:31,680 --> 00:00:33,800 Speaker 1: to date. He is the only character that played the 11 00:00:33,880 --> 00:00:36,680 Speaker 1: Clifford as well as on the television show P Valley 12 00:00:36,920 --> 00:00:40,120 Speaker 1: the Stars Network. The award winning series P Valley is 13 00:00:40,120 --> 00:00:42,760 Speaker 1: back for season two. P Valley. If you don't know, 14 00:00:42,800 --> 00:00:47,159 Speaker 1: It's an engrossing drama, family, friendship, and survival. Every Sunday 15 00:00:47,200 --> 00:00:49,640 Speaker 1: you can catch it temp M, Eastern and Pacific. This 16 00:00:49,720 --> 00:00:56,400 Speaker 1: season is richly crafted. Characters deal with sacrifice, ethical dilemmas, identity, family, love, trust, 17 00:00:56,440 --> 00:00:59,840 Speaker 1: and betrayal while also facing the aftermass of the decision 18 00:01:00,120 --> 00:01:03,640 Speaker 1: from season one. Please work for the Money Making Conversation Masterclass. 19 00:01:03,640 --> 00:01:06,160 Speaker 1: For the first time, Nico man, how are you doing, 20 00:01:06,240 --> 00:01:09,200 Speaker 1: my friend, I'm great, I'm great. Thank you so much 21 00:01:09,240 --> 00:01:11,479 Speaker 1: for having me here. First of all, my first time. 22 00:01:11,520 --> 00:01:13,520 Speaker 1: Hopefully won't be the last. Oh no, no, no, no, 23 00:01:13,920 --> 00:01:16,360 Speaker 1: I mean mad if you're the last, because you're you're 24 00:01:16,400 --> 00:01:20,000 Speaker 1: a star. You are a star. You are an individual, brother, 25 00:01:21,760 --> 00:01:24,479 Speaker 1: you know your an individual. That Let's let's talk about 26 00:01:24,520 --> 00:01:27,240 Speaker 1: the character because you know in your bio they said 27 00:01:27,280 --> 00:01:29,959 Speaker 1: you've been playing this character or character like this since 28 00:01:30,400 --> 00:01:33,800 Speaker 1: eleven So that means that character did not originate on 29 00:01:33,880 --> 00:01:36,320 Speaker 1: the television series. I've seen you've been playing it before. 30 00:01:36,319 --> 00:01:38,920 Speaker 1: That give us some background history on your character and 31 00:01:38,959 --> 00:01:41,160 Speaker 1: how did they get to that point, because, like I said, 32 00:01:41,319 --> 00:01:43,760 Speaker 1: you know, because you have some great you know, designs 33 00:01:43,760 --> 00:01:45,760 Speaker 1: and your beard and all that stuff that you're not 34 00:01:45,840 --> 00:01:47,800 Speaker 1: wearing right now. I have a beard. I've been right 35 00:01:47,840 --> 00:01:50,280 Speaker 1: there the movie. They cut my beard in a certain way. 36 00:01:50,440 --> 00:01:52,800 Speaker 1: And so let's let's talk about that character development because 37 00:01:52,800 --> 00:01:58,120 Speaker 1: I'm sure it was inspired a lot by your own imagination. Um, 38 00:01:58,160 --> 00:02:00,440 Speaker 1: it was inspired a lot by my own and my nation, 39 00:02:00,560 --> 00:02:05,480 Speaker 1: but primarily from Coulatori halls imagination. Uh. Coulatori Hall is 40 00:02:05,520 --> 00:02:09,440 Speaker 1: our showrunner and the creator of this universe that she 41 00:02:09,560 --> 00:02:13,160 Speaker 1: has here, um, but here in p Valley. This actually 42 00:02:13,200 --> 00:02:16,760 Speaker 1: started a little earlier than two thousand and eleven. Back 43 00:02:16,760 --> 00:02:21,120 Speaker 1: in two thousand and nine. Um, yeah, I was living 44 00:02:21,160 --> 00:02:24,280 Speaker 1: in New York at the time. I was in after 45 00:02:24,800 --> 00:02:27,320 Speaker 1: I was choreographing and directing, so I was doing all 46 00:02:27,400 --> 00:02:31,680 Speaker 1: three and I was in between gigs and I received 47 00:02:31,680 --> 00:02:35,720 Speaker 1: the invitation to go to Quatori's house. Uh, she was 48 00:02:35,760 --> 00:02:38,679 Speaker 1: having a salon series. She used to have this thing 49 00:02:38,720 --> 00:02:43,160 Speaker 1: called black Mondays because in the theater it's dark on Mondays. 50 00:02:43,200 --> 00:02:46,920 Speaker 1: So they in theater language we say it's black um, 51 00:02:47,000 --> 00:02:49,800 Speaker 1: because all the lights are off. And so what happened 52 00:02:49,880 --> 00:02:52,560 Speaker 1: was she was she had a writing fellowship at the 53 00:02:52,680 --> 00:02:55,640 Speaker 1: Lark Theater Company. It's an off Broadway house in New York. 54 00:02:56,160 --> 00:03:01,160 Speaker 1: And through that salon series, it was a group of writers, actors, 55 00:03:01,720 --> 00:03:05,480 Speaker 1: musicians that just got together to read or talk about 56 00:03:05,520 --> 00:03:09,120 Speaker 1: their ideas and new material that they had and a 57 00:03:09,240 --> 00:03:11,760 Speaker 1: collective so to speak, kind of like James Baldwin's or 58 00:03:12,040 --> 00:03:15,480 Speaker 1: Herston you know, the Renaissance group back in the day. Um, 59 00:03:15,560 --> 00:03:19,399 Speaker 1: they were creating their own version of that. And essentially 60 00:03:19,400 --> 00:03:21,760 Speaker 1: what happened there was a lot of networking that was 61 00:03:21,800 --> 00:03:26,440 Speaker 1: happening across the platform among all these different black artists. 62 00:03:26,840 --> 00:03:29,720 Speaker 1: It was not necessarily somewhat none of us at the 63 00:03:29,800 --> 00:03:34,080 Speaker 1: time were on Broadway or had big major motion picture deals. 64 00:03:34,560 --> 00:03:37,720 Speaker 1: And literally was about conversation and who is it that 65 00:03:37,800 --> 00:03:41,320 Speaker 1: has points of access and just different ideas. So one 66 00:03:41,360 --> 00:03:46,200 Speaker 1: of her co writers in the fellowship, Dominique Marisso who 67 00:03:46,280 --> 00:03:50,000 Speaker 1: they both since have been like Tony Award nominations and 68 00:03:50,080 --> 00:03:55,120 Speaker 1: all these accreditations and awards decorating them. Um. She said, 69 00:03:55,520 --> 00:03:57,840 Speaker 1: I'm looking for a person that kind of houses this 70 00:03:58,360 --> 00:04:02,200 Speaker 1: uh feminine energy yet a massline energy, hap this idea 71 00:04:02,240 --> 00:04:05,000 Speaker 1: for this character. And it was all these things. And 72 00:04:05,520 --> 00:04:08,720 Speaker 1: when I got there, there were five pages. Man, there 73 00:04:08,800 --> 00:04:11,760 Speaker 1: were five pages, and on those fide pages only two 74 00:04:11,800 --> 00:04:14,440 Speaker 1: of them Uncle Clifford was in. There was two different 75 00:04:14,440 --> 00:04:18,119 Speaker 1: scenes and it was the description of Uncle Clifford Um 76 00:04:18,160 --> 00:04:22,800 Speaker 1: emerging from the shadows of the club, eyelashes like butterfly 77 00:04:22,920 --> 00:04:28,280 Speaker 1: wings and nails like ego talents, Uncle Clifford Um. And 78 00:04:28,360 --> 00:04:32,560 Speaker 1: so that's how it all started. Now, how tall are 79 00:04:32,600 --> 00:04:35,039 Speaker 1: you because you're you're you're not a small six to six. 80 00:04:36,800 --> 00:04:40,719 Speaker 1: I'm definitely a man of size. I'm six too. You 81 00:04:40,760 --> 00:04:43,359 Speaker 1: know what I'm saying. As they say corn brand fish, 82 00:04:44,040 --> 00:04:46,159 Speaker 1: they just said Nicole. You know, because your your body 83 00:04:46,240 --> 00:04:48,200 Speaker 1: was introduced in the pilot. You know what I'm saying, 84 00:04:48,200 --> 00:04:52,960 Speaker 1: We use saw that real look and everything so so nudity. 85 00:04:53,160 --> 00:04:56,200 Speaker 1: That was nudity. How did you feel with a comfortable moment? 86 00:04:56,279 --> 00:04:58,200 Speaker 1: For you? You have to prepare for that moment. Talking 87 00:04:58,360 --> 00:05:01,359 Speaker 1: about that in the pilot scene, I think you always 88 00:05:01,360 --> 00:05:03,440 Speaker 1: have to prepare for any person that you know. You 89 00:05:03,480 --> 00:05:06,120 Speaker 1: know that as an artist in general, where you are 90 00:05:06,240 --> 00:05:08,920 Speaker 1: using your body to tell the story, you're using your 91 00:05:08,960 --> 00:05:12,400 Speaker 1: soul to tell the story. Um, I know as an 92 00:05:12,480 --> 00:05:16,000 Speaker 1: artist I am especially I'm gonna tell you this, being 93 00:05:16,040 --> 00:05:18,360 Speaker 1: a man of a certain age, I think in my 94 00:05:18,440 --> 00:05:22,080 Speaker 1: twenties it was it could have maybe messed me up 95 00:05:22,080 --> 00:05:24,520 Speaker 1: a little bit more because it was more into the 96 00:05:24,600 --> 00:05:28,839 Speaker 1: constraints of what people sought I should be. But I'm 97 00:05:28,839 --> 00:05:31,280 Speaker 1: a grown man now, you know. The thirties, you know 98 00:05:31,360 --> 00:05:34,320 Speaker 1: they taught me how to really be who I am 99 00:05:34,360 --> 00:05:37,240 Speaker 1: and to have a level of self acceptance. But in 100 00:05:37,279 --> 00:05:41,680 Speaker 1: regards to the show and how the nudity works, it's 101 00:05:41,720 --> 00:05:44,960 Speaker 1: a The show takes place in this club called Pink 102 00:05:45,120 --> 00:05:47,919 Speaker 1: and it's a strip club, and so we're talking about 103 00:05:47,920 --> 00:05:52,200 Speaker 1: these people who are marginalized and definitely have an idea. 104 00:05:52,520 --> 00:05:54,240 Speaker 1: They know what they're doing, and they're working in the 105 00:05:54,279 --> 00:05:57,520 Speaker 1: sex work industry, and it just made sense that in 106 00:05:57,560 --> 00:06:02,680 Speaker 1: this industry there's a level of awareness and comfortability of 107 00:06:02,720 --> 00:06:06,440 Speaker 1: being in one's body and now stepping outside of that 108 00:06:06,520 --> 00:06:09,559 Speaker 1: as the actor and the artist, I had to ask 109 00:06:09,640 --> 00:06:13,800 Speaker 1: myself the question and I proposed it to the producers 110 00:06:14,000 --> 00:06:18,040 Speaker 1: in my camera test for the series, the TV series. 111 00:06:18,440 --> 00:06:21,359 Speaker 1: It was more so they said how do I feel 112 00:06:21,400 --> 00:06:23,560 Speaker 1: about it? And my question to them was when it 113 00:06:23,680 --> 00:06:27,360 Speaker 1: was the last time that you saw a full figured body, 114 00:06:27,600 --> 00:06:33,560 Speaker 1: male or female, dark skinned being made love to on 115 00:06:33,600 --> 00:06:38,160 Speaker 1: the screen. And I felt that that image of someone 116 00:06:38,320 --> 00:06:43,479 Speaker 1: being full, you know, and being shown love, being made 117 00:06:43,520 --> 00:06:47,000 Speaker 1: love to, being loving, I thought that that was just 118 00:06:48,160 --> 00:06:53,120 Speaker 1: a revolutionary visual. So I was definitely open to it, 119 00:06:53,480 --> 00:06:55,400 Speaker 1: you know, and there's a process to get to it. 120 00:06:55,480 --> 00:06:58,160 Speaker 1: But yeah, yeah, like you say, I always tell people 121 00:06:58,160 --> 00:07:00,120 Speaker 1: will come on my show and also the people at 122 00:07:00,160 --> 00:07:02,080 Speaker 1: your listening to show. That's a process, you know, this 123 00:07:02,160 --> 00:07:03,960 Speaker 1: is never you know, you have to meet with your 124 00:07:04,000 --> 00:07:07,719 Speaker 1: other cast members and set boundaries about what makes you 125 00:07:07,760 --> 00:07:10,240 Speaker 1: feel comfortable and makes that other person feel comfortable so 126 00:07:10,280 --> 00:07:13,040 Speaker 1: it can feel natural. I'm sure this happened with you 127 00:07:13,080 --> 00:07:17,280 Speaker 1: on this series as well. Correct. Absolutely, we definitely have 128 00:07:17,480 --> 00:07:21,840 Speaker 1: intimacy coaches, and the intimacy coach is the interact in 129 00:07:21,880 --> 00:07:25,400 Speaker 1: the media, in the middle the media that works between 130 00:07:25,560 --> 00:07:30,240 Speaker 1: different actors, the directors, what the script demands and what 131 00:07:30,360 --> 00:07:33,400 Speaker 1: how do we get there? It's really great. So I'm 132 00:07:33,400 --> 00:07:37,680 Speaker 1: talking to Nicole, I'm calling my friend, you know, Uncle Clifford. 133 00:07:38,040 --> 00:07:41,240 Speaker 1: Uncle Clifford, because it's somebody who comes into your life 134 00:07:41,680 --> 00:07:46,840 Speaker 1: super confident, but also it's surrounded by a world of people, 135 00:07:46,920 --> 00:07:49,920 Speaker 1: not just women, but the world of people, customers who 136 00:07:49,920 --> 00:07:53,360 Speaker 1: really don't don't know what They live in a fantasy world, 137 00:07:53,440 --> 00:07:55,720 Speaker 1: and sometimes that fantasy world can be cruel. But I 138 00:07:55,760 --> 00:07:58,200 Speaker 1: would tell you this what I really like about this show, 139 00:07:58,640 --> 00:08:01,400 Speaker 1: p Valley. You see the word strip, you see the 140 00:08:01,400 --> 00:08:03,280 Speaker 1: word black, you just think he goes see a ton 141 00:08:03,320 --> 00:08:06,360 Speaker 1: of nudity, And that is not the case. It's the story, 142 00:08:06,640 --> 00:08:10,320 Speaker 1: is the characters, is the is the is the lateness. 143 00:08:10,360 --> 00:08:15,320 Speaker 1: The lines talk about that because that's what people initially think, correct, 144 00:08:15,000 --> 00:08:19,600 Speaker 1: and the stereotype is when you just black club, chip club, 145 00:08:20,000 --> 00:08:22,640 Speaker 1: you nudity New Digies, and that is not the case. 146 00:08:22,680 --> 00:08:25,200 Speaker 1: I in fact, the nudity when I watched the series, 147 00:08:25,720 --> 00:08:28,400 Speaker 1: it comes so casual that I don't notice it because 148 00:08:28,440 --> 00:08:32,640 Speaker 1: I'm so engaged into the character's storyline. And that's really 149 00:08:32,640 --> 00:08:36,199 Speaker 1: a blessing correct nical, It's it's more than a blessing. 150 00:08:36,240 --> 00:08:38,400 Speaker 1: I felt like it's a it's a necessity in the 151 00:08:38,400 --> 00:08:40,400 Speaker 1: way that we had to tell the story. This is 152 00:08:40,400 --> 00:08:44,240 Speaker 1: definitely I think that Tory really wanted to make sure 153 00:08:44,360 --> 00:08:48,840 Speaker 1: that there is definitely the fact that women and female 154 00:08:48,920 --> 00:08:51,960 Speaker 1: bodies have really been looked at and used in a 155 00:08:52,000 --> 00:08:56,920 Speaker 1: certain way in cinema specifically and over sexualized. But here 156 00:08:56,960 --> 00:08:59,679 Speaker 1: in this world, I think that there's something that we 157 00:08:59,760 --> 00:09:03,480 Speaker 1: call the female days, and that's something that's always asked 158 00:09:03,600 --> 00:09:05,880 Speaker 1: of people that the different directors that are coming on 159 00:09:05,920 --> 00:09:08,880 Speaker 1: the show. That's something that we think about as a 160 00:09:09,000 --> 00:09:12,040 Speaker 1: cast um and the female gays. That does not only 161 00:09:12,080 --> 00:09:14,680 Speaker 1: pertain to the female body. But how is it that 162 00:09:14,760 --> 00:09:18,800 Speaker 1: you can see the world without objectification? Um. I think 163 00:09:18,840 --> 00:09:21,160 Speaker 1: that through that space you you get to see the 164 00:09:21,200 --> 00:09:24,600 Speaker 1: athleticism of these poll d answers and to see what 165 00:09:24,720 --> 00:09:27,679 Speaker 1: it takes to physically do the things that they are 166 00:09:27,720 --> 00:09:31,520 Speaker 1: doing to haul themselves up this pole, to to to 167 00:09:31,720 --> 00:09:35,120 Speaker 1: fly around, to walk on the ceiling and on clouds. 168 00:09:35,160 --> 00:09:38,440 Speaker 1: That's actually the big metaphor for the show. The poll, 169 00:09:39,000 --> 00:09:43,040 Speaker 1: the poll. There's a line that always says, sometimes rising 170 00:09:43,120 --> 00:09:46,960 Speaker 1: feels like falling, and falling feels like rising. So the 171 00:09:47,000 --> 00:09:49,560 Speaker 1: poll is actually meant to be the metaphor for life 172 00:09:49,960 --> 00:09:53,000 Speaker 1: and in a way that we as black people, especially 173 00:09:53,000 --> 00:09:56,600 Speaker 1: Black Southerners, have existed and made it through the day. 174 00:09:56,880 --> 00:09:59,880 Speaker 1: We'll be right back with more Money Making Conversations math 175 00:10:00,000 --> 00:10:06,480 Speaker 1: her Class with Rashan McDonald. Now, let's return to Money 176 00:10:06,480 --> 00:10:12,120 Speaker 1: Making Conversations Masterclass with Rashan McDonald. Nicole, he brought up 177 00:10:12,160 --> 00:10:20,120 Speaker 1: the pole. Now, yeah, I'm chasing that, Keyshaw, do don't 178 00:10:20,120 --> 00:10:22,160 Speaker 1: get too don't don't don't move too fast because I 179 00:10:22,200 --> 00:10:27,199 Speaker 1: gotta get to them outstanding credit Shall and Mercedes. Okay, 180 00:10:27,240 --> 00:10:31,240 Speaker 1: but let's first go with Keyshaw. My my, my, my my. 181 00:10:32,000 --> 00:10:34,280 Speaker 1: I'm just talking from an athletic stample. I'm not talking 182 00:10:34,320 --> 00:10:36,920 Speaker 1: from a sexual stample. What I'm seeing that she does 183 00:10:37,000 --> 00:10:40,439 Speaker 1: on that pole, it has to be moth dropping to 184 00:10:40,559 --> 00:10:43,199 Speaker 1: the cast and where did they find her and what 185 00:10:43,400 --> 00:10:45,640 Speaker 1: is her background as an athlete because she has that 186 00:10:46,240 --> 00:10:50,320 Speaker 1: gymnastics in her background. Correct, Why do you say that? 187 00:10:50,559 --> 00:10:52,960 Speaker 1: Because of the fact she's so comfortable on the pole, 188 00:10:53,320 --> 00:10:57,720 Speaker 1: She's flexible, she's able to she's able to manipulate it because, 189 00:10:58,120 --> 00:10:59,760 Speaker 1: like I said, I'm not doing it justice. You have 190 00:10:59,840 --> 00:11:02,880 Speaker 1: to watch the series to see what she's able to do. 191 00:11:03,520 --> 00:11:07,120 Speaker 1: As far as from a from a Ballaridas standpoint, she 192 00:11:07,440 --> 00:11:11,160 Speaker 1: is really poet poetic on that pole, you know where 193 00:11:11,240 --> 00:11:14,640 Speaker 1: where Mercedes is a force. Not saying she's not sexual, 194 00:11:14,880 --> 00:11:17,920 Speaker 1: but she's a force. It's like watching a running back 195 00:11:17,960 --> 00:11:21,880 Speaker 1: and a wire receiver. A wire receiver flows, you know 196 00:11:21,880 --> 00:11:24,920 Speaker 1: what I'm saying. That's key, Sean. A running back can 197 00:11:24,920 --> 00:11:26,800 Speaker 1: flow to but they can hit that whole and if 198 00:11:26,800 --> 00:11:29,160 Speaker 1: you hit him, then you can knock you off. That's Mercedes, 199 00:11:29,240 --> 00:11:32,680 Speaker 1: that's rights say so and so so. So you're gonna 200 00:11:32,679 --> 00:11:34,520 Speaker 1: give me, Nicole, I know you're gonna give me. I 201 00:11:34,600 --> 00:11:36,400 Speaker 1: watched this show. Now, I'm not trying to get you 202 00:11:36,440 --> 00:11:38,960 Speaker 1: know what's what? What's I love that you are actually 203 00:11:38,960 --> 00:11:42,719 Speaker 1: saying that you you use the football metaphors and comparisons, 204 00:11:43,160 --> 00:11:46,320 Speaker 1: and it definitely is accurate all of the dancers. The 205 00:11:46,360 --> 00:11:49,280 Speaker 1: thing about it is in the strip club, every dancer 206 00:11:49,320 --> 00:11:54,199 Speaker 1: has a different style. Some of the dancers are like talkers, 207 00:11:54,600 --> 00:11:57,560 Speaker 1: so like, there's a group of our core dancers and 208 00:11:57,640 --> 00:11:59,959 Speaker 1: some of them run what in the club is called 209 00:12:00,080 --> 00:12:04,120 Speaker 1: tworktown and talktown are like, you know, the platform stages 210 00:12:04,240 --> 00:12:07,840 Speaker 1: that are within the actual club, not on the main 211 00:12:07,880 --> 00:12:10,120 Speaker 1: stage with the pole, and some of the girls who 212 00:12:10,120 --> 00:12:12,679 Speaker 1: worked there like toy. But then when you talk about 213 00:12:12,720 --> 00:12:17,319 Speaker 1: Miss Mississippi, who is played by Shannon Thornton, she is 214 00:12:17,440 --> 00:12:20,679 Speaker 1: that character is meant to be like the masterpiece she's 215 00:12:20,760 --> 00:12:24,280 Speaker 1: based off. She's called Miss Mississippi because she moves like water, 216 00:12:24,760 --> 00:12:28,079 Speaker 1: and her moving like water is rooted in the African 217 00:12:28,160 --> 00:12:32,160 Speaker 1: deity of Yema y'all, Yema y'all, being the goddess of 218 00:12:32,200 --> 00:12:36,040 Speaker 1: water and of power. You know, Mercedes is that like 219 00:12:36,080 --> 00:12:40,720 Speaker 1: you mentioned, Mercedes is played by Brandy Evans. I'm gonna 220 00:12:40,720 --> 00:12:46,839 Speaker 1: say Brandy Norwood, Brandy, that's not not my friend, and 221 00:12:46,920 --> 00:12:50,480 Speaker 1: sing about my friend. The actors Miss Brandy Evans, and 222 00:12:50,600 --> 00:12:54,040 Speaker 1: she her style of ranting is definitely much more athletic. 223 00:12:54,160 --> 00:12:57,680 Speaker 1: It's definitely much more physical, and it also lends to 224 00:12:57,880 --> 00:13:02,760 Speaker 1: the personality of the dancer. You know, where there's levels 225 00:13:02,760 --> 00:13:06,640 Speaker 1: of aggression or where there's a level of fluidity. I 226 00:13:06,679 --> 00:13:10,960 Speaker 1: think that dance being a choreographer and Brandy being a dancer, 227 00:13:11,120 --> 00:13:15,280 Speaker 1: and Shannon having dance before. None of them dance as uh, 228 00:13:15,440 --> 00:13:19,880 Speaker 1: pole dancers, but we're physical dancers. El Rika Johnson who 229 00:13:19,880 --> 00:13:22,760 Speaker 1: plays All the Night, she has an extensive background in 230 00:13:22,880 --> 00:13:26,360 Speaker 1: martial arts, So there was a level of physicality that 231 00:13:26,480 --> 00:13:30,160 Speaker 1: all of us had in our bodies. Then what has 232 00:13:30,200 --> 00:13:32,360 Speaker 1: to happen is that we go through a training program. 233 00:13:32,400 --> 00:13:35,600 Speaker 1: We go through boot camp. We literally go through boot camp, 234 00:13:36,040 --> 00:13:38,760 Speaker 1: just like all of the Marvel characters, just like we 235 00:13:38,800 --> 00:13:41,240 Speaker 1: need gonna do an action movie. There's about three to 236 00:13:41,320 --> 00:13:44,280 Speaker 1: four months before we actually start filming that everybody goes 237 00:13:44,280 --> 00:13:47,240 Speaker 1: to pole classes. You're going to stretch classes. You gotta 238 00:13:47,280 --> 00:13:49,040 Speaker 1: get your hips open, you gotta get the back, you 239 00:13:49,040 --> 00:13:52,240 Speaker 1: gotta do all the conditioning because it tears up your hands, 240 00:13:52,240 --> 00:13:54,439 Speaker 1: your knees, you get a lot of bruising and things 241 00:13:54,480 --> 00:13:57,600 Speaker 1: like that. Um and some of the girls are definitely 242 00:13:57,640 --> 00:14:01,080 Speaker 1: sharing some of that background on social media that you know, 243 00:14:01,240 --> 00:14:03,760 Speaker 1: you guys get to see of what it all takes. 244 00:14:03,880 --> 00:14:06,840 Speaker 1: Because the show and the world is kind of meant 245 00:14:06,840 --> 00:14:10,040 Speaker 1: to be our own kind of urban, circus ol lay 246 00:14:10,200 --> 00:14:12,599 Speaker 1: so to speak. Well, that terms used actually in the 247 00:14:12,720 --> 00:14:16,000 Speaker 1: serious as well circuss like and it's used the Mississippi. 248 00:14:16,200 --> 00:14:20,280 Speaker 1: Her character Keyshawn's role because she's married to a guy 249 00:14:20,400 --> 00:14:22,400 Speaker 1: won't give too much of the story away. But somebody 250 00:14:22,520 --> 00:14:24,840 Speaker 1: she shouldn't be She shouldn't I should use were married. 251 00:14:25,120 --> 00:14:27,120 Speaker 1: She's she's living with a guy who she has a 252 00:14:27,200 --> 00:14:31,480 Speaker 1: child with is not creating a comfortable home life for her, 253 00:14:31,880 --> 00:14:34,880 Speaker 1: and that the slides into the who I really love 254 00:14:34,960 --> 00:14:37,760 Speaker 1: this guy who plays the role of Diamond. You know, 255 00:14:37,800 --> 00:14:39,880 Speaker 1: it's like, you know, not often that. Did you see 256 00:14:39,880 --> 00:14:45,200 Speaker 1: a show where the bouncer is sensitive but but dangerous? 257 00:14:45,400 --> 00:14:46,840 Speaker 1: You know what I'm saying. You know, you know it's 258 00:14:46,880 --> 00:14:49,720 Speaker 1: like I look at Diamond, you know, a diamond. You know, 259 00:14:49,760 --> 00:14:52,840 Speaker 1: it's like I feel that I could lose his he 260 00:14:52,880 --> 00:14:55,600 Speaker 1: could crush me, but then he can also pick me 261 00:14:55,680 --> 00:14:58,200 Speaker 1: up and take me and rescue me at the same 262 00:14:58,240 --> 00:15:01,080 Speaker 1: time after he's crushed me, you know, San Nicole, So 263 00:15:01,160 --> 00:15:04,240 Speaker 1: talk about those characters. When you see a character like 264 00:15:04,280 --> 00:15:07,600 Speaker 1: a Diamonds character and then then being able to develop out, 265 00:15:08,000 --> 00:15:11,240 Speaker 1: how how special do you feel in the role from 266 00:15:11,360 --> 00:15:17,480 Speaker 1: episode to episode to episode? I feel great. I feel blessed. 267 00:15:17,720 --> 00:15:20,040 Speaker 1: I feel really uh. I know that this is a 268 00:15:20,120 --> 00:15:23,800 Speaker 1: special term as an artist. UH, as an actor, you 269 00:15:23,840 --> 00:15:27,320 Speaker 1: don't always get roles that are so rich and that 270 00:15:27,400 --> 00:15:31,080 Speaker 1: are really rooted in a level of truth that represents 271 00:15:31,240 --> 00:15:34,800 Speaker 1: your community, that can represent a fraction of your life 272 00:15:34,840 --> 00:15:37,280 Speaker 1: that you have been through. I think that this show, 273 00:15:37,400 --> 00:15:42,040 Speaker 1: it definitely takes all the different marginalized communities all and 274 00:15:42,080 --> 00:15:46,200 Speaker 1: the marginalized within the marginalized. You know. One of the 275 00:15:46,240 --> 00:15:49,000 Speaker 1: beautiful things and attractive points to me about this project 276 00:15:49,480 --> 00:15:51,840 Speaker 1: is that it wasn't just the women who come in 277 00:15:51,840 --> 00:15:56,680 Speaker 1: and out these doors. You talked about the bouncer, our Diamond. UM. 278 00:15:56,720 --> 00:15:59,640 Speaker 1: That's the character's name, and Diamond is played by Tyler 279 00:15:59,720 --> 00:16:02,760 Speaker 1: left League, and Tyler is able to bring the level 280 00:16:02,800 --> 00:16:06,720 Speaker 1: of sensitivity as well as complexity to the role coming 281 00:16:06,880 --> 00:16:12,080 Speaker 1: as a former um uh armed officer, the officer in 282 00:16:12,120 --> 00:16:15,800 Speaker 1: the of the law but armed forces, UM and what 283 00:16:15,880 --> 00:16:19,000 Speaker 1: that did to him being in the war, and that 284 00:16:19,000 --> 00:16:23,720 Speaker 1: that postpartum that comes from there. UM. I think that 285 00:16:23,800 --> 00:16:28,200 Speaker 1: it's also he's he's a route man, you know, he's 286 00:16:28,400 --> 00:16:31,600 Speaker 1: a black man and the Southern man that was raised 287 00:16:31,720 --> 00:16:35,640 Speaker 1: in knowing the powers of the earth and very strong 288 00:16:35,880 --> 00:16:39,800 Speaker 1: African medicine, um and how that works. And sometimes you 289 00:16:39,800 --> 00:16:42,920 Speaker 1: don't get to see that in an urban body, you know, 290 00:16:43,240 --> 00:16:45,600 Speaker 1: in a contemporary body, like what does that look like? 291 00:16:46,000 --> 00:16:49,520 Speaker 1: You know, it's not some kind of who do hokey magic. 292 00:16:49,840 --> 00:16:52,680 Speaker 1: It is literally something that's rooted in tradition, like have 293 00:16:52,800 --> 00:16:57,960 Speaker 1: you ever swept your grandmother slept by mistake? You know 294 00:16:57,960 --> 00:17:00,800 Speaker 1: what I'm saying. So that thought goes over the show absolutely, 295 00:17:02,160 --> 00:17:05,399 Speaker 1: you know, left the person on the floor, person on 296 00:17:05,400 --> 00:17:09,800 Speaker 1: the floor, get that, you know exactly those things so 297 00:17:10,200 --> 00:17:14,359 Speaker 1: um that those kinds of things in southern Southern uh 298 00:17:14,560 --> 00:17:18,080 Speaker 1: isms are woven into this story. And that actually is 299 00:17:18,119 --> 00:17:21,240 Speaker 1: a part of where Cotroy started her writing. Her writing 300 00:17:21,280 --> 00:17:24,840 Speaker 1: has always used and highlighted Southern culture and all of 301 00:17:24,880 --> 00:17:27,760 Speaker 1: its capacities to make it so here here's the thing 302 00:17:27,800 --> 00:17:30,880 Speaker 1: that really First of all, I'm a former sitcom writer. 303 00:17:30,960 --> 00:17:33,080 Speaker 1: I've done a lot of productions in my life. It's 304 00:17:33,080 --> 00:17:42,640 Speaker 1: definitely a show that about to do ultimate compliment. The writing. 305 00:17:42,720 --> 00:17:46,560 Speaker 1: The dialogue is incredible. I mean, this is this is 306 00:17:46,600 --> 00:17:49,679 Speaker 1: just that writing room are The writers on the show 307 00:17:50,119 --> 00:17:55,000 Speaker 1: have created a world that is so authentic that is incredible. 308 00:17:55,040 --> 00:17:56,800 Speaker 1: And when I when I when I when I look 309 00:17:56,880 --> 00:18:00,119 Speaker 1: like a Little Murder, I'm waiting for his music, you 310 00:18:00,160 --> 00:18:02,920 Speaker 1: know it is, so I wait, what is it gonna drop? 311 00:18:03,720 --> 00:18:06,399 Speaker 1: Are they gonna drop a CD for this? Are they 312 00:18:06,440 --> 00:18:10,960 Speaker 1: a soundtrack for this? Yes? Yes, they literally have. We have. 313 00:18:11,240 --> 00:18:14,240 Speaker 1: Uh it's on all platforms right now. It goes episode 314 00:18:14,240 --> 00:18:17,080 Speaker 1: by episode, so there every time there's a new music, 315 00:18:17,400 --> 00:18:19,160 Speaker 1: it is out there. And it's not only the music 316 00:18:19,359 --> 00:18:22,240 Speaker 1: of the character on this show, like Little Murder, but 317 00:18:22,320 --> 00:18:26,000 Speaker 1: the music of the Southern artists that we have gotten 318 00:18:26,119 --> 00:18:29,080 Speaker 1: to be on the soundtrack. The show literally is meant 319 00:18:29,119 --> 00:18:33,120 Speaker 1: to be a platform for the community. I think that's 320 00:18:33,160 --> 00:18:36,000 Speaker 1: something that a lot of people were a little shocked by. 321 00:18:36,040 --> 00:18:39,040 Speaker 1: But even one of our writers that writes music for 322 00:18:39,160 --> 00:18:43,080 Speaker 1: a Little Murder, the artist's name is new Money. Money 323 00:18:43,359 --> 00:18:46,439 Speaker 1: is a brother. New Money is a brother. He was 324 00:18:46,480 --> 00:18:49,919 Speaker 1: working with us during season one and you know what 325 00:18:49,960 --> 00:18:53,560 Speaker 1: he was doing. He was working at the food station. 326 00:18:53,600 --> 00:18:56,720 Speaker 1: He was making our omelets. He was making in One 327 00:18:56,800 --> 00:19:00,359 Speaker 1: morning we were there getting our breakfast and and you know, 328 00:19:00,720 --> 00:19:03,399 Speaker 1: he told I'll found Jay Fons Nicholson, who is the 329 00:19:03,440 --> 00:19:05,840 Speaker 1: actor who plays a Little Murder, And he had told 330 00:19:05,880 --> 00:19:07,480 Speaker 1: her he was like, yo, man, I know you're playing 331 00:19:07,480 --> 00:19:09,280 Speaker 1: a rock on the show. You know, I got some music. 332 00:19:09,320 --> 00:19:11,760 Speaker 1: I got some music. So we got some music. Oh 333 00:19:11,760 --> 00:19:13,600 Speaker 1: that's what's up. That's because people say that to you 334 00:19:13,640 --> 00:19:17,760 Speaker 1: all the time. And so what happened was he handed 335 00:19:17,840 --> 00:19:20,720 Speaker 1: him and he sent him some music. He uh, you know, 336 00:19:20,840 --> 00:19:23,600 Speaker 1: deemed them the music or whatever our farns wanted. Gonna 337 00:19:23,600 --> 00:19:25,240 Speaker 1: listen to the music. He heard it, he played it 338 00:19:25,240 --> 00:19:28,520 Speaker 1: for one of our producers, Patrick Patrick Ian Pope, one 339 00:19:28,520 --> 00:19:31,400 Speaker 1: of the k EPs. He then for that on Tator 340 00:19:31,560 --> 00:19:34,720 Speaker 1: Hall and before you knew it, the song was worked in. 341 00:19:35,200 --> 00:19:37,640 Speaker 1: He was brought on board. He's a writer. And here 342 00:19:37,640 --> 00:19:40,840 Speaker 1: we are in season two and this brother's life has changed. 343 00:19:41,240 --> 00:19:43,840 Speaker 1: So again, just like I got put on with this 344 00:19:43,880 --> 00:19:48,080 Speaker 1: project through a level of networking across from knowing Dominique 345 00:19:48,080 --> 00:19:50,439 Speaker 1: Marie So someone who I went to high school with. 346 00:19:51,040 --> 00:19:54,040 Speaker 1: She then knowing Quatre Hall who someone she's in a 347 00:19:54,119 --> 00:19:58,640 Speaker 1: writer's uh program with at the Lark Theater and here 348 00:19:58,680 --> 00:20:02,520 Speaker 1: I am, and then Antoine a new money. He was 349 00:20:02,560 --> 00:20:06,720 Speaker 1: just working getting a job, just get a job, but 350 00:20:06,840 --> 00:20:10,840 Speaker 1: still connected to your passion speaking it. That then turned 351 00:20:10,880 --> 00:20:12,960 Speaker 1: into something where he now as a writer and a 352 00:20:13,080 --> 00:20:16,440 Speaker 1: musician himself has elevated his platform and it's bringing all 353 00:20:16,440 --> 00:20:19,200 Speaker 1: this music to you. You know, it's just it just 354 00:20:19,400 --> 00:20:21,960 Speaker 1: it's a testament to how we can move at the community. 355 00:20:22,200 --> 00:20:25,800 Speaker 1: We'll be right back with more Money Making Conversations Masterclass 356 00:20:25,840 --> 00:20:31,760 Speaker 1: with Rushan McDonald. Now, let's return to Money Making Conversations 357 00:20:32,040 --> 00:20:37,200 Speaker 1: Masterclass with Rushan McDonald. I've change the music is fantastic, 358 00:20:37,280 --> 00:20:40,840 Speaker 1: that the characters are fantastic. You know when you say Grandmall, 359 00:20:41,240 --> 00:20:45,520 Speaker 1: I'll be remiss Nicole, if I don't bring Okay, I'll 360 00:20:45,520 --> 00:20:49,920 Speaker 1: re remiss if I don't bring up that character from Ive. 361 00:20:51,320 --> 00:20:54,200 Speaker 1: Come on, come on, that's my girl right there. Man. 362 00:20:54,560 --> 00:20:57,760 Speaker 1: You know she started on Netflix's Family Union and so 363 00:20:57,880 --> 00:21:01,520 Speaker 1: many other series. You know, been came from the University 364 00:21:01,520 --> 00:21:03,880 Speaker 1: of Houston. We're back in Houston, Texas, back in the day. 365 00:21:04,280 --> 00:21:09,000 Speaker 1: A k A true and true tell us absolutely my friend. 366 00:21:09,119 --> 00:21:13,280 Speaker 1: I've used to Texas absolutely so seeing her and seeing 367 00:21:13,320 --> 00:21:15,880 Speaker 1: her play this this this uh this role which is 368 00:21:16,520 --> 00:21:19,199 Speaker 1: as is Isaiah Washington who was on the first season. 369 00:21:19,400 --> 00:21:22,800 Speaker 1: He's from Houston, Texas, Missouri City, which is a suburb 370 00:21:22,800 --> 00:21:26,239 Speaker 1: of Houston, Texas. So to talk about that relationship and 371 00:21:26,359 --> 00:21:31,880 Speaker 1: her character, working with Loretta divine, I always say, is 372 00:21:32,320 --> 00:21:38,320 Speaker 1: simply divine. I had on a vision board to work 373 00:21:38,359 --> 00:21:41,840 Speaker 1: with her, and I didn't know what project. You know, 374 00:21:42,040 --> 00:21:44,920 Speaker 1: this was just something that I just always loved her 375 00:21:44,960 --> 00:21:50,520 Speaker 1: spirit and her zeal um. When I met her it 376 00:21:50,560 --> 00:21:54,399 Speaker 1: was even more. It was even more. She is such 377 00:21:55,000 --> 00:22:00,560 Speaker 1: a rich treasure, like she's like a national treasure to 378 00:22:00,560 --> 00:22:02,880 Speaker 1: to to us as a people. I can't, I can't. 379 00:22:02,920 --> 00:22:04,600 Speaker 1: I wanted to just say to me, but I don't 380 00:22:04,600 --> 00:22:08,080 Speaker 1: want to hold her to myself. Um, when we work together, 381 00:22:08,160 --> 00:22:11,520 Speaker 1: it is awesome. It is so much fun. We always 382 00:22:11,600 --> 00:22:15,760 Speaker 1: have a level I tend to do this generally when 383 00:22:15,800 --> 00:22:18,360 Speaker 1: I'm playing Uncle Clifford. There's a lot of improv that 384 00:22:18,440 --> 00:22:22,879 Speaker 1: happens prior to We always do improv scenes prior to 385 00:22:22,960 --> 00:22:25,639 Speaker 1: the scenes to get us in the flow because we 386 00:22:25,840 --> 00:22:30,160 Speaker 1: just want to be in the moment um. I am 387 00:22:30,280 --> 00:22:34,520 Speaker 1: from Detroit, as you mentioned earlier, but my family is 388 00:22:34,640 --> 00:22:38,200 Speaker 1: rooted in the South. You know. Detroit is just nothing 389 00:22:38,200 --> 00:22:44,320 Speaker 1: but up south, you know. So so there's a level 390 00:22:44,440 --> 00:22:47,760 Speaker 1: of comfortability that we have with one another, and we 391 00:22:47,880 --> 00:22:51,560 Speaker 1: really just bounce off and she's able to really just 392 00:22:51,760 --> 00:22:56,080 Speaker 1: be there and drop in. Sometimes we actually forget that 393 00:22:56,119 --> 00:22:59,879 Speaker 1: you know, we're not really related in real life. You know, 394 00:23:00,040 --> 00:23:03,080 Speaker 1: she's amazing. I'm talking to Nicole. He's one of the 395 00:23:03,160 --> 00:23:06,000 Speaker 1: stars and an incredibly popular series of stars that were 396 00:23:06,040 --> 00:23:08,320 Speaker 1: called The p Valley. You can catch it every Sunday 397 00:23:08,359 --> 00:23:10,919 Speaker 1: night at temp m Eastern and Pacific time. I always 398 00:23:10,920 --> 00:23:13,280 Speaker 1: try to educate myself. I always try to uplift I 399 00:23:13,280 --> 00:23:16,359 Speaker 1: always try to bring information to the show that we 400 00:23:16,440 --> 00:23:18,840 Speaker 1: all need to be aware of and also learned. There's 401 00:23:18,880 --> 00:23:22,040 Speaker 1: a level of respect we have to have for everybody. 402 00:23:22,400 --> 00:23:24,760 Speaker 1: And in your introduction I said, he just did he 403 00:23:24,840 --> 00:23:28,840 Speaker 1: demystifies the myth around southern black man, black gay man 404 00:23:29,040 --> 00:23:32,840 Speaker 1: and those identified in the non binary space and who 405 00:23:32,920 --> 00:23:36,600 Speaker 1: lived four lives us. As we close out this interview, 406 00:23:36,720 --> 00:23:39,879 Speaker 1: please explain to us exactly the importance of that and 407 00:23:39,920 --> 00:23:41,879 Speaker 1: what are you trying to What am I trying to 408 00:23:41,920 --> 00:23:45,520 Speaker 1: say when I say that what I just said, I 409 00:23:45,600 --> 00:23:48,040 Speaker 1: think what you are saying to me. How I receive 410 00:23:48,119 --> 00:23:50,600 Speaker 1: it is that it is a new day. It is 411 00:23:50,640 --> 00:23:54,800 Speaker 1: a time where we regardless of how you identify, I 412 00:23:54,840 --> 00:23:57,879 Speaker 1: think at the time when we can see all of us, 413 00:23:57,960 --> 00:24:00,680 Speaker 1: when we can acknowledge all of us, when we can 414 00:24:01,000 --> 00:24:05,600 Speaker 1: talk about it um, I come from a time from 415 00:24:05,600 --> 00:24:09,399 Speaker 1: when it used to be the question of are you 416 00:24:09,440 --> 00:24:13,359 Speaker 1: sweet or do you have sugar in your tank? Or 417 00:24:13,560 --> 00:24:16,000 Speaker 1: back in the day, even Red Fox, I'm saying for 418 00:24:16,080 --> 00:24:17,680 Speaker 1: the Tide, he was like, you know, he's a little 419 00:24:20,720 --> 00:24:23,240 Speaker 1: You know, there were things that people always talked about. 420 00:24:23,280 --> 00:24:26,640 Speaker 1: And I think that the importance of today is that 421 00:24:26,680 --> 00:24:29,520 Speaker 1: we really get to be able to meet each other 422 00:24:29,840 --> 00:24:32,880 Speaker 1: human being to human being. The character that I play 423 00:24:32,960 --> 00:24:36,680 Speaker 1: Uncle Clifford is non binary, and that's a person who 424 00:24:36,800 --> 00:24:40,520 Speaker 1: is equally accepting of all of the things that cannot 425 00:24:40,560 --> 00:24:44,920 Speaker 1: be held into a restrictive box. And I think when 426 00:24:44,960 --> 00:24:49,240 Speaker 1: you have a question of how someone identifies you, simply 427 00:24:49,320 --> 00:24:52,119 Speaker 1: do that you can ask. That is the level of 428 00:24:52,160 --> 00:24:54,640 Speaker 1: respect because one of the things I find with play 429 00:24:54,760 --> 00:24:58,000 Speaker 1: Uncle Clifford that no matter who you are or where 430 00:24:58,040 --> 00:25:01,120 Speaker 1: you come from, you respect her. I think you respect 431 00:25:01,200 --> 00:25:04,280 Speaker 1: her because you see her. So you see this body 432 00:25:04,359 --> 00:25:07,600 Speaker 1: that is six too, You see this dark skin, these 433 00:25:07,680 --> 00:25:09,800 Speaker 1: fool that you see this beard, but you see this 434 00:25:09,920 --> 00:25:12,280 Speaker 1: pretty face, and you see these nails and you're like, 435 00:25:12,680 --> 00:25:15,520 Speaker 1: what's going on? But you see someone walking with a 436 00:25:15,640 --> 00:25:19,480 Speaker 1: level of confidence and clarity even more so, and it's 437 00:25:19,520 --> 00:25:24,240 Speaker 1: not even about any kind of bravado. You know what 438 00:25:24,280 --> 00:25:27,760 Speaker 1: I mean. I think because when you see a woman 439 00:25:27,840 --> 00:25:31,680 Speaker 1: that is walking in her full femininity, I don't think 440 00:25:31,720 --> 00:25:34,480 Speaker 1: that she has to be soft or she has to 441 00:25:34,520 --> 00:25:38,040 Speaker 1: be in a pants suit to have authority. You know 442 00:25:38,080 --> 00:25:40,000 Speaker 1: I'm saying what I mean. And you don't think that 443 00:25:40,240 --> 00:25:44,439 Speaker 1: a brother that he has to be wearing a move 444 00:25:45,600 --> 00:25:48,720 Speaker 1: to be in touch with his feelings. You can be 445 00:25:49,160 --> 00:25:52,960 Speaker 1: who you are in your sweatpants and your athletic socks, 446 00:25:53,080 --> 00:25:56,240 Speaker 1: in your business suit, in your move. All of the 447 00:25:56,320 --> 00:26:01,800 Speaker 1: things come on, come on, especially for us as a community. 448 00:26:02,160 --> 00:26:06,119 Speaker 1: I feel so proud for this moment, honestly, brother, because 449 00:26:06,560 --> 00:26:09,280 Speaker 1: there are people who still have high levels of homophobia, 450 00:26:09,600 --> 00:26:13,240 Speaker 1: absolutely for sure. But what I do know about this 451 00:26:13,600 --> 00:26:16,719 Speaker 1: ton that I'm living in and this project is that 452 00:26:16,760 --> 00:26:19,800 Speaker 1: there are people who are willing to make a change, 453 00:26:19,880 --> 00:26:23,080 Speaker 1: that are opening their minds, that are opening their that 454 00:26:23,080 --> 00:26:25,600 Speaker 1: their minds not only to the l g B t 455 00:26:25,680 --> 00:26:28,360 Speaker 1: Q plus community in the full spectrum that we have, 456 00:26:28,960 --> 00:26:33,640 Speaker 1: you know, between bisexual, pan sexual trends as well as 457 00:26:33,760 --> 00:26:37,080 Speaker 1: pan sexual You know that I like it all. I 458 00:26:37,119 --> 00:26:42,119 Speaker 1: think that I think that people have really stigmatized sex 459 00:26:42,160 --> 00:26:46,080 Speaker 1: workers and pole dancers for so long and then they 460 00:26:46,119 --> 00:26:50,000 Speaker 1: watch this program and they're like, Oh, they're real people 461 00:26:50,119 --> 00:26:53,439 Speaker 1: just like me. They're going they're working their way through school, 462 00:26:53,600 --> 00:26:56,400 Speaker 1: they're taking care of their children, or they're helping their 463 00:26:56,440 --> 00:27:00,320 Speaker 1: their grandparents, their caretakers. You know, you can go to 464 00:27:00,400 --> 00:27:04,120 Speaker 1: the dentist and you not know that your dentists used 465 00:27:04,119 --> 00:27:06,880 Speaker 1: to be up on the pole or your dentists used 466 00:27:06,880 --> 00:27:09,439 Speaker 1: to be done and at a club. We all have 467 00:27:09,520 --> 00:27:12,840 Speaker 1: a history, but we also have the poetry right, our 468 00:27:12,960 --> 00:27:16,200 Speaker 1: future right. Absolutely. But Nicole, I want to thank you. 469 00:27:16,480 --> 00:27:17,840 Speaker 1: First of all, I want to give you a voice. 470 00:27:17,960 --> 00:27:20,000 Speaker 1: I wanted to say thank you for allowing me to 471 00:27:20,040 --> 00:27:23,080 Speaker 1: be entertained every Sunday. And if I missed it on Sunday, 472 00:27:23,640 --> 00:27:28,959 Speaker 1: I see it don't repeat on my streaming. But well, 473 00:27:28,960 --> 00:27:31,040 Speaker 1: you know, the thing I like it as we close 474 00:27:31,119 --> 00:27:33,360 Speaker 1: this interview out is that your character is not over 475 00:27:33,400 --> 00:27:36,359 Speaker 1: the top. It's a character I found very realistic, you know, 476 00:27:37,040 --> 00:27:39,240 Speaker 1: and but you just planning who you are, and I 477 00:27:39,280 --> 00:27:41,080 Speaker 1: think that's what you just said, just being the person 478 00:27:41,160 --> 00:27:43,760 Speaker 1: who you are. It doesn't have to be dressed a 479 00:27:43,760 --> 00:27:46,199 Speaker 1: certain way. You can were You're the same person in 480 00:27:46,240 --> 00:27:48,600 Speaker 1: a in a in a cool locks you're the same 481 00:27:48,640 --> 00:27:50,920 Speaker 1: person and you're short. You're the same person. Address you, 482 00:27:51,040 --> 00:27:53,840 Speaker 1: same person, a suit, same person with the blood wig. 483 00:27:54,040 --> 00:27:57,359 Speaker 1: You're the same person. It's just being administered in a 484 00:27:57,359 --> 00:28:00,560 Speaker 1: different look. And that's the exciting part of this show 485 00:28:00,640 --> 00:28:03,359 Speaker 1: is that P Valley is a show with a different look, 486 00:28:03,960 --> 00:28:06,840 Speaker 1: is set in a small town, fictional city in Mississippi. 487 00:28:07,200 --> 00:28:09,760 Speaker 1: The music is great, the acting is great, the drama 488 00:28:09,840 --> 00:28:12,439 Speaker 1: is great. More importantly, you will fall in love with 489 00:28:12,480 --> 00:28:15,600 Speaker 1: the characters. If you can't find stars Network find it, 490 00:28:15,920 --> 00:28:19,159 Speaker 1: drop that app. But importantly on Sunday Night, dropped it 491 00:28:19,240 --> 00:28:21,080 Speaker 1: app so you can see this show. Thank you for 492 00:28:21,119 --> 00:28:23,800 Speaker 1: taking the time to come on Money Making Conversation Masterclass. 493 00:28:23,880 --> 00:28:26,520 Speaker 1: You are a star, and not only on P Valley, 494 00:28:26,560 --> 00:28:28,239 Speaker 1: but you're just a star in real life. Thank you, 495 00:28:28,240 --> 00:28:31,280 Speaker 1: my friend, thank you brother. I appreciate it. And if 496 00:28:31,320 --> 00:28:33,240 Speaker 1: you want to see her here any episodes of Money 497 00:28:33,280 --> 00:28:36,680 Speaker 1: Making Conversation Masterclass please go to money Making Conversation dot com. 498 00:28:36,920 --> 00:28:38,880 Speaker 1: I'm Rashan McDonald. I am your host.