Mýa on Self-Love, Independence & Reinvention

Summary

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Podcast Summary: Baby, This Is Keke Palmer — Mýa on Self-Love, Independence & Reinvention

Host: Keke Palmer
Guest: Mýa
Date: June 2, 2026

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Main Theme & Purpose

In this deeply engaging episode, Keke Palmer sits down with R&B icon Mýa to explore her journey through music, personal reinvention, self-love, independence, and authenticity. The conversation spans from Mýa’s start as a teenage artist to her current, empowered approach to creativity, life, and love. Together, they tackle navigating fame as young Black women, reclaiming purpose amidst industry pressures, and how personal values inform growth and artistry.

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Key Discussion Points & Insights

Astrology, Upbringing & Early Influences

• Big Three: Mýa is a Libra sun and rising, and Cancer moon. Balance is a foundational theme in her life (02:20).
  • "Balance is always either the struggle or the goal." — Mýa (02:34)
• Family & Musical Roots: Grew up in Washington, D.C. with a deep exposure to culture and music, with her father as her earliest influence and role model in music and independence (10:43–11:57, 12:31).
  • "R&B, soul, funk is the foundation of my living room and my dad’s music.” — Mýa (11:57)
  • Mýa’s mom managed finances and business, setting an example of female leadership (12:23).

Finding Her Voice & Early Career

• Mýa’s plan was originally theater/Broadway, but her recording career took off first (12:43).
• Discusses getting signed after working on demos at 14, and being surrounded by a supportive, familial musical community — notably with Drew Hill and Hakim Islam’s University Music Entertainment (13:09–16:08).

Navigating Fame & Industry Pressures

• Growing up publicly was daunting, but she attributes her resilience to watching, observing, and staying humble.
• Reflects on how today's social media amplifies pressures and scrutiny, noting relief that she didn’t have to navigate that as a teen star:
  • "Thank God that social media was not out that (then)." — Mýa (20:39)
• On learning as technology changes:
  • "I'm learning from the younger generation now." — Mýa (21:52)

Iconic Moments & Musical Milestones

• Grammy Nomination & Hits: “Ghetto Superstar” (1998), “Lady Marmalade” — stories about working with iconic figures and being part of landmark collaborations (22:07–25:59).
  • On the first time performing with Patti LaBelle: "We were just silent. We were like, this is real. The queen has arrived." — Mýa (25:13)
• Case of the Ex: Didn’t realize the song’s impact until social media/TikTok era brought it full circle with fans (26:29).
• Chicago (the Film): Mýa recalls the full-circle moment of acting, singing, and dancing together, and an intimidating, improvisational audition process (28:22–31:04).

Growth, Loss & Independence

• Emotional Reflection: Mýa shares she feels emotional hearing her younger singing voice, especially recognizing her younger self’s resilience through family divorce and navigating the industry alone (31:31–33:51).

• Going Independent:

  • After an album leak and legal frustrations, Mýa embraced independence, learning all aspects of production, contracting, and business — inspired in part by advice from Prince.
  • "When people like Prince call you and be like, ah, stay independent…" — Mýa (37:48)
  • Finds independence more rewarding, with creative freedom and personal fulfillment (35:07–40:38).

Defining Success & Self-Love

• Both Mýa and Keke reflect on the danger of basing self-worth on external validation or industry metrics.
  • Mýa: "You begin to operate as that kid in high school, where everything was just happy, go lucky… now you’re making music from a pure place." (40:10)
• The necessity for isolation, bravery, and recalibrating one's inner compass is a recurring lesson (43:40–45:43).

Meeting and Learning from Prince

• Mýa shares about meeting Prince, his advice, and his emphasis on independence and spiritual purpose (46:06–48:06).

Self-Marriage & Public Perceptions

• Mýa clarifies that her “marrying herself” (in a music video) was a message about self-love, not bitterness or rejection of love (52:30–58:30):
  • "Why would I expect anyone to come into my life if I'm not right within? So let's get you together and then watch what happens." — Mýa (56:21)
  • Discusses how society resists women expressing contentment without a romantic partner, and the deep importance of being whole as an individual.

Artistic Longevity, Evolution & New Music

• Talks about her recent tour experiences, last-minute show fill-ins, and the challenges of always staying “stage-ready” (60:16–66:09).
• Announces her 10th studio album, “Retrospect,” and single “ASAP” (66:27–68:15). The album draws from the late ’70s and ’80s soul/R&B, family memories, and is hosted by D-Nice.
  • "This album is very intentional. I'm taking it back to a time that I fell in love with music..." — Mýa (66:48)
• Emphasizes embracing her authentic vocal range and creative voice now — “leaning into my alto” — after years singing in higher, less-comfortable registers (71:19–72:51).
• "Evolution is a blessing… It's okay to be a little messy, it's okay to fall on your face." — Mýa (69:54)

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Notable Quotes & Memorable Moments

• On Balance and Being a Libra:

  • “Balance is always either the struggle or the goal.” — Mýa (02:34)

• On Industry Pressures:

  • “If social media were around back then, I'm not exactly sure if I had the capacity or bandwidth to handle something like that.” — Mýa (20:29)

• On Independence:

  • “When people like Prince call you…they start talking about their journey and the importance of protecting your peace…then you begin to see it show up later.” — Mýa (38:35–40:10)

• On Self-Love:

  • “Why would I expect anyone to come into my life if I'm not right within? So let's get you together and then watch what happens.” — Mýa (56:21)

• On Defining Success:

  • “We operate from that place in life, regardless of the industry…but life humbles you really quickly. And then you begin to see through a different lens.” — Mýa (41:19)

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Important Timestamps

• Astrology & Balance: 02:20–03:01
• First Inspirations & D.C. Upbringing: 10:43–12:23
• How She Got Her Record Deal: 13:09–15:58
• Reflections on Growing Up in Public: 19:36–21:07
• Grammy Moments & Collaborations: 22:07–25:59
• Origins of “Case of the Ex": 26:29–28:07
• Independence & Prince’s Advice: 35:07–40:38
• Choosing Self-Love (Self-Marriage): 52:30–58:30
• Touring Backstory & Resilience: 60:16–66:09
• “Retrospect” Album Intent & Sound: 66:27–69:54
• Artistic Evolution & Voice: 71:19–72:51

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Keke & Mýa’s Lightning Round: “Vibe or Superlative” Game (73:40–82:15)

A fun, insightful segment where Mýa is asked to choose between icons on categories like “Untouchable vocals,” “Most timeless,” “Most influential,” and more. Notable picks:

• Whitney Houston for vocals (74:19)
• Luther Vandross for love songs (74:34)
• Mary J. Blige for era-defining run (75:50)
• Sade for emotional voice (77:56)
• Stevie Wonder for timelessness (78:31)
• Janet Jackson as blueprint for influencing the current R&B generation (80:11–81:27)

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Overall Tone & Takeaways

The conversation is honest, warm, vulnerable, and empowering. Mýa’s humility, self-awareness, and wisdom shine throughout, as does Keke’s genuine admiration and relatability. Together, they encourage a perspective of success rooted in self-love, authenticity, community, and resilience — outside of industry or societal dictates.

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For listeners (or readers) seeking insight into longevity in music, the value of independence, or how to reclaim self-love in any field, this episode is a must.

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Transcript

[A]

I've been a fan of my next guest for as long as I can remember. She's R and B royalty. A Grammy award winning artist who has been part of the soundtrack to our lives for nearly three decades. From stepping into the game as a teenager to giving us iconic hits like Case of the Ex and Lady Marmalade, she has built a career that is global, intentional, and fully on her own terms. Now she's back with her upcoming 10th studio album, Retrospect and the single ASAP. Maya, Malicia, get ready. Cause baby this is Keke Palmer. No matter what we doing in the car, Just chilling pop on Amazon music, Sit back and listen. Life, love, sex, science, covering it all, especially the bad. Cause money always evolved. No matter what it is, we gonna make it make sense. Nothing else to do but kick it with the homies and kings. So grab you a drink and a snack you enjoy? And get into the vibe that only ones you know it's your girl. This is. This is Kiki, baby. This is Kiki Palma. Yeah. Today's episode is brought to you by the new drinks at McDonald's. Six new drinks, crafted sodas with cold foam. Refreshers with popping boba and freeze dried fruit. And trust. They are giving everything. Now let's get in today's show. Maya. Kiki, girl, I am so happy to have you on the show. It's a long time coming.

[B]

I am so happy to be here and so proud of you.

[A]

Thank you.

[B]

You.

[A]

That means so much coming from you. It really, really does.

[B]

So talented, so gifted. Oh my gosh. So amazing. Since day one. Thank you.

[A]

Well, you know, we always have everybody that comes through the show does the pre show pull up. So I was excited, guys because usually when people do these pre show pull ups, I'm not shading nobody, but I can't read the chicken scratch that they be writing. But Miss girl over here is very legible. It's clear. Okay. Cuz I can actually read what it said, so. Zodiac sign. I already knew this. Libra period. Libra aesthetics. You know, you always give it a look. I feel like Libras are known for that. Do you feel very close to your sign?

[B]

Absolutely. You know, I was on ChatGPT this morning trying to figure all of this out that you're about to bring up. And you know it does a deep dive. It does.

[A]

It can tell you the moon.

[B]

Do you know your moon now? I do as of today.

[A]

What is it?

[B]

So it starts with sun sign, which is Libra. Yeah.

[A]

Yeah.

[B]

Moon is cancer.

[A]

Oh.

[B]

And I'm a double. Because my rising is also Libra.

[A]

Oh my gosh.

[B]

And I was born 1010. So perfectly balanced.

[A]

What is the most Libra thing you think about?

[B]

You trying to achieve? Balance is always either the struggle or the goal.

[A]

Yeah, yeah, yeah.

[B]

And then I would say the destination that I finally get to, if it doesn't have balance, it doesn't make sense to me.

[A]

Oh, my gosh. Which sounds. Which is. I really actually relate to that. I have a Libra Mercury. So I'm also a very balanced person. I also leaving, like, fair stuff, but it's like, you know, life is just not like that. So very often I'm on the other

[B]

side and I'm like, yeah, diplomatic, all of that.

[A]

Okay, so yes, I see you. Your big three. Boom. We know that. And then what are you most grateful for? Today when I read this, I'm like, this is so Maya. Because it says life, guys. But then in parentheses it says the greatest gift.

[B]

Of course.

[A]

And that is so you. I agree with that. Life is the greatest gift. A relationship or friendship, non negotiable for you. I mean, this is narcissism, jealousy, dangerous combination. And it's so true because sometimes, and I like how we, you know, we say friendship too, because sometimes it's in the friendships, you know what I'm saying? And it can happen, I feel like in our industry a lot of times too, because the world of our careers can be so big. We can be very open sometimes to that kind of thing where people just kind of, you know, it's like, I'm not my career. You know, it's like, I know it's a lot of lights and a lot of stuff that's happening here, but like, it's so important I find to make sure that my friendships and people that are close to me don't let that tell them who I am or respond

[B]

to that, you know, or assume things about you because of it.

[A]

Yeah, that's tough.

[B]

The wrong things.

[A]

Okay. Every time. What's a question you wished you were asked more interviews. I was excited about this. Are you hungry? Would you like to order something?

[B]

Oh, yes.

[A]

You know, now wait a minute because y' all we supposed to supposed to have stuff in your little snack room, did you?

[B]

You did. It was loaded. It was loaded. But, you know, sometimes you get a little dry throated during interviews. And I know that food helps me just get by in life every day. It's the highlight of my day.

[A]

And you like to cook, don't you?

[B]

I love to cook. I love to Snack. But it's like a part of my functionality. If I don't eat or at least have a little soup or something hot, you know, I feel that I'm not delivering properly.

[A]

Bad mood immediately.

[B]

I mean, foodie.

[A]

Hilarious. Okay, who is someone that you've met that made you feel starstruck? Which. This is an incredible name. Gregory Hines. Yes. I mean, Gregory Hines icon. Amazing. Incredible. Where did you guys meet?

[B]

I was 10 years old when I met Gregory Hines, outside of, I think, Jelly's Last Jam, when I saw my very first Broadway show in New York City with my mom. And also the Macy's Day Parade was happening during that time. And I was a tap dancer, you know, amongst a big group of tap dancers during that time. And we went to go see his play, but he comes outside of the, you know, to say hi to his fans and signs autographs. And I was so starstruck because I grew up watching Gregory Hines tap dance and act and sing PBS specials, VHS and beta tapes. I have it all. Archive. Archival footage that I would study.

[A]

Wow.

[B]

And so when I met him in person, I was starstruck and frozen.

[A]

Incredible.

[B]

Yeah.

[A]

Oh, my gosh. Did you ever get to see him after you'd become the Maya that the world knows? Did you ever see him again?

[B]

Yes. So he actually visited Washington, Washington, D.C. where I'm from, and visited a tap school that I was a part of. We got to perform with him. I think I was about 13. And then years later, I performed again as a tap dancer soloist. And he joined me on stage years after that when I was 16 at the Smithsonian Institution. And I was just freestyling on stage, and he was in the wings, and, you know, I studied a lot of his steps, so I was pulling those steps out, and he came on stage, and we started trading bars. In tap dance, we call that challenge.

[A]

I love that.

[B]

Trading bars.

[A]

Like, girl.

[B]

Yes. So that was a big moment for me. I was starstruck then, too.

[A]

Oh, my gosh. Tapping is such a beautiful. I watch a lot of time. The Chloe Ahmad.

[B]

Yes. Those are my sisters.

[A]

Oh, my gosh.

[B]

They're incredible.

[A]

Like, I watch them and, like, it's so, like, I'll try to think I can do it, but the way that you guys can hear rhythm and how you just move those feet, the sides, the back, the front.

[B]

Well, you're musical, so you can do it.

[A]

I'm gonna have to learn. Okay, and then last one. What's a mantra you live by and why? One day at a time. I love this one.

[B]

Yes. Now that I'm older, that is just something that I must live by. We can be in a rush every day to try to meet this expectation that we either place over ourselves or that society sometimes has over our heads.

[A]

Yes.

[B]

And you can stress yourself out, lose out on health and sleep and life and family. So I just take one thing at a time and not try to rush into getting the goal accomplished. Sometimes it doesn't take a day or it just can't happen overnight. Pacing.

[A]

And that's what I was just actually saying to you a little bit two moments ago before we had got. Before we even got started this interview is like, sometimes I've felt very like I've always been so forward moving. And, you know, I would say that I have a large capacity. I can take on a lot of things. And because I can, I feel like I should. But I've been, as I've gotten older as well, started thinking, well, you know, just because I can, it doesn't mean that I should. It doesn't mean that I won't eventually. But like the pacing in one day at a time and just like being present, which I know we say it all the time, but it's really like. Just like allowing yourself to like, exist in the moment is so underrated. You know what I mean? But it really. When you do.

[B]

Yeah.

[A]

Time actually slows down.

[B]

Yeah. In a weird way. Well, I look at you and you started so young and you grew up in this business, which often I would say has a lot of people around us that also operate behind the scenes for what they specialize in. And a lot of that is about, oh, we got to get it while we can, or we feel like. Or they feel like we're going to miss out on something. Yep. And it's not necessarily like that. What's for you will always be for you. Yeah. Even when you say no, when you have to say no for your health or just family and shutdown time, it will always still be. Be there for you. Even though that was an opportunity you said no to. I think that can keep us on the hamster wheel for so long. Yeah. It's okay to take care of you. Yeah. And that's also another mantra of mine these days.

[A]

Yeah.

[B]

I really respect to do that.

[A]

I really receive that. I want to get even more into that. But I want to go to the start from the beginning with you, because you also started very young.

[B]

Not as young as you when I first saw you, by the way, just as this young girl with so much light and vibrance. Vibrancy. I was like, that is a superstar. That was. That is a superstar. I just saw it. I knew it.

[A]

Then where was this Was this one.

[B]

Aquila was Aquila.

[A]

And the Bee.

[B]

The articulation, the energy, the voice, the tone, just all of it. You just embodied that girl.

[A]

Well, girl, I knew I was a ghetto superstar because of you. Growing up where I'm from in Roberts, Illinois, that video, I. Ghetto Superstar, I watched it all, and it was like a song. The song I would sing, you know what I mean? Because it's also the melody that we know. And so, like, family functions, they would be able to get something. Stuff that is what you. So that is just like. For me, it's so full circle. Like, I love being able to get the opportunity to do this show and be able to meet and have real discussions with the people that I've looked up to for so many years. And you always have had. Even though you're very beautiful, very sexy, you've always had such a wholesomeness, the purity that I think also the youth have always looked up to. You know what I mean? So as a young person watching people on television and stuff, you were somebody that had all the things, but it was. You had such a grace about you. We've always had such a grace. And so, yeah, for me as a kid, seeing that and, you know, seeing you do that and all your dancing and everything was always really, really inspiring. So that means. It means a lot to me when you see. Say that for sure. So you're from Washington, D.C. yes, ma'.

[B]

Am.

[A]

And Maryland County. Okay. Now, what was it like growing up? You were. I know you mentioned going to musicals, being in dance, and how did growing up there shape your love for the arts?

[B]

Well, there's so much culture in D.C. so much talent, and we also have a huge music scene, whether it's jazz, whether it's R and B and soul. And our staple sound, Go Go music. And Go Go is not just music, but it's an experience when you go to the Go Go. You know, it used to happen a lot in parks, outdoors, and still happens, but it's mostly indoors nowadays. But that's a staple sound for us and very influential for me. But watching my dad as my very first influence and introduction to music was the thing for me. Whether it was in the studio, him recording in rehearsals, like in our living room.

[A]

Yep, yep.

[B]

Or garage, neighbors complaining, all that. That was my influence. I saw him perform. He had me in the nightclub like I was 12, 13. He's like, Go ahead and tap dance. If you want to sing something, go ahead, you know. So I was around all these wonderful guys and musicians that were like uncles. And my living room was lit, you know, it was joy. I would just dance and sing when they would come over, and they'd be over every week. Because my dad is a gigger. You know, he's on the road. He just had a show.

[A]

Oh, my gosh. I love that shout out to Pops in his music. What does his style and vibe.

[B]

He does everything 40. But R&B, soul, funk is the foundation of my living room and my dad's music. He's a songwriter, recording artist as well. And I watched him actually press vinyl, produce his music, and run his label independently. My mom would actually be the businesswoman behind the scenes, the accountant, the bookkeeper. And she's been doing that for me since 1997.

[A]

Oh, my gosh. We love Mama. A mama that know the coin. Shout out to Sharon too. She didn't know a lot, but she figured it out.

[B]

Ms. Theresa I love plays, no games. Yes.

[A]

So for you, it seems like music was a natural progression. I mean, was there any point that you thought maybe you wouldn't be an artist or you always knew, like, I'm gonna be a singer, I'm gonna be a dancer.

[B]

The wild thing is, my plans were to go to theater after college and I wanted to do Broadway.

[A]

Yeah.

[B]

It encompasses everything.

[A]

Yes.

[B]

You know, and that was the goal. And it just so happened the recording career happened first, you know?

[A]

Yeah. So how did that happen? I mean, so you were going to school, you're dancing in school, you're always doing, going with your dad to gigs, having fun at home. When did the professionalism aspect enter the storyline?

[B]

Well, I started recording demos when I was about 14 in a basement studio. One of his musician friends, Stan. What up, Stan?

[A]

What up, Stan?

[B]

I love that real old school equipment, Casio keyboards and all that. And I just started getting acclimated to the studio just by myself as a 14 year old. And then a year later, my parents invested $1,500 for a professional demo to be written in original song of my own, you know, and that I really, really enjoyed the process of having my own song, doing covers. I was covering a lot of Isley Brothers songs and Shaka Khan when I first started. But that was so great, I started sharing it with my friends. And so I now had a Maya demo. Right. Oh, my gosh. There's this independent label, University Music Entertainment, Ume, founded by Haq Islam in Washington D.C. at the time, they had the girl gospel group Pure Soul signed.

[A]

Yes.

[B]

As well as Drew hill. Yep.

[A]

Yeah.

[B]

1997 Drew Hill hit They're From Baltimore. And Hawk Islam at the time was looking for a female, young, female artist that he could develop. And he was sort of like our mini Motown based in D.C. you know. And he signed me independently and started investing. Tell me about the culture. My last year of high school.

[A]

This culture. Because I'm thinking Drew Hill. You know what I'm saying? We're in dc, we have this guy, you know, this is. What year are we?

[B]

96. When he came to my house to audition me sing live. And he had already heard the demo in his office when my dad, you know, took my bio and demo tape over there. But he came to my house after school and asked me to sing live acapella. I sang who's Loving you?

[A]

Oh my gosh. Jackson 5 in Vogue, who I just

[B]

saw a couple nights ago. And Monica before you Walk on My Life sang those a cappella. He was like, we have a deal. And so I started taking Voice Lessons in D.C. with Kim Baker and then went to college. After I graduated University of Maryland, College park was studying speech communications and dance. And I had to make a decision. Cause I was back and forth between Philly every week recording more demos for this potential album.

[A]

Yeah.

[B]

As a part of his investment on the train back and forth to D.C. and those demos were shopped to major labels. Some said no. Interscope said yes. But Interscope was not an R and B pop label. It was a rap and rock label. They were like, okay, we like this. We'll give it a try. And I was the test dummy. And I was not technically signed for that whole first album that came out until it worked. So on my second album, I officially signed to Interscope, but I was signed to Hawk Islam. So he developed all of us, invested in all of us, and had success.

[A]

What do you remember about those early days with some of those people that weren't you on the label with? What was it like recording in the studios?

[B]

Like, yeah.

[A]

What was that process? And I'm curious how much is different now.

[B]

It was so wonderful because I felt like I was surrounded by family. It was a very nice family environment with older women that I could look up to and brothers my age, slightly older. Through Drew Hill, everyone was a vocalist and a performer. Everyone was a musician and a songwriter. So I was surrounded by talent that I could learn from. Like that. And I was actually in the studio with Drew Hill recording my first album. They're all songwriters, producers, and musicians. Everyone plays an instrument and they're from the church too, so you get the harmonies and they study. Jodeci, one of my favorites, but just the good music from the 90s. It was all around us and we were all out here for lady of Soul one year in 97. Andrew Hill had just popped on the scene with Tell me yeah, tell me what you want. Yeah, the excitement. And I hadn't just yet. I came out a year later. But I got to watch their success from the sidelines while I was in development and recording and learning. Yeah, that was really, really great.

[A]

Was there anything that was overwhelming during that time about the industry coming in? I mean, that, that you were, you know, that was new to you, you know, baby, this is. This episode is brought to you by the brand new drinks over at McDonald's. Okay, y', all, these drinks are officially the outside drinks of 2026. I'm talking concert season, game day season, vintage market season, picnic in the park with a cute fit and a lover season. These drinks were built for any occasion worth showing up for, y'. All. The Sprite Berry blast with sprite, blue raspberry and cold foam on top, that's your drink before the headliner hits the stage. The strawberry watermelon refresher with freeze dried strawberries with a little caffeine to keep the energy going is what you and your girlfriends are going to be sipping at the post brunch afters. Six new drinks total, Crafted sodas with cold foam and refreshers with popping boba and freeze dried fruit that go perfectly with even the chilliest of days and the hottest shenanigans before you pull up anywhere. I know you stopping at McDonald's first, because that's just the move. Now new drinks now at McDonald's. Baby, we outside. Okay, so the road trip is happening. All right? The snacks are packed. Somebody already has the playlist ready, and you already know the music is about to be popping. Okay? And the kids have been asking, are we there yet? Since before we left the driveway. As someone who travels by car frequently with her child, I know what will make or break that trip. It's what you pull up to at the end of it. Because after me and Leo have been in that car for six hours, baby, we are not trying to arrive at just anything. We want to walk into a home. And that's exactly why I like booking stays on Airbnb. When you get to a place that actually feels like somewhere you can live, the whole energy Shift. Now we have a space to spread out, a kitchen where I can throw something together if I want to. A porch where I can sit, breathe and come back to myself after that drive, that's the reset you need. The trip doesn't end when you arrive. It's just getting started. And when you book with Airbnb, that's when the trip really begins.

[B]

I was a teenager during that time and everything is new.

[A]

Yeah, yeah, yeah.

[B]

I really wasn't one to speak much. I'm an observer and I'm probably still not that girl unless asked. So I was on the sidelines, just observing how things work, how to conduct an interview, do radio drops, you know, the liners when you go to radio stations. All of the things. What a fitting was. I didn't really have much experience with that outside of, oh, dance competitions and recitals, but my mom would make all those outfits, so it wasn't a whole bunch of strangers and all the energy and all the opinions and all of the critics and all of the things. If social media were around back then, I'm not exactly sure if I had the capacity or bandwidth to handle something like that. That is a lot for someone that's just learning themselves as a young woman and transitioning into womanhood fresh out of high school.

[A]

Sure.

[B]

You know, in a very insulated environment where you don't have freedom and so you're learning in front of the world while everybody's watching you. So thank God that social media was not out that.

[A]

I think it's cool that you said that, though, because I think a lot of people feel that way now, and

[B]

I feel that way as a grown woman.

[A]

You know what I mean?

[B]

I watch everything I do because there's the world, the globe is connected to you. Yeah. And anything you say or do is amplified, but can also be taken the wrong way. Sound bites can be made, captions. And it can be very misleading and dangerous when you get. Go outside and be. Can be caught outside.

[A]

Yes.

[B]

For something that's misconstrued. So it's a dangerous place out there. But the world is full of love at the same time. And I have to remind myself, but, yeah, that could be overwhelming for any young person.

[A]

Yeah. I always say that because, you know, people often are like, you know, you grew up in front of the tv, blah, blah. It's like. But now everybody does.

[B]

Yeah.

[A]

Because the TV is the phone screen. So it's like, you know, you had a page when you was 12 or 13. Good luck with whatever you said. You know what I Mean, because they gonna bring it back up and find it you.

[B]

And the thing about that time, I was a student fresh out of high school, but I'm still a student because this business is ever changing, technology is ever changing. I got to get my 16 year old niece to teach me how to use certain parts of the phone, like certain apps. What is going on? I cannot keep up.

[A]

No, seriously, seriously.

[B]

And I'm learning for the. From the younger generation now.

[A]

I mean, the Gen Alpha, they teach me everything every day. Yeah, them kids is bad. Now, your first Grammy nomination was 1998 with Ghetto Superstar. And your first win was with Lady Marmalade.

[B]

You know, I didn't even know that. I didn't know that Ghetto Superstars achieved so much. I feel like I'm just beginning. But I did not know Ghetto Superstar was nominated. Was that his album or the actual single?

[A]

Yeah, it was the single.

[B]

Yeah.

[A]

Ghetto Superstar, 1998.

[B]

I did not know.

[A]

How were you approached for that record?

[B]

Okay, so Interscope through Universal Music. They would often do a lot of soundtracks as the distributor. And they brought that to my realm as this R B pop artist to sort of establish me.

[A]

Yeah.

[B]

Back then, soundtracks and probably now they had that coin.

[A]

Yes. And they need more of that now. It actually is missing. I wish it was back.

[B]

And they would always have a major single that would launch or simultaneously release with the soundtrack to promote the movie.

[A]

Yeah.

[B]

And that was the thing back then. So we had several opportunities to jump on lead singles for soundtracks from the Rugrats to Bullworth for Ghetto Superstar, Lady Marmalade. I mean, there are others as well, Free with the bait soundtrack with Jamie Foxx. And they were lead singles where music videos were funded. And it wasn't a risk because it wasn't coming from your budget as the artist. It was their budget. And it was all great because you got to make these cool, fun videos that were very cinematic or even cohesive. I would say with the film especially Take Me.

[A]

How was that filming? Girl, I look, take me there. I wanna, I wanna go there, girl. That video, that moment, like it was again, like I'm saying it was like R and B was. But it was pure and it was wholesome. It was something the kids could love, the grown folks love. We had the picnic. We all. Hey. It had me sitting there. Think about yesterday. Like it gave just. It was so much joy.

[B]

So much joy.

[A]

What do you remember about shooting that video or just doing that song?

[B]

Jamie King was the choreographer. I showed up from somewhere, I think in Europe. I flew in From a promotional tour. Flew in the night before the shoot, learned the choreography on the set. The next day we shot. And that xylophone was so fun because I remember the movie. I think it's called Big. And he was dancing on the piano keys. And I've always wanted to do that. I felt like a big kid. But I wasn't alone because Black street was there. Teddy Riley produced Record Icon Legends love Teddy Riley. Mase was a part of it. So you had R and B and hip hop. It was awesome.

[A]

Oh, my gosh. That is just so freaking cool. I mean. And then you also got to perform with Patti LaBelle, obviously, because it was Lady Marmalade. It was insane. I'm sure you love that. Or was this at the Grammys? That you guys.

[B]

Surreal.

[A]

Yes, yes, yes, yes. So what do you remember with that, with the performance and being on stage with her and working with her?

[B]

Well, we first saw Patti, I think it was center staging in Burbank, maybe in rehearsals. Cause we're gonna rehearse. You know, Miss Patty gotta come with it. And she walked in and we were just silent. We were like, this is real. The queen has arrived.

[A]

And.

[B]

And she's gonna sing with us. We were kind of frozen for a minute. And then rehearsal, and the music starts, and we're still pinching ourselves because we gotta show up. And this is her song originally, so we gotta do it correctly.

[A]

No, seriously. And I heard that this was with Pink and Christina Aguilera. They were on there, too. I heard they was fighting for the lead singing part. Do you remember any of that?

[B]

I don't. Because we actually cut our lead separately, but we were all present when we cut our backgrounds. That's what I do know. Yeah, we were all there. Missy was there. Rock Wilder was there. Ron Pierre was there. Yeah, I mean, I hadn't seen any of that. I wasn't a witness to any drama. So I don't know what that is or what it's about, but we did have a lot of fun.

[A]

That is so cool. And Patti was. I mean, I never. I don't think I've ever met Patti LaBelle, but she do be making them pies.

[B]

I know that, and I do, too. I make Popeyes as well.

[A]

Yes.

[B]

Patti's Pies.

[A]

Okay, now, one of my absolute favorite songs of yours is Quesadilla the Ex. I mean, it's just like. Come on. It's a classic. You performed it, obviously, at the BET Awards. 2025, actually. You know, which was dope to see that again when did you realize how big that song was? Did you realize it then?

[B]

At the time, Honestly, recently, when TikTok was born, because there were so many different people that had broomsticks doing these nostalgic challenges. I didn't know it was really a thing. Cause I didn't have that opportunity with social media to come see the effect. So folks from my generation started pulling their broomsticks out, some with their parents and doing the choreography and rolling around on their carpet like it was saying. Hilarious. Oh, there was impact made. That's kind of cool.

[A]

No, for sure. I mean, when you wrote that song, when that. So how did that song come about? Was it just a make believe story? Was it something that you're pulling from your life?

[B]

The interesting thing was I was in Atlanta working at Red Zone Studios with Shakespeare and Candy. Several songs for Destiny's Child and so many others. Shout out to Candy. I was on tour with her two years ago, tour with Escape and swv. But yes, amazing songwriter. But we were in a studio there working on something else for my second album. And through the walls, we heard this beat coming from another room. Tricky Stewart's room.

[A]

Tricky.

[B]

And we hijacked the beat because it belonged to a rapper and Tracy Hale tab and maybe another songwriter. They wrote that record.

[A]

Wow.

[B]

While I was working on something else.

[A]

Sure, sure.

[B]

And that is how Case of the X was born. And I had not experienced that just yet in my life in relationships, thank God. But yeah, later on it did happen.

[A]

Happens to the best of us.

[B]

Yeah, that's. That's the story of Case of the X.

[A]

That's so fire. I love that. I mean, you also were in SAG winning ensemble project Chicago. That was amazing. Because I think, don't get me if I'm wrong, this is the first time we saw you do everything at once. Acting, singing and dancing.

[B]

Briefly.

[A]

Yeah. You know what I mean? In the movie, Queen Latifah was in there. One of my favorites as well.

[B]

Yes.

[A]

You had the Cell Block tango. How was it doing that? And kind of going back to those beginning days where you wanted, you know, where you said, you know, you'd love to do Broadway.

[B]

Well, let's talk about it. The auditioning process. I was in New York and I got a call to show up at this dance studio to learn choreography, say a monologue and maybe recite some lines.

[A]

Sure.

[B]

They gave me a scenario. There was no script first. Actually, I did the choreography. I had to learn it in 10 minutes and perform it together.

[A]

Which you could do.

[B]

Right. And I did that Was easy. And then what I did, had to sing, did that. Easy breezy, no script. They gave me a scenario. I said, this is the scenario. You're mad at your man husband, he's on ice. Just, you know, improvise and what you would do and how you would handle it. But just know that the outcome is you have landed in jail at the end of the scene. Damn. And at the time, thankfully, I was going through something with my boyfriend.

[A]

Okay.

[B]

I said, excuse me, do you have a pen? Pull the pen. Smoked it like a cigarette. And I started improvising. They made us improvise and I got the part.

[A]

That's crazy. That's a very scary audition, I don't think. I've never done an audition where I just improv. I mean, like, I've done work sessions and stuff like that. But that is a very unique way to, you know, get somebody to do their thing. You know what I mean? Like, that's very nerve wracking.

[B]

Very different. I hadn't been through that process at all at that time for auditions.

[A]

No.

[B]

So I was happy about it. And then we filmed in Soronto.

[A]

It was really cold.

[B]

It was in the middle of winter. Icy, freezing, frostbite. Two minutes outside, your hands were gone. But the experience was so beautiful. Watching all of the actresses and learning the choreography. But Rob Marshall was involved in every single process, from recording the soundtrack to the choreography, to the table reads, to wardrobe. He was a part of everything. And that is something, of course, I see for my future because I'm very detail oriented as far as production, live show, etc. And I watched him and his meticulous, detail oriented nature and I thought it was so fascinating. And he was just committed. Naturally. Nobody was making him do anything. He was just committed because he wanted to be there and he was pleasant to work with and really wanted it to just be great.

[A]

I just met Rob Marshall not too long ago and he was just. I would love to get the chance to work with someone like him because he's incredible. Him and his husband are incredible.

[B]

So.

[A]

Yeah, that's. That's so cool that you guys did, you know, got to work with him seriously. Would you ever do Broadway now?

[B]

Absolutely.

[A]

Yeah.

[B]

Yeah, I have some albums I want to get out first.

[A]

Yeah, sure.

[B]

Broadway is a long time. It does eight shows a week as well. And I'm totally committed and I can't wait to do it. But I do have some other things I want to get out of the way first.

[A]

Yeah, I love that. Yeah. Now you've Told people before that sometimes I thought this was interesting and maybe give me more context around it that you said you kind of get emotional when you hear your younger voice because of everything that you endured. What, what, what did you, what do you mean by that? In the industry or just kind of like in life? Or maybe both.

[B]

You know, I look at myself as a young girl learning who she was during a time that of course, you step out in public and part of the world knows you globally as well as things begin to succeed and hopefully they do. And then what that looks like internally for you, with so many opinions that I mentioned earlier and how to navigate that process and hold on to you as you're learning you and figuring that out. That can be very tough if you don't have people around you that have your best interest versus just trying to profit off of what you are to them, a product and a brand. And I understand that too, because there's business, there's art, and they can intersect. And so learning how to define what success is for yourself, what beautiful is for yourself, and create a space where you feel safe, where you feel seen.

[A]

Yeah.

[B]

Even if you have to create it in the mirror with you. I get emotional because I was just so young with no life experience. But then there was a part of me that was very kick ass as, you know, a child of the arts. You got strict teachers and they're instilling discipline. And so when I look back, it's not because I was going through anything in particular except for a divorce at the launch of my very first single. Whereas my parents were my managers and I couldn't have them around me anymore because, you know, it wasn't working out between them. And so now you're around strangers. There are worse things that are happening in the world. But I'm very proud of myself for pushing through with resilience, with faith and that foundation. Because I was alone. I didn't have a person that had my best interest at that time around me physically. And so I'm just around strangers. And so that's where I get emotional. Looking at that young girl in the Fighter.

[A]

Yes.

[B]

Who did make it.

[A]

Yeah.

[B]

I'm saying.

[A]

I know exactly what you're saying. And it's always like that with hindsight when we look back on our lives and also we think about all the amazing things that are happening at different points in times and whether we could actually embody the spirit of experiencing them at that time, which I think sometimes it doesn't necessarily make it sad, but it just is it has a. I don't know if it's a sobering feeling, but I relate to it where I look at different moments of my life as well, where I'm just like, man, it was so much happening then and. But I, I see it from such a different place that maybe I couldn't have seen it.

[B]

Yeah.

[A]

Then. Which is very interesting. But you've had such a unique relationship, I think, with the music industry even just being so. I wouldn't say corporate, but dealing with the industry head on and then eventually going independent. How did you, how did that. What, what prompted those changes for you? You know what I mean? Because I know for me working in the music industry, it can be very tough and I think as time has changed, some doors have been a little bit more opened up that allow, you know, you to not have to go through the same gatekeepers, are just the same systems and lean on the same things. But I mean, in the early 2000s and late 90s, that, that it was like, either you're gonna do it this way or then it becomes difficult. So for you, I'm wondering, like, what was that journey like with the industry and how you, you know, had to switch, shift gears if you felt that you did?

[B]

Yeah, well, I was with the major label system from 1998 through 2007. There was an album leak for my fourth album, Liberation, that happened in 2007 and from there, you know, I had to, oh, go into court just to get a little back end advance that was owed to me because it technically came out, or just go independent, whatever that was. I was not familiar what that meant, but I do know this. I was always an artist.

[A]

Yeah.

[B]

Prior to getting a record deal. And the beautiful blessings that happen in times of uncertainty or devastation lead to some amazing things. And I did get an offer to do a one territory release in Japan through a label over there, even though that's not what I wanted because I had an album due that I'd already announced and done press for and. Oh, nothing, it was shelved. That's painful. After you invest your own time, your money, your spirit and some of your experiences into that and you pour into it for a year and a half and it doesn't come out. You feel like you've disappointed the world, your fans, and the narrative is not clear. So I went independent and within less than a year, I put my very first independent project out in Japan, Sugar and Spice. And then the next year, I dropped another independent mixtape for, you know, the fans stateside with a lot of features on it and partnered with Rapper Lot as well as Young Empire and Planet nine. My label to do that went back to Japan, did another album over there, but then I turned it into a U.S. canada as well as world version. So there was like three versions of that that there was also a double disc for the first album that I did. And then I. It got very addictive because it came became fun. I started learning other aspects of the business, contract, drafting, engineering, publishing splits and really in a boutique way. Yes. Under the radar way. Learning other hats to wear and understanding first of all, all the roles of the major label system. And I'm still learning to this day in a way that I could still be productive versus destructive. Twiddling my fingers, waiting for something to happen. I just moved forward and I haven't stopped or looked back. When people like Prince call you and be like, ah, stay independent. And this is why. And then they start talking about their journey and the importance of like protecting your peace and not understanding what they mean initially, but then seeing it show up later. And it's been a beautiful, fun, rewarding, fulfilling journey in so many ways that I never even imagined.

[A]

Yeah. What do you mean when you say the. When it shows up later? Like what would be those internal things that you can say that you feel comfortable saying? Yeah. That make the major system not something that works and aligns with you?

[B]

Well, both work because I had a beautiful label system. You know, there are things that happen, leaks, you know, with the Internet. That was born natural.

[A]

It happens.

[B]

Yeah, it happens. And then the investment is tampered with and compromised. There's nothing bad that I have to say about the major label system because they birthed me and they're responsible for those hit records and investments. But there was a situation that did happen and I just didn't want to spend the energy in court fighting and fighting for something that, that I mean, lawyers would probably absorb anyway.

[A]

That's right.

[B]

No, that's true fee wise. So I just kept it moving. But what people like the icon Prince say when they pull the next generation along for wisdom is where are you investing your money right now? Are you spending it on things you don't need to worry about what type of house you want to live in right now. Now let's talk about how you're going to invest in you. Okay, what does that look like? Who are your inspirations? What is your niche? Just from an artistic standpoint. And then how are you going to make it happen? Get your together because you must tour, right?

[A]

Yes.

[B]

To do this but there's other ways of business. There are brands, there's brand partnerships, etc. And teams, independent teams that. That believe in you, but most of all, spirit. Do you love this? Why are you doing this in the first place? What drives you? Is it fame or is it return of investment immediately? Because that's not gonna happen, you know?

[A]

Yeah.

[B]

Just giving you real game and real knowledge on how this thing works and pulling you to the side to say, hey, I believe in you, but let's take the back door or build the door if the door is closed over here. And you don't need to chase, because what does happen when you're not counting age or year or time, and on everyone else's timeline, you begin to operate as that child or kid in high school where everything was just happy, go lucky. And now you're making music.

[A]

Yes.

[B]

From a pure place, whether it's for your therapy or for what matters the most, people. And now you're back in that pocket that made you fall in love with music in the first place. And the purpose of it, which is to connect, to bring joy. Not numbers, not sales, not algorithms, not all of the technicalities, which are beautiful. But there's also. There has to be times.

[A]

It's powerful because I even remember working with Tricky Stewart, and we were talking about you, and he was like, everybody always wanted Maya. Meaning musically, like, as an artist, you've always been, and you've always had an energy about you where it's like, I'm gonna lean in when I get ready. How do you ha. How does someone have that? Because so many people, you know, want that, you know, want to be what the major labels are putting into, you know, into, you know, they want to be somebody that is a commercial artist. They want. I mean, you have had all of that, both types of success. But how do you get to the point of being like, this is what's important, because this is what, you know, people are. That's, like, what people think. Think that what's going to validate what they're doing, their time, their money, you know, how do you get there?

[B]

You hit it on the right nail. You hit it on the nail. Validation. So we operate from that place in life, regardless of the industry that we sign up for, to survive. Right. Or to fulfill a dream. And I think when devastation or tragedy strikes a family or an individual life humbles you really quickly. And then you begin to see through a different lens versus everyone else's lens around you that are defining everything for you, that beauty, the success it may just be numbers and technicalities versus does this feel right? Am I changing someone else's life? Are they impacted by my lyrics? Or is this just aesthetics right now and marketability because I'm a teenager, et cetera. So you begin to find yourself through devastation and being humble. Because when everything is stripped from you, the home, you know, the family that you once had, whether it's the system, the major label system that you know surrounded you with a big hug and investment and now it's just you with the world looking at you, but also with expectations and judgment and criticism, you then begin in that very hard place. And sometimes it can get a little dark to redefine everything you thought you were if you got lost in the sauce and what's important and what you want it to be. And some people are just not afforded that time. So I look at that moment, it as the greatest blessing for me to get re centered and redefined so that I can move forward from that pure space. And that's success to me. Even though. Oh yeah, I've heard all of the things like, oh, you washed up now. Yeah. Oh, you know, you fell off and all these things that will happen. But that's not what I do this for. And it's not something that I ever understood and that's not why I signed up in the first place. But you can start governing your life and navigating from that space because of all the noise around you that in a standard way is just the way to speak to you. So you start adopting those ideologies that are false anyways because it's based on man made stuff, not God governs stuff. Yeah.

[A]

And just the institution, you know, it's like, it's like, it's like just because somebody didn't get an A in the class, it doesn't mean they're stupid. You know what I mean? Like this. These concepts that are defined by structures and systems that again a may not even align with you, but absolutely don't validate what is true for you.

[B]

Yes. And. And it can be a very dangerous place if you don't know yourself or you're not spiritually grounded or don't have that spiritual experience to start tapping in. And luckily I have had to do that and I'm so grateful for it. Yeah. Because it can be lonely too.

[A]

A lot of people don't understand that. I find not lonely in a bad way, but just sometimes I find with the, with awareness, especially in our field, when you have that awareness where you're not going into the boxes because I've. I feel this exact same way, you know, in my career, a lot of people have been like, oh, you know, you're. You're supposed to be this type of person and this type of entertainer and this type of talent. And it's not like I'm against that. But that's never. I've always seen myself as a entrepreneur, as a brand. I want to do many things, and there are many moments in my career that I can name where. Where that devastation has happened, where, you know, oh, I'm not the child actor anymore. I'm not on a hit show. You know, you're washed up or doing social media and people saying, why are you on social media doing this? Why are you coming up with these characters and doing all this stuff? Girl, you need to go back to the big screen, you know, and finding my voice, what was true to me and my craft and my art, you know what I'm saying? And. And it's just interesting because, you know, I'm always trying to figure out how to express that truth to others that are finding themselves in this space, in this world where they're trying to define what is the value of them, what is true to them. And there's no there. That anchoring is like an interpersonal journey.

[B]

Yes.

[A]

That no one can really give you the answer to. But it does include some isolation, some where people. Where people are not seeing things from the same vantage point you are. But you got to be brave, you know?

[B]

Absolutely. And you also have to have the bravery to step away and take some time to figure out where you'd like to govern your life and career from. Yeah, yeah. And that can be scary as well because of the opinions, etc. But one day at a time. Like I said earlier, there's no rush. You must enjoy the journey.

[A]

Yeah, I really, really love that. I want to talk a little bit more about Prince and just in terms of how y' all met, I mean, he's. He's not somebody that anybody, you know, everybody get a chance to talk, to rest in peace, you know what I'm saying? So what was that like meeting him and, you know, what did y'. All. What did you get to know about it?

[B]

Oh, I met Prince before. I was independent. I had attended one of his concerts in, I believe it was New Jersey. But then there was an after party in New York and he wanted to meet me. I'm like, oh, my goodness, he knows my name. I just actually released My Love is like whoa. And tap danced. He loved Talented Folk that video. And I think that's what it was. There was, you know, musicality and some really, some heavy masterclass training behind that that maybe he acknowledged. But he wanted to meet me. Like, if I ever meet Prince, I gotta be princess

[A]

in order to have

[B]

a conversation with this man, girl, you know, And I gotta be cool. So I just. I had to put on this Persona. Like I was just cool and I was dying all over the place inside.

[A]

Yeah, Yeah.

[B]

I can only imagine trying to keep my composure. Sweaty hands. Oh my goodness.

[A]

Oh my goodness.

[B]

And he had some heels on, which is fabulous. He was like, would you rock these? I'm like, yes, please. I probably can't fit him, but.

[A]

Cause he looked like he a size. He was a size six.

[B]

Six. Yeah. But it was amazing. And I was just on this natural high all night thinking that I just met someone that I didn't even know would know my name or that I even exist. Right? What? So many instances like that I'm so grateful for.

[A]

Did you guys talk any about ever? How you guys grew up and just your background? Cause I know you, you. I didn't really cover it much here, but I was hearing about your upbringing and just dealing with identity and you know, your mother. I know your mother's Italian and your father's black and just. I'm curious if you guys ever shared anything about that growing up in his experience.

[B]

No, it was more so about the independency. When we actually had more in depth conversations. I'd gone independent. And so when he heard about that, he's like, okay, I gotta make sure that she's well informed about some of the things that I do know in other ways of business models, etc. So those were more of the conversations or creative and sometimes spiritual. Even Diet Prince was vegan. And there were different occurrences. Even jam sessions, I got to participate in those. It was great. So he passed me a bass and he said, play it. And I grew up playing violin, right. And so I had to figure it out. So there's music playing in the background, but it's Prince.

[A]

Yeah.

[B]

Like you cannot. You can't have two left feet or sweaty hands.

[A]

Speaking of. Just quickly I have to do a shout out of my love is like, whoa. Because that. That video girl. And I think, you know, we always knew you could dance and everything like that. But I remember watching that. It was a teenager. I don't know how old I was, but I remember watching that and being like, no, she's serious. Like, I could not believe the level of just talent in that video. What. What made you do. Do that video that way? Was it because you wanted to just, like, everybody know real quick, like, let me flex on y' all real fast?

[B]

Honestly, I wanted dancers and all this other stuff in the video initially, but when they said, no, we just want a one woman show. Okay, what am I gonna do? And it was more so about the outfit changes. I said, okay, I get that. But it can't just be about fashion. So let's come with the characters. Let's come with a little different, you know, aspect of dance. And maybe I should throw some tap in there because I haven't done that visually. I wanted to do it for my very first album on a song called We Gonna make youe Dance, but that was never a single. And so I said, maybe this is the perfect opportunity since it's gonna be slightly theatrical. I can bring Broadway to my music. Yeah. Visuals.

[A]

Fabuloso.

[B]

Andy.

[A]

Speaking of. Indeed. Speaking of. My love is like, well, you married yourself in 2013, which, by the way, me too. I married myself in 2025. I feel it was all accidental, but I love it here.

[B]

I want to hear your story.

[A]

I need everybody to hear me clearly. You do not need a milestone to enjoy yourself. I said what I said. Society has us out here waiting for promotions, engagements, and New Year's Eve to twist open something nice. Meanwhile, I'm over here with a chilled glass of Stella Rosa black because I remembered to water my plants three days in a row. That's growth, literally. And the flavor, sweet, smooth, rich, bold, deep berry, BlackBerry, blueberry, raspberry. All sitting together like a Real Housewives reunion where everybody kept their glass in their hand. This is wine for everyone. 21 and up. Who understands that sometimes a celebration is the random Wednesday or the quiet night in or the I finish my laundry and put it all away in one day victory lap. You are the occasion, so please act accordingly. Head to stellarosa.com to find your favorite flavor. Your next occasion, which is literally whenever you decide, is already taken care of, because, baby, this is Stella Rosa. And please, please, please drink responsibly. Let me walk you through my Tuesday. I woke up and immediately had to decide what to wear to a meeting, what to feed my son, whether I'm taking the call from my car or rescheduling, and it's not even 8am yet by noon, I've made 100 decisions, and I'm already over it. So the things in my life that don't require me to think, those are sacred. That's exactly what Fruit of the Loom women's underwear is for me, I open the drawer, I grab a pair, and I already know it's going to be comfortable and fit right. There's no guessing, no adjusting, no, let me try another pair moment. It just works. When your whole day is full of decisions that actually need your energy, having that kind of simplicity in your routine creates real peace of mind. And trust me, that feels really, really good. Fruit of the Loom proves that simple feels really good. Girl.

[B]

Mine was just a music video.

[A]

Thank you. Because some. She said that was just a bit. Yeah. Please hear my story. You know, it's so interesting because a lot of times people pull these things from me on the Internet and they'll be just thinking, and they think I'm crazy or. I don't know. I find that sometimes people may even think, like, is she hopeless in love? Is she bitter about love? But I'm not. I think I. I think I reached. I have a son, you know, And I reached a point in my life for me where when I was younger, I think I would spend a lot of time thinking there was a certain way that I should be to get the goal I wanted, you know, and growing up with my parents, being married all my life, it was very much like, that's the thing. Because that's what I saw. That's what I knew, you know, and it was beautiful. They've always loved each other. They've always had a great relationship. I've admired. And so I would think, okay, this is how I should be. And this is, you know, if I do this and I do X, Y and Z, then this is the outcome I'll get, you know, but you experience life and you see that life is actually not like a merit system, unfortunately. And this goes across the board. Like, unfortunately, being a good person doesn't mean you're going to get a great job. You know, being a nice. Having a nice attitude doesn't mean you're gonna have the best friends. You know, being loving doesn't mean you're going to receive love. And so then my faith and my choice to live with integrity came less from thinking that I was going to get a reward from it and more from just, that's who I am and that's what aligns with me.

[B]

Yeah.

[A]

And then it leaves me in this place of not. Not being open to love and things like that, that. But just not centering my life around the result of getting it in a certain way. And so when I say certain things, I find it to be interesting with the people's responses to it. Whether I say, you know, you know, I'm here for love, but we don't need to be in the same house, you know, or, you know, I would love to, you know, be interested in somebody, but also, I'm cool if it never happens. It's interesting, almost the. I don't want to say projections, but the responses that you can get as a woman to say that and really mean that, you know, and it's almost like because you don't feel like that's the ultimate goal, you've somehow given up. But it's like, what? Well, what if we were to say that, like, there are a bunch of outcomes, you know, there are a bunch of things. So, you know, I never know how serious, you know, you are when you're saying these things sometimes. But I love. I love it because I feel the idea that people think I'll eventually change my mind, you know, or that. Or that just something needs to happen for me. And it's like. But I am hopeful in love. I do feel these things, but also. So my life is going to be good regardless. You go. You know what I'm saying?

[B]

I do. And it starts with self. And sometimes things that are foreign to people, they're not quite understood. And so also there's projection over their lives from generations, but also society. And we grow up in a world that has this timeline for us that we must all conform to. And they've created the picture which is so far removed from ancestral community as well as lifestyle, from the food we eat to how we pray and commune together. Society now has placed this, I'd say, brainwash effect over all of us. And so we only know what we have been taught. And to unlearn anything or look at something that's much different or slightly different is a shock to our system. And it's easy to criticize it and judge it and think something is wrong with that person. But we're all different on different timelines and we have different journeys and experiences and trauma to unpack, et cetera. But it's. Speaking of your journey. Thank you for that, because I didn't even know. But I understand you also get the comments.

[A]

Yes, I get so many comments.

[B]

When your intentions are just pure, honest, raw, real, from your own experience. And then there's arguments in the comments amongst you, but I'll share mine. And so there was a music video. There's a wedding dress and a music video which we all understand.

[A]

Yeah. Yeah.

[B]

What that means. The white Wedding dress. We've all been indoctrinated to believe that that is the happily ever after moment where someone comes into our life and completes it. Right. And sometimes that's the goal. Yes, because that's what we've been taught from the beginning of watching films where we've given up a gift to receive a kiss from a guy or be chosen before we even choose ourselves. And so when I made that video and that song called the Truth, I knew that I wanted to marry myself in the video as an example of self love, love. And this had nothing to do with men not liking men or being upset or trauma. It had, you know, why would I expect anyone to come into my life if I'm not right within? So let's get you together and then watch what happens, which is where I'm at in my life when I have practiced self love, which was the message. That's all it was. No deletion of anything or anyone. It's a message of self love. I choose me right now because I haven't in the past. And I poured into others, narcissistic, by the way, and I didn't like me in those situations. And when I chose to marry myself spiritually, I didn't have a ceremony with a white wedding dress, but I did in the music video because that's an aesthetic. It was still the message of love yourself pour into you and watch what you attract or the blessings will come from that place. But please don't expect to live up to this fantasy or even seek in another person or human being. Be everything that you seek, you know, and then beautiful things happen from that place. And so I am surrounded by love years and years later, all kinds of love. And it doesn't necessarily have to be tied to one person as society teaches us. And so that's just an inkling of my story when I started practicing self love because I was neglecting self prior to.

[A]

I feel like these are such empowering themes and things to think about in the face of like just life and love and moving forward and expectations. And I find it to be so interesting the resistance that can come from these types of things. I'm so, so curious what comments we're going to be getting under this video. Because it's to me that's like. That feels actually more empowering than it's going to come someday or whatever that

[B]

is, you know, so it's just individualistic to you and your experience and your story. It's not preaching. This is the way you have to do it. No, because I really, truly believe you don't have to have yourself together for love to be granted in your life.

[A]

Sure.

[B]

Sometimes I could be at the worst place in my life and someone does show up.

[A]

Yeah.

[B]

It doesn't necessarily have to be my husband.

[A]

Yeah.

[B]

But there are beautiful people in this world. And sometimes we classify love and give that a ceiling and seek it in just one individual to make ourselves this so called complete. Actually, we already are complete as we come into this world. Existing is good enough as you are. Nothing else, nothing more. Yeah. And we're always seeking in, in this world of society because we've been programmed to do such. And that's where I was when I was making the song and video.

[A]

Yeah, I love that. And that's where I am too. That's where I am. And to me it's a beautiful thing to be happy in your own company. There's nothing weird about that. You know what I mean? Hey, I'm down for other company, but just act right when you get here. Know how to act. Clean up after yourself and go home.

[B]

Amen.

[A]

So obviously I'm very sad that I missed you on tour with Brandy and Monica. That makes me actually very devastated because that was like, come on, big three. It was everything. So how was the tour? I mean, how you came on to it? I know, sorry that Money Long was, you know, not feeling well. We hate that. But I love that you were on the tour. How was that experience? I mean, you had to get ready fast, but you always stay ready.

[B]

So yes, I did get a call because, hey, things happen. We, we all are human and love to Money Long, who killed the tour as well. Everyone was just so beautiful, welcoming, warm and I was just so excited to first of all see the ladies, myself as a fan and a spectator to be able to watch supporters that grew up with us recite every word, every ad lib.

[A]

Yeah. Yes.

[B]

And see them receive their flowers because they as young teens that were recording at 11 years old, you know, and popping on the scene at 15 globally, setting the record and setting the stage and the bar for one name recording artists there were females and young teenagers at that. I came a little later in 98, but I loved every moment. Moment of that and beautiful, timeless songs with composition. I'm talking about bridges. Yeah. Modulations, vamps.

[A]

I mean Dallas Lawson.

[B]

It was so beautiful to see that and them to perform together. Rennie and Monica and Kelly Rowland as well.

[A]

Yeah, she's amazing.

[B]

Kelly Beautiful and celebration of black music and black women that have been in this game. For decades and still going and looking and sounding amazing. So I was blessed and privileged to be there. Honored. Of course. It was last minute.

[A]

It. Yeah.

[B]

I don't know if you want to know the backstory about that's kind of funny.

[A]

Yeah.

[B]

So this was Maya self love time to take off from touring. Cuz I'm always on the road, you know and I love to do what I do, no complaints. I going down to Florida. My dad has a place down there to take some me time. I was going to start training, get my diet right and I had this bottle of detox. Right. And what was it?

[A]

A detox.

[B]

Okay. As all natural ingredients.

[A]

I'm scared.

[B]

I'm trying to recalibrate my system. You know. I eat a lot of vegan food but processed sometimes. Going, going, going. So I'm like, we gotta get this together. You're going into your birthday month and a new year very soon. We gotta start now. So I was planning on taking some time off to get into my flow. Yeah. So I have my alarm set set for 1pm to take this detox bottle and you have to be stationary for 24 hours or more because you going to be on the toilet.

[A]

I know what this is.

[B]

I got a call at 12:30. Can you be in Chicago tonight? I'm like, to do what? Oh, the boy is mine too. I said, huh?

[A]

Can I do it from the toilet?

[B]

I said, well the dancer's in la. They're not going to make it in time. I said, let me look at flights real quick.

[A]

I went on Expedia.com Come on, Expedia.

[B]

Right? There was a flight and I'm not talking about Miami, Florida or Tampa, Florida. This is a whole different part of Florida where you only might get two flights. There was one flight nonstop that got me there. I said, all right, if you want me to do this, I don't have any outfits. I've already worn the outfit that I'm wearing in Chicago. I wore it at, at a birthday party of somebody that's on my album right in Atlanta. Said, well, that's all I got. Let me see if I can make it work. And I packed my bags real quick, got my Uber to the airport. The airport is so tiny there. And I made it. They were like, okay, you have a hotel room? I said, no, give me an office because I'm going to be down to the wire to do my hair, my makeup. I got to sew my pack on so that I can hear in ears. There was yes and I hit the stage. No Sound check. No rehearsals. I don't even know what the stage looks like. There's no sound on stage in Chicago. My in ear is not working.

[A]

No.

[B]

There's a Runway, though. So I'm making my way to the diamond point during my set because I can't hear anything. Like, oh, my gosh. I'm gonna be off key. I'm gonna be on the shade room and sounding crazy. They're gonna rip me to pieces. So I just kind of stayed.

[A]

She said, they're gonna reap me to pieces.

[B]

In order for me to get a feed of music. I stayed in front of the front of house speakers that the audience was hearing. Cause nothing was working on stage. There were no floor monitors. I'm like, what? Oh, my gosh. What did I sign up for? And it went over well.

[A]

Of course it did. Of course it did.

[B]

And then they were like, oh, we'll see you in Kansas City tomorrow. Excuse me. I don't have any clothes, so I literally borrowed my road manager's jacket, and I had. I happened to have, like, this pleather catsuit that I didn't wear for another festival in my carry on, stuck to another pair of pleather pants.

[A]

I love all those.

[B]

It's crazy, right? Because I'm vegan. Right. So that's what happened. And then here I am, and I, you know, go back on the tour for probably about eight more dates or something like that. In between, there was a break. Yeah. I didn't know if I was going to get called again. So I just did the first two shows initially just on the fly.

[A]

But that's that whole being ready, not have to stay. Like, that's really and even.

[B]

And I was not ready.

[A]

You said it even early in this. But I made it happen with this whole touring. Like, yeah, you tour a lot, and you in that. Anybody that's a touring artist would know that that is really, really hard. You know, I've gone on tour, and it's fun. It's cool because I get to be with the fans. But, like, it's a lot. The traveling and the getting everything ready.

[B]

I was literally editing my set in protest tools at the airport. That's crazy. Here y' all go. She said, here y' all go.

[A]

But came, saw, conquered and looked good, doing so well. Let's talk about ASAP on the new album Retrospect. Congratulations.

[B]

Thank you.

[A]

This is your 10th studio album.

[B]

It is, girl.

[A]

How does that feel?

[B]

It feels great. You know, I'm just getting started. I'm also in my grown woman era. Now, yeah, yeah. Things a little different. And I have a lot of places to pull from. Life has been lived and this album is very intentional.

[A]

Yeah.

[B]

I'm taking it back to a time that I fell in love with music to my living room, when I was in probably diapers in my mom's high heeled, thigh high, go go boots, dancing to vinyl collections of Rick James, you know, Shalimar, Cool in the Gang, Cameo, Stevie Wonder. A lot of fun Cameo. Yeah. Prince, of course, vanity 6. That time of Joy. My mom is a roller skater. So you're gonna get all that, but you're also gonna get some introspection on some of the ballads in the mid tempo. So ASAP is one of those retrospect but also introspective ballads that, you know, express urgency of communication to either save a relationship or part ways, whatever y' all are gonna do. This is necessary because I feel the changes in this. This dynamic. So ASAP is the very first single of this year. The Remix dropped featuring 21 Savage. Oh, great. Yeah. You know, two different worlds.

[A]

Yes. With six.

[B]

Yeah.

[A]

Makes me think about old nerdy bastard

[B]

and R and B and hip hop collabs, you know, that's something that's been very present in my career. So taking it back to that part of my life and career too, but in a different type of way. You know, two different generations, two different genres. And I love the male perspective on this record because we didn't get that before in the solo mix.

[A]

Yeah.

[B]

So you get to, you know, get. Get a little both of. Best. Best of both worlds. Excuse me.

[A]

I love that you said that. This album feels like a bridge between the past and the future. And then what. I mean, what inspired the sound? I know you said a little bit of just like when you grew up, all those old school artists that you grew up. Up listening to.

[B]

But what about conversation wise, conversational music.

[A]

Yeah.

[B]

Well, this specific era that I'm leaning into is like late 70s into mid-80s, even late 80s. And that was a time that it was very expressive. The lyrics hit deep in the gut. It was very real, it was very raw, was very honest. But the music composition, like those bridges that I mentioned earlier, the vamps. Yeah, the ad lib and the lyrics, you know, even if it is a game of cat and mouse, there's intention in every lyric here. And what I would actually say as Maya, the person and the grown woman. So you're going to hear the growth vocally, of course, but how I handle certain situations and then how I handle pressure. How I handle those uncertain moments in a relationship as well. But also the joy, the joy of my living room, the joy of the cookouts that we used to have, the joy of the skating rink, the couple skate aspect that I witnessed when I saw couples on the floor and how they interacted and when people used to dance together. That's the type of sound and it's hosted by D Nice, by the way.

[A]

Oh, love D Nice. Shout outs to D. Nice east for the culture. Yeah, for the culture. In the industry for three decades. Started out as a teenager. You know, you're saying like Maya, the grown woman. What in. In just few words, you know, because obviously that's different for everybody. What does that look like for you in evolution of who we first met

[B]

you as for me personally, evolution is a blessing. If you've gotten to take it day by day and see year after year and still just be here as a human being alive, that's the greatest gift. And then to watch yourself grow, giving yourself grace, to be able to mess up because nothing is perfect, nothing looks perfect, nor is it supposed to. That's a big learning lesson that I also also have to pull from, from my past while I move forward in my future. That it's okay to be a little messy, it's okay to fall in your face. It's okay to have these so called failures that lead to your lessons, that lead to your blessings, that lead to your application and ultimate success and settling or becoming seasoned and knowing what you want or not what you want. And you also are allowed to change. Change courses, change paths, change desires. You do not have a ceiling over you and it starts with your mind. You. So the younger self teaches me a lot and I'm a fighter and I'm very, very proud of myself for weathering the storms. But that's less to do with the industry and more so my faith and foundation.

[A]

Yes, retrospect, it is out now.

[B]

It drops this spring. Yes, this spring.

[A]

So excited. And you know, when we were talking earlier we mentioned that, you know, listening to your voice back when you were younger. I'm just curious because I didn't get a chance to add. Asked us because you were like, you know how it made you feel sometimes to listen to your voice when you were younger. How do you feel about when you hear your voice when you were younger?

[B]

Now my singing voice.

[A]

Yeah. Is it different? Do you have a different in terms of retrospect, is it, you know, different how you hear yourself now?

[B]

Oh, I love my voice as is now. There's been A lot of growth. But also the voice changes with maturity.

[A]

Yeah.

[B]

And I'm honestly a true alto. In choir, I was a second soprano, but I was singing in the range of first soprano on my very first few albums.

[A]

Yeah.

[B]

You know, that were more so crafted for me, especially on the debut album.

[A]

Yeah.

[B]

And so I was singing in this very uncomfortable tongue because I'm really a true rich alto.

[A]

Yeah.

[B]

And people didn't ever really hear much of that from me. So I'm leaning more into my alto. And you're still going to get the soprano because I do harmonies and backgrounds and all of that stuff. But the younger Maya, you know, she was a baby. I look at myself when I was 16 as a 12 year old. As far as like vocal maturity.

[A]

Okay. Sure, sure.

[B]

Compared to now. Yeah. You know, I'm owning everything. I'm in the studio producing and arranging and editing and all the things. Every mix session. So I know exactly what I want to hear. And also because I have my own studio, it's the way I want it to be. Versus oh, the clock. The budget ran out. No. We're going to get this right to a level where I want to play it in my car over and over and over. And it's share. So that's a part of the independency that I really love as far as the creative freedom and execution. Because sometimes you're not allowed to when you're working on someone else's budget that's not yours.

[A]

No, it's 100% true.

[B]

So the younger Maya voice was a little cringey to me.

[A]

It is no shade to my girl. Too much on my girl.

[B]

Shade to my younger self because I like the way I sound now.

[A]

I love how you sound now too. But I also love. Love.

[B]

Yes.

[A]

I don't know.

[B]

You ate.

[A]

You always ate. But it's so. I agree with you. When I listen to a lot of my. I'm this. I think every artist, we're all like this. Where we're kind of like what's best is what's today, y'? All?

[B]

It is.

[A]

Get into it.

[B]

You know, it really is, though.

[A]

Okay. I know I got to get up out of here. I want to play a quick game. The game is really quick. I swear, girl. So I'm sorry that I just occupied all your time. But for me, meet and greet. I don't know what you thought. This is the meet and greet and I got some stuff for you to sign.

[B]

Okay.

[A]

So I always play a game with my guest. This is called Vibe or superlative And a few iconic artists are in here. So you tell me what first comes to mind. It's all fun. No shade. All fun, no rankings. So who has the most? But also, it's hard. Blame the producers, not me. So who has the most untouchable vocals? Whitney Houston, Mariah Carey, Patti LaBelle.

[B]

Come. Why are you doing this?

[A]

You can't even pick it. Really? Off of what? You just gotta pick it off. Who makes your favorite song? Me.

[B]

I can't do that.

[A]

It's hard.

[B]

I'm gonna be drugged through the mud. I'm drugged through the mud. Online.

[A]

Fine.

[B]

I cannot. It's Whitney.

[A]

I love everybody, though. Okay. Who made you believe in love the most, baby?

[B]

Fan Chase?

[A]

Anita Baker, Luther Vandross. Oh, the hand is killing me.

[B]

My goodness. I'm gonna say Luther. Yeah, I'm gonna say Luther because that was my first occurrence and experience. You know, I was introduced to Luther before I was Babyface. Yeah. What was the other name you said

[A]

it was Anita Baker. You know, we love Anita. She's always.

[B]

I was listening to Luther first through my dad because, you know, he's a singer, so he would sing Luther before I heard him ever sing any Anita Baker. So, yeah, I'll say Luther.

[A]

I love Luther.

[B]

Everyone is great on the list.

[A]

Yes. Okay. Who had the best era defining run? Mary J. Blige, Brandy, or Tony Braxton? That is.

[B]

I mean, runs for days. Brandy.

[A]

I think they mean, like, oh, run. You know, over the course of time.

[B]

I'm thinking about vocal Atlas.

[A]

The runs are branded down.

[B]

If we're talking about runs, Vocal ad lib runs, Brandi.

[A]

This is hard.

[B]

Say that again. We're talking about career.

[A]

Yeah, like. And I guess really, like what? Who had the best era defining run? Like, the run that defined them and the era of the artists, we know them, who they are today. Like, I feel like Mary J. Blige had too. I feel like she had one where it's like the I'm not gonna cry. I'm not gonna shed no tears. And the Just Fine era. Then we had, like, obviously Brandi Full Moon era, You know, Toni Braxton, the short hair, her putting that on the mat.

[B]

Yeah. One thing I'm going to say is Mary J. Blige was at the beginning of the birth of hip hop and R and B fusion, which is a template for us all today. And she was the first, as far as I know, in the 90s, where all of that excitement that we all felt and that culture and that divide but intersection where it. Things were just birthed. And not just musically. I'm talking about fashion. The hair, the nails, the makeup, the presentation. And I remember that being just this very incredible moment for the culture that I don't think was duplicated, because she set that bar, and she created that space. So I'm gonna go with Mary J. Blige.

[A]

As far as I cannot agree more.

[B]

I feel the laying that foundation same

[A]

way about Mary J. Blige. And honestly, people ask me. I thought about this just now. People ask me, oh, is there somebody. Life story that you want to do Mary J. Blige? I would love to do Mary life. If they ever do Mary. They ever do your life, I'm gonna be real love. Look, I'm tired of y'. All. I don't know what she was saying, but I'm ready to act. I'm ready for that role.

[B]

And those songs are so timeless because she's still touring today. And those songs are just so dynamic, you know, live fans, you can just sing along, you know, and you feel it.

[A]

Let's get it.

[B]

Feel it.

[A]

Come on, dancer. Okay, last two. Who has the most emotional voice? This is hard. Sade. Aaliyah. Erykah Badu.

[B]

Emotional.

[A]

Emotional is an interesting word to use for there.

[B]

I'm gonna say Erykah Badu has the most conscious, conscious voice where I'm learning. Aaliyah has a very soothing tone where I feel relaxed, like,

[A]

I love his

[B]

look, like my nervous system is not all over the place. But I'm gonna say Sade, surprisingly. And people probably don't think of emotional when you're not hearing gospel music, right?

[A]

Yeah. Yeah.

[B]

Sad Day has a lot of emotion in her lyrics and her tone, and it's so hard to do. And a lot of it is linear.

[A]

Yes.

[B]

But there's something very emotional with her register. And so I'm gonna say shot.

[A]

I don't know why, for me, honey, was it was Sade. I was, like, trying to think about her voice in there, and that's what came out, girl. I don't know why. Okay, last thing. Who feels the most timeless? This one's gonna upset you, so just get ready. Stevie Wonder. Prince Maxwell.

[B]

The most timeless,

[A]

the most time.

[B]

I would say Stevie Wonder for sure.

[A]

That was quick. Now, why Stevie?

[B]

Well, Stevie Wonder makes sense, actually. I think he recorded his very first album. He was, like, 11 years old, and there's so much intention behind every lyric, every instrument. But he also sees through a different lens that none of us do. And he speaks and creates his art from a very spiritual place. Place and also views the world from that place. And we could learn a lot from him. And when I listen back to all of the jams that I grew up listening to, there's so much magic in his lyrics, and you can hear the intentional aspect of that, but also the global nature. And I've seen Stevie Wonder live in a whole different country. Bringing the world together, all ages, so many different races, backgrounds. And the impact of his music is so great. It will be here forever, you know, and it's not salacious. It's. It's. It's not risque. It's.

[A]

It.

[B]

It's very meaningful, and it will change your consciousness and your frequency. So Stevie Wonder.

[A]

Yeah, I feel the same. I mean, I feel this way about a lot of artists, but when you were just saying that right now and then bringing up the frequency, I often feel this way about Earth, Wind and fire all the time. This stuff is about to take you to the stratosphere. Literally put you in a meditation. You know what I mean? Like, okay, this is the last one for real. Who inspired the current. Current generation. This is really the last one. Who inspired the current generation the most. Janet Jackson. Beyonce, Alicia Keys. I'm gonna say Janet Jackson.

[B]

So current generation. Please define that.

[A]

Current generation. You know, I guess we would consider. What are the current generation of artists today? We would talk about Summer Walker sza. We would talk about Kehlani. Who else would. Who else is out? Bryson Tiller, Ella May. Bryson Tiller, Ella May Sza, Kalani, Summer Walker, Jana IO. So that's kind of the. If I'm thinking about current generation. And obviously it depends on who you're listening to, but if we're talking about R B, I guess that's who I.

[B]

You know, I mean, that's a tough question because artists are so. Artists are influenced by so many. Yeah. You know, an archive of artists. And I don't necessarily know style wise, who they're influenced by.

[A]

Yeah.

[B]

But I will say, because Jen has been there way before we were even a thought and laid a blueprint, she's an influence to everyone after her that has existed that may be more possibly influential today because of their presence. And so I have to start with the blueprint, but I don't necessarily know, depending on the artist and who they're studying.

[A]

But that's exactly what reason is Janet Jackson. I would say Janet Jackson for the exact same reason you said. Because. Because the influence has impacted over such a great amount of time that sometimes people don't even know when they are inspired by her, for instance, somebody will be saying, oh, my gosh, I look up to Britney Spears. Like, I'm so inspired by her.

[B]

Okay, well, you inspired by her, you're inspired by Jenna.

[A]

You know, like that type of thing, which I think is really cool because it's like that to me is like the greatest sign of influence is that it is. The elements are hodgepodged in and you might not always know where it's coming from, where, but it's like, like if you see it, if you know it, you'll see it, you know?

[B]

Absolutely. That's a tough question as an artist, you know.

[A]

Yeah, it is. It is. All of them was.

[B]

Absolutely. But everyone on that list is very influential.

[A]

Yeah. Yeah, for sure. I couldn't agree more. Well, I'm sad this came to an end.

[B]

I had a lot of fun and I learned a lot too. And I love you so much.

[A]

I love you too. I think we first met at the 2024 Essence, I think for the first time in person.

[B]

Yes, yes.

[A]

So I'm so glad.

[B]

And I have that picture in my cell phone. Yeah. Thank you so much for coming, seriously.

[A]

And being here and talking and just. It's been awesome.

[B]

Absolutely. Thank you so much for having me.

[A]

Keke.

[B]

Keke. With Keke.

[A]

Talking to Mhi' Ya was so special. I mean, 10 albums deep and she's still showing us what grows. Evolution and self love really look like in an industry that can be tough, especially on black women. She's proof that you can do it your way and still win. Thanks for hanging with us. We'll see you next time on Baby, this is Keke Palmer. Baby, this is. This is Kiki. Baby, this is Kiki Palmer. Yeah.