Mya

Summary

Pod Meets World: "Mýa" (June 17, 2026)

Podcast: Pod Meets World
Host: Danielle Fishel
Guest: Mýa
Episode Theme: Celebrating the career, influences, and stories behind R&B icon Mýa – from her early years, breakthrough hits, and legendary collaborations, to her evolution as an independent artist.

Episode Overview

Danielle Fishel hosts Grammy-winning singer, songwriter, and dancer Mýa for a nostalgic and dynamic conversation. They discuss Mýa’s journey from a music-filled childhood in D.C. to multi-platinum fame, the making of iconic tracks like “Take Me There” and “Lady Marmalade,” working with superstar producers, and forging an independent, authentic artistic path in 2026. Personal anecdotes, behind-the-scenes stories, and insights into the changing landscape of music and celebrity culture make this a rich listen for fans of R&B, pop, and nineties/2000s nostalgia.

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Key Discussion Points and Insights

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1. Early Career & Childhood in D.C.

Time Stamps: 16:11–24:36

• Musical household:

  • Mýa grew up with music on both sides: her father was a band leader and singer, her mother’s family were classical musicians. “There were always instruments in our house. My dad is a singer…the leader of his band…an electric living room, you know, so much rich music.” (16:20–17:06)

• Early ambitions:

  • Originally planned for Broadway; was attending University of Maryland with dreams of Juilliard before her record deal changed the trajectory.

    “The goal was eventually to go to Juilliard…But the record deal happened in the midst of my first year of college…so let’s go for it.” (17:21–18:07)

• Family dynamics:

  • Learned discipline and creativity from both parents. Her mother handled costumes, organization, and “the books,” while her father embodied the performer’s flair.
  • On being a Libra: “The perfect amount of my dad to survive this business is in me… the perfect amount of my mom…be super creative.” (18:45–19:06)

• Teen years:

  • Was a “bit of a tomboy,” dancer, and observer as a kid; became captain of the high school dance team and taught dance classes at 14.
  • First act of rebellion: getting her nose pierced at 16 with a fake ID from a mall kiosk.

    “What did your parents think?”
    “They thought it was fake because I am a wimp when it comes to needles…Why would you do that to your face?...It’ll be fine.” (21:28–21:52)

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2. Breaking Into the Industry, Finding Her Voice

Time Stamps: 30:01–34:24

• Transition to Interscope Records:

  • Signed at 19; the jump from Maryland to the fast-paced record industry was unexpected but rooted in experience (orchestra, choir, tap, Broadway).

    “So, you know, the recording artist thing was unexpected… the goal was never recording artist. Until my later teens.” (30:39–31:45)

• Parental support & management:

  • Parents were her initial managers, drawing on indie label experience, but their divorce right as she debuted forced her to “find herself managed by strangers.”
  • Her mom “has always remained my accountant and watched the books since.” (33:26–33:36)

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3. Making Hits: Behind the Scenes of Iconic Songs

A. "Take Me There" (Rugrats Movie) — 08:14–10:43

• Song was pre-written for the Rugrats soundtrack; Mýa recorded with Teddy Riley, not alongside Blackstreet or Mase.
• Her baby brother (12 years younger) became a fan because of it.
• The xylophone part in the video was her freestyle.

  “That was actually a freestyle.” (10:33–10:36)

• Choreography by Jamie King, learned in a rush after a flight from Europe.

B. Producer Collaborations — 11:28–12:22

• Danielle lists superstar producers Mýa’s worked with.

  Notable for being most impressed by Tricky Stewart (multi-instrumentalist) and Wyclef Jean (“so spontaneous…a comedian…it's electric” to be around him).

• Still wishes she had worked with Quincy Jones and hopes to actually meet Babyface one day.

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4. Fashion, Identity, and Breaking Out

Time Stamps: 23:12–24:53, 58:29–60:25

• Early splurges:

  • First big purchases were clothes and shoes, an “investment” for her performances (and independence after years of thrift and handmade clothes).
  • Mom sewed her prom dress based on Mýa’s design.

• Iconic look:

  • The Carolina blue basketball dress (“Best of Me” video) was styled by June Ambrose.

    “That was styled and thought of and manifested by June Ambrose, a legendary, iconic stylist…Her iconic mind came up with the idea of turning something just so sporty and casual…for the woman in a dress form.” (59:13–60:11)

  • Mýa still owns it (and multiple renditions for live shows).

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5. Industry Memories: TRL, Touring, and Collaborations

Time Stamps: 25:24–29:38, 39:16–42:29

• TRL and BET 106 & Park:

  • Loved the live audience energy and the eclectic lineups (“Maya could be doing the first segment and then KORN was premiering a video immediately after”).

• Memorable TRL moment:

  • ODB (Ol’ Dirty Bastard) was asked what he’d “give back” as his legacy:

    “‘Nothing.’ Straight to the camera… Everyone on that couch just burst out laughing.” (26:52–27:18)

• MTV moments:

  • Remembers giving Carson Daly a lap dance during an MTV birthday special:

    “That was the ‘My Love is Like...Whoa’…very sexy and cocky of a record that Missy Elliott wrote… I said, this is not gonna happen again. Cause I’m not gonna be able to fit these shorts ever again. So why don’t you enjoy it while you can.” (28:25–28:53)

• Lady Marmalade

  • Was pitched the song via her managers; “fan of everyone” (Christina Aguilera, Pink, Lil’ Kim, Missy Elliott)—recorded group backgrounds together, leads separately, “match made in heaven.”
  • On seizing opportunities:

    “When an opportunity…that sounds exciting comes about, you don’t overthink it. You seize it immediately.” (40:11–40:36)

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6. Navigating Privacy and Modern Fame

Time Stamps: 33:58–35:30

• Mýa has “avoided gossip fodder for nearly three decades” and led a private life.
• On if she’d survive starting out in the social media era:

  “I think I could do it…with the faith that I’ve been rooted in…But I would want a mentor…It’s a different time that we’re living in, with oversaturation and sensory overload…mental health awareness is at the forefront, which is great.” (34:24–35:30)

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7. Dancing with the Stars, Stage Fright, and Showmanship

Time Stamps: 44:43–48:12

• Stage nerves and preparation:

  • Mýa admits to always being nervous before live tapings:

    “So many things can go wrong…when it’s in front of an arena crowd, something that’s being taped or filmed or live…I get so nervous inside…because there’s no room for mistakes.” (44:43–45:05)

• On Dancing with the Stars:

  • Most proud of her Argentine tango—very technical, challenging, and “my legs were black, blue, purple from bruising…and I loved it.” (46:31–47:21)
  • Discusses the distinction between technical prowess and popularity in audience voting.

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8. Iconic Collaborations & Industry Stories

Time Stamps: 53:20–57:23

• Ghetto Superstar
  • ODB got her the feature after hearing her demo:

    “ODB heard my voice and said, ‘That’s the magic. That’s the money. Who’s that? Keep that…’ That’s why my voice was on ‘Ghetto Superstar.’” (56:44–57:11)

• Working with Jay-Z (Best of Me Remix):
  • Collaboration came through label/marketing relationships (Steve Stoute, Trackmasters). “The rest is history.”

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9. Independence, New Music, and Legacy

Time Stamps: 60:25–66:00

• Retrospect (her 10th album)

  • The pandemic confirmed her desire to finish this project, drawing on the celebratory, soul-infused sounds of the 70s and her childhood living room.

    “That’s how my living room sounded…my frequency, my vibe shifted to joy…and that’s how Retrospect was finished.” (60:49–62:19)

• On new hip hop/R&B:

  • Appreciates the “rawness” and honesty of younger artists, even if her own work is steeped in perfectionism and meticulousness.

• 1970s soul/funk influences:

  • “I transport and retreat to my living room, where the touch and feel vinyl…the music and the artwork…what happened in my living room as a kid was just pure joy…It was electric.” (64:33–65:43)

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10. Notable Quotes & Memorable Moments

• On working with ODB:

  “ODB was responsible for my feature on Ghetto Superstar… He heard my voice and said: ‘That’s the magic. That’s the money. Who’s that? Keep that…’” (56:44–57:11)

• On authenticity and mistakes:

  “You might suck at something first, but if you have a little bit of resilience and can take the criticism, you might just get good at it or be great one day. Just hang in there.” (41:46–41:58)

• On industry privacy:

  “I think my parents exposed me to so much for a long time. It instilled so many values, which is why I am a huge advocate of the arts and sports or any programs for youth so that you can get through this thing called life, regardless of the time or the era.” (35:02–35:28)

• On stage nerves:

  “I think we all are a bit nervous…something can go wrong…Live, there’s no room for mistakes.” (44:43–45:05)

• On owning her legacy:

  “Now, when the advance came for the record deal, I invested in equipment because I’ve always wanted to record harmonies… I just wanted to do it.” (24:41–25:22)

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Timestamps for Highlights

• [08:14] — The making of “Take Me There” (Rugrats Movie)
• [11:28] — Collaborating with superstar producers
• [25:24] — Performing on TRL and BET 106 & Park
• [28:11] — Lap dance for Carson Daly: “My Love is Like...Whoa” era
• [39:16] — Getting pitched “Lady Marmalade” and working with supergroup
• [44:43] — Stage nerves and Dancing With the Stars
• [53:20] — ODB and Ghetto Superstar stories
• [59:02] — The story of the iconic North Carolina jersey dress
• [60:25] — Current album “Retrospect” and its roots

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Tone and Style

The conversation blends warmth, nostalgia, and insight. Danielle’s tone is enthusiastic yet respectful; Mýa is gracious, humble, and candid—offering advice and honest reflections on industry change and personal growth, while frequently giving credit to her family, mentors, and collaborators.

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For Listeners New & Old

This episode is a goldmine for:

• Fans of 90s/2000s R&B and pop culture
• Anyone interested in the realities behind fame and music careers
• Those seeking inspiration about seizing opportunities, choosing authenticity, and evolving as an artist

You’ll come away rooting for Mýa, feeling the energy of a generation, and maybe humming “Lady Marmalade” or “Take Me There” with fresh appreciation.

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Be sure to check out Mýa’s new album “Retrospect” and stay tuned for Danielle’s promised bonus episode!

Transcript

[Mýa]

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[Bowen Yang]

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[Mýa]

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[Danielle Fishel]

Give me money for cigarettes.

[Mýa]

I'll never leave your filthy bed. I stay the night and one night

[Danielle Fishel]

we can Two or three years the

[Mýa]

kids are not alright, but that's.

[Danielle Fishel]

Welcome back to Teen Beat. I am your host, Danielle Fishel, your guide for a weekly journey into awkward teenage years and embarrassing childhood stories that have somehow teamed up to create a powerhouse influence on who we are today. Every week I sit down with interesting people who've done interesting things in hopes of connecting in this commonality, knowing that the stories of our past have shaped our blueprints of today. And since I shared my youth with millions of TV viewers living in public from 12 to 19 years old, it's time to turn the tables. I see it like this. I gave you my childhood. It's time we hear yours. And guys, if I had my druthers, this podcast would be about one thing and one thing only. Something I'm already always talking about. No, not Boy Meets World, not the finicky nature of the Sneakers app, not even my local Topanga Mall. It would be about late 90s, early 2000s R&B. I could argue and convince just about anyone willing to listen that this was peak time for the genre, especially when it comes to strong, talented women who are still thriving in the industry. Mary J. Blige, Aaliyah, Brandi, Missy, Destiny's Child, swv, Alicia Keys, Ashanti, Monica tlc, Xscape, En Vogue, Faith Evans, Idina, Howard, Kelis. The list goes on and on. And my guest this week is a pivotal member of this sorority. She's a triple threat who as a child began her career in dance as a child prodigy of sorts, focusing on ballet, jazz and tap dance, a style in which she'd Study under and later with Crispin Glover. But it was her voice that landed her an Interscope record deal in the mid to late 90s, resulting in her double platinum self titled debut featuring collaborations with Babyface, Diane Warren, Drew Hill, Silk, the Shocker and Missy Elliott. And her song on the Bullworth soundtrack, Ghetto Superstar, featuring pros and the late Old Dirty Bastard earned her a Grammy nomination in the best rap performance by a duo or group category. But come on, it was her second album. Also platinum 1999's Fear of Flying and the single Case of the X that real heads know is the Jam. Come on that song. And soon after she'd be forever immortalized as part of the Grammy winning Moulin Rouge posse. Cut Lady Marmalade with Christina Aguilera, Lil Kim, Pink and Missy, a track that my kids kids kids will still be blasting. And don't even get me started on how good she made a Rugrat song. And she's nowhere near done. Her tenth studio album, Retrospect, was just independently released, marking a new journey for the singer. And it features Snoop Dogg, too short and 21 savage, just to name a few of the guests. But the real standout is her now creating on her own terms as a veteran in the game with a sound influenced by 70s and 80s soul mixed with modern day hip hop roots. I am honored to welcome my former 21 hottest stars under 21 partner in a 1999 issue of Teen People. Maya. Hey there. Hi.

[Mýa]

Good to see you.

[Danielle Fishel]

Good to see you. It's only been four years. We're 25 now, right? Yeah, we're about there.

[Mýa]

Exactly.

[Danielle Fishel]

So good to see you. This really does feel like a reunion of a Teen People shoot. My goodness, I remember seeing that picture the for the first time and thinking, was that, was that the best picture of me they could find? I look very much like a deer in headlights.

[Mýa]

I'm like, you were not the only one. Because I was thinking the exact same thing.

[Danielle Fishel]

You didn't like it of you either?

[Mýa]

No, I didn't.

[Danielle Fishel]

I thought, I think we're cuter than this. But you know, listen, I'm just happy to have had the honor of standing next to you and what, what? We had a lot of those, you know, so much fun. We have so much to talk about. But there's really only one place I want to start and that's with Take Me There, a song for the Rugrats movie that has no right being as good as it is. Can you tell me how that song came together?

[Mýa]

You know, some things you Just have no clue about. You just show up and go. But I was in the studio with Teddy Riley creating that song, actually recording that song, because it was actually written already when I walked in, specifically for the soundtrack. We did cut it here in la.

[Danielle Fishel]

Really?

[Mýa]

Yes. But I was not in the studio with Blackstreet or Mace.

[Danielle Fishel]

Okay.

[Mýa]

And I did, however, get to work with the iconic producer himself, Teddy Riley. Teddy Riley, in 1998, which was the very first year I hit the scene. So.

[Danielle Fishel]

Yeah. So you're like, oh, this is a great way to enter what is going to be the entire rest of your career.

[Mýa]

Well, you're not thinking that way. You're just kind of, like, going through the motions and learning as you go in new territory. Yes. But it was awesome. I learned that he was also a Libra. Oh, I'm a Libra as well.

[Danielle Fishel]

Okay. And you guys connected over that.

[Mýa]

He works very similar to myself. It's very quiet until it's showtime, and

[Danielle Fishel]

then it's time to go. That's actually one of the things I want to talk to you about, but I want specifically for this song, when you first hear it and they're spelling out Rugrats, are you like, what the is this? Or do you right away love it?

[Mýa]

So I have a baby brother. We're 12 years apart. I already knew what Rugrats was. Okay. Okay. And that's actually when he became my fan because, yeah, he's like, I get it.

[Danielle Fishel]

Now you're doing Rugrats music.

[Mýa]

Yes, I get it. Yeah. He didn't really care about his sister before then, but I always loved Angelica, the character, so I was so ecstatic to be a part of the soundtrack.

[Ryan Reynolds]

So cool.

[Danielle Fishel]

And the music video, I feel like an entire generation is connected to the song and the visuals. I'm sorry. I could literally make a whole podcast just about. Take me there. Do you have any memories from the video shoot?

[Mýa]

I do. So Jamie King, the iconic choreographer, he's worked with Madonna, Janet Jackson, and so on. He puts tours together. I remember he choreographed this video.

[Bowen Yang]

Okay.

[Mýa]

And I learned the choreography the night before coming in from somewhere in Europe. And the next day we were on set. It was just so quick, fast.

[Danielle Fishel]

I'm gonna need you to teach me that xylophone part.

[Mýa]

That was actually a freestyle. Was it? Yeah.

[Danielle Fishel]

That's my favorite part. So congratulations to you. No offense, Jamie King, but your little xylophone number is something special.

[Mýa]

Do you remember the movie Big?

[Danielle Fishel]

Yes.

[Mýa]

Yes.

[Danielle Fishel]

That was what was in your head.

[Mýa]

Yeah.

[Danielle Fishel]

Your big moment.

[Mýa]

I love it.

[Danielle Fishel]

I mean, Teddy Riley, as you mentioned, he is a legendary producer, one of the many that you've worked with. While I was researching, I was just counting up the superstars you have collaborated with. Check out this list. It might be the best list out there. Swizz Beats, Babyface, Missy, Wyclef, Jimmy Jam and Terry Lewis, Timbaland, Rockwilder, Tricky Stewart, Rodney Jerkins and Scott Storch. And that's truly just a tease of your entire roster. So I'm gonna put you on the spot a little bit here. Who blew you away the most from a producer standpoint?

[Mýa]

Oh, my goodness. Well, Tricky Stewart, he is an instrumentalist. He knows how to play instruments.

[Danielle Fishel]

Yeah.

[Mýa]

And I've watched him on the keys. But it's also a tie between Wyclef because he's a guitarist.

[Danielle Fishel]

Okay.

[Mýa]

And I see it happen in real time. I get to watch them actually create from nothing, which is magic. Yeah, yeah, yeah.

[Danielle Fishel]

Seeing there be nothing, truly nothing. And then someone go, I have an idea. And then to be able to with their body, bring it into, like, fruition.

[Mýa]

Yeah.

[Danielle Fishel]

It's magical.

[Mýa]

Yeah. And Wyclef is also a performer, so he has all of that experience on stage and he's so spontaneous. He's also a comedian.

[Danielle Fishel]

Right.

[Ryan Seacrest]

Okay.

[Mýa]

He brings it to his creation of music. And just being in the studio is electric. Right.

[Danielle Fishel]

I bet.

[Mýa]

Lots of good stories, backstories.

[Danielle Fishel]

Is there a producer out there that you haven't worked with yet that you're still dying to work with?

[Mýa]

Well, he's not with us anymore, but I'd always wanted to work with Quincy Jones. And still, even though I have a song on my very first album that Babyface produced, I didn't actually get to meet him during that process. So I would really like to work with Babyface. Okay.

[Danielle Fishel]

Let's manifest that for you. Yes, I love that.

[Bowen Yang]

This is Bowen Yang from Lost Culture Resource with Matt Rogers and Bowen Yang. We all know the feeling when life gets really busy. Taking care of your can feel impossible. That's why Premier Protein shakes are my go to. They have 30 grams of protein, 160 calories, no added sugar, and they taste amazing. So they're a healthy choice you'll actually want to make. It's not just for fitness. It's for getting after life. Premier Protein powers me to say yes to more. Find your favorite [e-mail]. that's P R E M I E R protein.com.

[Kal Penn]

hey, everyone, it's Kal Penn. I'm the host of Irsay the Audible and I Heart Audiobook Club. This week on the podcast I am sitting down with Ray Porter, the narrator of Andy Weir's audiobook project, Hail Mary Massive sci fi adventure about survival and science and what happens when you wake up alone, very far from Earth.

[Ray Porter]

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[Kal Penn]

Listen to Irsay the Audible and iHeart audiobook club on the iHeartradio app or wherever you get your podcasts.

[Glen Washington]

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[Danielle Fishel]

Let's talk a little bit about Maya in D.C. your dad was in a band, Jump Street. So were you always surrounded by music?

[Mýa]

Always. Since I was born. I have a baby picture. She can share it with you.

[Ray Porter]

Okay.

[Mýa]

Great publicist. I was obviously in Pampers and my mom is teaching me how to play piano. Her dad orchestrated for orchestras. He wrote all of the sheet music for every instrument in an orchestra by hand. Composer? Oh, classic pianist. But yeah, there were always instruments in our house. My dad is a singer. Okay. The leader of his band. Always. Since he was about 16, 17, and it was an electric living room, you know, and so much rich music.

[Danielle Fishel]

You started dancing at a very young age, but you also played violin and obviously you sing. It was like you were a musical. Bo Jackson. How did you choose which avenue you wanted to pursue?

[Mýa]

It was actually Broadway for me. Yes. I was going to college after high school. University of Maryland, College Park. The goal was eventually to go to Juilliard at some point in New York and pursue Broadway because I love to do so many things. But the record deal happened in the midst of my first year of college and I'd been recording demos, taking the train back and forth to Philadelphia from D.C. d.C. Yeah, two hours. And had to make a choice because there was investment being put up and there was a label that was interested. And I said, well, this is a shot that I might not get again, so let's go for it. College is always there, correct?

[Danielle Fishel]

Yeah.

[Ryan Seacrest]

Seize it.

[Danielle Fishel]

Seize that chance. Like I said, we did a photo shoot together in the late 90s, and you are a very sweet, relatively soft spoken person. But musically, you have always commanded such a presence on stage. You are anything but shy. There has. Is that how you've always been? Is that your Libra. Libra personality?

[Mýa]

Yes. So my parents are polar opposite.

[Danielle Fishel]

Okay.

[Mýa]

But they're both Libras and I'm the even balanced 1010 Libra. I was born October 10th.

[Glen Washington]

Okay.

[Mýa]

The perfect amount of my dad to survive this business is in me.

[Danielle Fishel]

Okay.

[Mýa]

The perfect amount of my mom to survive this business and be super creative. Okay. My dad is the performer. She's the artist, but she's the accountant. She's sewn my costumes. She's so great with organization. My dad, not so much.

[Danielle Fishel]

Right, right, right.

[Mýa]

But he's the creator and understands spending and investment and, you know, aesthetics. Yeah. Wow.

[Danielle Fishel]

You really had a perfect.

[Mýa]

All of these things.

[Danielle Fishel]

A perfect mix of both of your parents. And you're right. You need Both sides to make it.

[Mýa]

Yes.

[Danielle Fishel]

In this industry.

[Mýa]

Yes. So what was the question?

[Danielle Fishel]

It was, what were you like as a kid? Were you.

[Mýa]

Well, it depends on the environment. I grew up with brothers. My dad raised me. A little rough around the edges. I was a bit of a tomboy. We played tag football, tackle football, grass stains on the knees. I was very athletic.

[Kal Penn]

Yes.

[Mýa]

Just kind of whatever. Yeah, yeah. You were just thrown into digging dirt, whatever it was. I was very active. Then there were the activities that I was placed in, thankfully, summer camps and all the things majorettes. But I was very quiet. I was an observer. Still am. Until it was time not to be.

[Kal Penn]

And then.

[Mýa]

But I was loud when I was a kid. As far as playtime is concerned, I was tomboy. Okay.

[Danielle Fishel]

I love that you were a high school Senior at only 16 years old, and it wasn't that long after that that you would be on trl. So what was high school like for you?

[Glen Washington]

Yeah.

[Mýa]

I was the quiet girl until about my junior or senior year.

[Danielle Fishel]

Okay.

[Mýa]

I became the captain of the dance team.

[Ryan Seacrest]

Yes.

[Mýa]

Along with another girl named Nessa.

[Ray Porter]

Okay.

[Mýa]

And, you know, we were leaders. But I also had my very first job in high school at 14. Okay. As a dance teacher. Yeah. Outside of school. So I was very disciplined, very focused and driven. Did a lot of shopping.

[Danielle Fishel]

Oh.

[Mýa]

And so my identity, you know, came about. I got my nose pierced illegally with a fake ID. Oh, my God.

[Danielle Fishel]

At 16, where'd you get the fake ID?

[Mýa]

At the mall. At the mall. One of those kiosks I love.

[Danielle Fishel]

The mall had a kiosk for fake IDs.

[Mýa]

Well, for nose piercings.

[Danielle Fishel]

Oh, for nose.

[Mýa]

I don't know who. Yes, I do know who gave me the hookup. One of my male friends in high school. He said, I can get you a fake id, but, yeah, I could. I showed my id, you know.

[Danielle Fishel]

What did your parents think about the nose piercing?

[Mýa]

Well, they thought it was fake because I am a wimp when it comes to needles.

[Danielle Fishel]

So they were like, there's no way she would do that. And did you just let that go? Oh, yeah, it's fake.

[Mýa]

No. I said, no, it's real. They were disappointed at first. They said, why would you do that to your face? Your career. I said, it'll be fine, you know, and look at you now.

[Danielle Fishel]

It's like such an iconic part of who you are.

[Mýa]

I guess I was a little rebellious back then. Just trying to find my own identity. Listen, individuality.

[Danielle Fishel]

I got my belly button pierced at 15, and it was. I. I still. I'd still have it today, if it were up to me, but I've had it beaten out of me by.

[Mýa]

I've always wanted one.

[Ray Porter]

Really?

[Bowen Yang]

Yeah.

[Danielle Fishel]

Oh, it's so funny. What's stopping you now?

[Mýa]

It's never too late, huh?

[Danielle Fishel]

Never too late. Never too late. On weekends, you were studying with Crispin Glover with your own solo in a Kennedy center performance. And you were on BET's Teen Summit. Were you in any way still able to live a normal teenager's life? I know you got your nose pierced at the mall and taught dance classes, but once it really started happening for you and you were performing for crowds, were you able to feel like you had a normal teenage life?

[Mýa]

Yeah, I think so.

[Danielle Fishel]

Yeah.

[Mýa]

Yeah. I was a country girl. I rode dirt bikes and go karts and all of the things. So we definitely had a great life as kids.

[Ryan Seacrest]

Yeah.

[Mýa]

And teenagers. It was busy, but I loved it because it was a bit of independency as well as seeing a chicken name on it, you know, every few weeks. It was great.

[Danielle Fishel]

What was the first thing you splurged on and treated yourself to?

[Mýa]

It was always clothes and shoes. I would always be at the mall, you know, and it was literally an investment for my performances because I was tap dancing solo.

[Danielle Fishel]

Yeah.

[Mýa]

And becoming this the girl that I wanted to be. Right. At that time, it was around 15 or 16, so it still had something to do with business.

[Danielle Fishel]

Yeah. Back then, I think we also got to use it as a write off. You could buy clothes and be like, I need this for performance now. They don't even let you write it off anymore.

[Mýa]

Well, that was before the record deal. Oh, okay. We didn't have the business established then. This was just me in high school, you know, with my first job, just

[Danielle Fishel]

thinking, this is business.

[Mýa]

And the reasoning behind that is because, you know, we always had hand me down clothes. Or my mom would go to the thrift store and repurpose things. She would upcycle, or she would actually make our clothes. And we hated them because they weren't like the name brand clothes that all the cool kids were wearing. And we got teased for everything. But when I found that independence, I got to choose what I was going to wear. But I was also an artist, just like herself, sketching designs and all of these things and bringing those things to life. She. She sewed my prom dress that I designed.

[Danielle Fishel]

Really?

[Mýa]

Yeah. So those are the first things that I would spend with my own money.

[Danielle Fishel]

Okay.

[Mýa]

Now, when the advance came for the record deal, I invested in equipment because I've always wanted to record harmonies. I was always fascinated with layering.

[Danielle Fishel]

Okay.

[Mýa]

My voice and different notes. And I would flip karaoke tapes and cassettes over and over and again, and the quality was just awful. So that's the first thing that I did.

[Danielle Fishel]

Equipment. Investing in yourself again. Everything you're saying. I keep hearing that perfect mix of your dad and your mom. You know, you're like, this is an expense, but it's an investment in myself as well. And it'll allow me to create.

[Mýa]

Yeah. So it wasn't even investment to me. I just wanted to do it.

[Danielle Fishel]

Yeah, yeah. Like a toy.

[Ryan Seacrest]

Yeah.

[Danielle Fishel]

But for fun and your career. So bet106 and park and TRL were both so pivotal in your career. I don't mean to sound like an old lady here, but I don't think people realize how great of a time that was to be a part of. Maya could be doing the first segment and then KORN was premiering a video immediately after. Did you like doing those shows?

[Mýa]

Absolutely. There was a live audience and there's nothing like that. You know, give and receive, the exchange, the energy. Seeing Times Square outside of the windows and the fans and the supporters. It's electric when you're just a spectator watching at home on the tube, but when you're there, it's a whole other world. It's awesome.

[Danielle Fishel]

Do you have any memorable stories from a trl?

[Bowen Yang]

Yeah.

[Danielle Fishel]

Yes.

[Mýa]

It went viral a couple of years ago. Odb.

[Ray Porter]

Okay.

[Mýa]

Praz and I, I'm not sure if Wyclef was there. Okay, he may have been, but we were all on the couch being interviewed for the Ghetto Superstar record.

[Danielle Fishel]

Yeah.

[Mýa]

ODB was a very honest guy. And I think the question that was asked was, what would you like your legacy to be? Or how would you give back to your community what it is? What is it that you would like to give back?

[Danielle Fishel]

Uh huh.

[Mýa]

You said nothing. Straight to the camera. I'm just saying.

[Ryan Reynolds]

What?

[Mýa]

Okay, well, maybe that's the honest answer here.

[Danielle Fishel]

So did you say anything? Did you?

[Mýa]

Like we just all burst out laughing. All of us. The host, the audience, everyone on that couch.

[Danielle Fishel]

Nothing.

[Mýa]

I mean, it wasn't even nicely said. Nothing. That's how he said.

[Ray Porter]

Said it.

[Mýa]

Not followed up by a laugh or anything. Just not.

[Danielle Fishel]

Oh my gosh, I love it so much. I found a clip online of Carson Daly's birthday special where you.

[Ryan Reynolds]

Yeah.

[Mýa]

Was that TRL or was a birthday special?

[Danielle Fishel]

I don't think it was trl.

[Mýa]

Mtv, maybe?

[Danielle Fishel]

Yeah, it was mtv. Yes. And you are giving him a lap dance during the Final credits. Nikki Hilton is there, Jessica Simpson is with Nick Lachey, and Sarah Silverman is on Jimmy Kimmel's lap. It is so wildly Y2K. Do you remember that typing at all?

[Mýa]

I remember clearly, and I remember all the reactions and the faces. I don't know if they edited it to be that way, but, I mean, the jaws had dropped.

[Danielle Fishel]

Jaws were on the floor.

[Mýa]

That was the My love is like, whoa, yes. Cocky era. Just very overly sexy and cocky of a record that Missy Elliott wrote, by the way. So of course it would be.

[Danielle Fishel]

Of course.

[Mýa]

But, yeah, that was, I think, a shocking moment for myself, but so great. I said, this is not gonna happen again. Cause I'm not gonna be able to fit these shorts ever again. So why don't you enjoy it while you can.

[Danielle Fishel]

Do it while you can. I also stumbled upon a picture from the 2001 MTV Janet Jackson tribute, which. And the photo is you, Busta Rhymes, Pink, Tyrese, Stevie Wonder, and Aaliyah, which is quite the lineup. But it also got me thinking about your interactions with Aaliyah, who would tragically die just a few months after that photo was taken. Did you get to know her at all? Did you have a relationship with her?

[Mýa]

We'd done a couple of different shows together. We were just always crossing in workplaces. And we'd done a photo shoot in New York. There were individual photo shoots. I think they were called fanzines.

[Danielle Fishel]

Okay.

[Mýa]

At the time where you do several, you know, outlets at once in one place. Lots of hair magazines, et cetera. And, you know, we kicked it, but we never had, like, a very close relationship. It was more so a work associate out of respect, you know, very friendly at all times. Cordial. Yeah, yeah.

[Danielle Fishel]

So you signed to interscope records at 19 pretty quickly, right out of high school. What is it like going from Maryland to the very fast paced music business? Recording that first album, especially because so much of your life had been focused on dance, not necessarily becoming a pop, R and B sensation. So what was that transition like from high school to Interscope deal?

[Mýa]

Well, I was actually in the orchestra and choir. Gospel choir.

[Danielle Fishel]

Okay, so you. So singing was always.

[Mýa]

Yeah, singing was always there, but it was more so done in, like, plays or a Broadway.

[Danielle Fishel]

Right, Like Broadway idea. Yeah.

[Mýa]

Capacity. So, you know, the recording artist thing was unexpected.

[Danielle Fishel]

Yeah.

[Mýa]

And of course, you know, I knew that I could execute it because of the entertainment value. And entertainer was always the goal in mind. Some of the inspirations were Gregory Hines, who I'd seen live when I was about 10 years old on Broadway and got to train with him and dance with him. But Sammy Davis Jr singing, acting, dancing, just personalities. And very nice, you know, very warm and welcoming spirits. So they were always in my living room, black and white films, et cetera. So I was always surrounded by music through my grandfather, my mom, my dad.

[Glen Washington]

Yeah.

[Mýa]

And I was always doing something in choir or national anthems and talent shows, but the goal was never recording artists.

[Danielle Fishel]

Yeah.

[Mýa]

Until my late later teens. Yeah.

[Danielle Fishel]

And so were your parents involved in your career still at that time? Like when you signed to Interscope? Are your parents actively involved in it?

[Mýa]

Yes. So it's really wild. As I was in high school, going into college, I'd recorded demos, you know, in Philly. But prior to that, I recorded my very own first song, original of my own, and I was 15 years old. They invested in me to do that. That was actually shopped to the independent label that was in Washington, dc.

[Ray Porter]

Okay.

[Mýa]

Who discovered me. And my parents were my managers at the time. My mom had experience running my dad's independent lab label called TMC Productions, where he'd recorded his own records for years, dressed up his own vinyl, took them to the radio station in our state. So they had all of the. The chops, you know, they knew what they were doing.

[Danielle Fishel]

Yeah.

[Mýa]

Business in a very boutique way. But at the release of my very first single, they got divorced.

[Danielle Fishel]

Oh, oops. Wrench in the system.

[Glen Washington]

Yeah.

[Mýa]

So that didn't work out. And, you know, I found myself being managed by those that I didn't know. They were strangers. And, you know, divorces can be taxing. And so neither one of them were kind of capable at the time to. To really be engulfed in the business of Maya.

[Danielle Fishel]

Yes. And. And it is all encompassing, especially at the beginning when you're getting started and it's meetings and phone calls and appointments and. Yeah. When you're going through a divorce, guess what? But there's not a lot of time for thinking about all of that stuff.

[Mýa]

But my mom has always remained my accountant and watched the books since, so.

[Danielle Fishel]

Great. My mom was that person for me, too. And she was meticulous about it.

[Mýa]

Yes.

[Danielle Fishel]

She was always so worried that I'd ever have a reason to suspect that something had been mismanaged. And so she kept every pay stub. I mean, just meticulous records of everything in case I ever needed it. I never needed it.

[Mýa]

So important.

[Danielle Fishel]

But it is. We're learning.

[Mýa]

There are horror stories.

[Danielle Fishel]

True horror stories. Yes.

[Mýa]

Very fortunate.

[Danielle Fishel]

Yes. You have somehow also been able to avoid being gossip fodder for nearly three decades you've kept to yourself and you've honestly, you've lived a relatively private life. Let's say you were just starting out in 2026 and social media and content creation is so important. Do you think you could do it?

[Mýa]

I think I could do it with the faith that I've been rooted in, in any timeline, any world. I think, of course, today would be a lot tougher, but I would, I would want a mentor for myself, okay, that has walked this business and walked the shoes of an entertainer. Experience the highs, the lows and devastations to guide me and hold my hand along the way. Because it's a different time that we're living in, with oversaturation and sensory overload. And mental health awareness, I'd say, is at the forefront, which is great because we didn't have those discussions back then, but I think my parents exposed me to so much for a long time. It instilled so many values, which is why I am a huge advocate of the arts and sports or any programs for youth so that you can get through this thing called life, regardless of the time or the era. But I think mentors are very important.

[Danielle Fishel]

Yeah, you're absolutely right.

[Bowen Yang]

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[Kal Penn]

Hey everyone, it's Kal Penn. I'm the host of Irsay The Audible and iHeart Audiobook Club. This week on the podcast, I am sitting down with Ray Porter, the narrator of Andy Weir's audiobook project Hail Mary Massive Sci fi adventure about survival and science and what happens when you wake up alone. Very far from earth.

[Ray Porter]

I really had to make a decision because I caught myself getting that frog in my throat and starting to get teary as I'm narrating some of these sections and it's like, okay, yo yo yo, is this indulgent? And I really thought about it. I was like, no. At this point it would kind of be betraying the trust the the author and the listener have in telling this story if I don't go through it. But there's places in this book that that deeply, emotionally affected me and I left it on the mic. That's great because it served the story. People will say like oh my God, I cried at the end. It's like, yeah dude, me too.

[Kal Penn]

Listen to Irsay, the Audible and iHeart audiobook club on the iHeartradio app or wherever you get your podcasts

[Glen Washington]

every week. The Snap Judgment podcast drops you inside someone's biggest decision. The kind of decision you can only make once with everything on the line. What do you believe? What do you want and what would you risk to get it? Find out Snap Judgment New episodes every Thursday wherever you get your podcast.

[Ryan Reynolds]

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[Mýa]

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[Ryan Seacrest]

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[Danielle Fishel]

Let's get into Lady Marmalade. This obviously is just heavy Hitter central and you are all so talented. Do you remember the pitch for it and how did you find yourself on the song?

[Mýa]

Yes, the managers that I had at the time they were in touch with the record label Interscope and they mentioned it without Too many details. I was familiar with the song, of course, and of course the names. I just. I said, yes, of course. Like, I'm a fan of everyone, and I didn't think twice about it. And there we were.

[Danielle Fishel]

Yeah.

[Mýa]

Laying our backgrounds together in California one day. And then we cut our leads separately. But I was a fan of everyone, including the producers.

[Danielle Fishel]

Yeah.

[Mýa]

So it was a match made in heaven. And it was a lot of fun, too.

[Danielle Fishel]

I'm noticing a little theme with you that's so important, which is that when an opportunity that sounds exciting to you comes about, you don't overthink it. You seize it immediately. You go, hey, there's a record label right out of high school. This is unexpected. Yes. And Lady Marmalade. Yes. And it's. It's really paid off for you.

[Mýa]

Yeah.

[Danielle Fishel]

The trusting your instincts and trusting your gut, is that something that your parents have nurtured in you? Is that something. Is trusting your intuition something that's important to you?

[Mýa]

Yes. My parents have everything to do with that. I'd say there was a lot of fear and intimidation or insecurity in my childhood. Uncertainty. Okay.

[Danielle Fishel]

Okay.

[Mýa]

But the arts definitely taught me. Teamwork, of course, taught me that you just go for it. Yeah. You might make a mistake, you might fall in your face eight times in front of the world or whoever's watching, but there's a lesson to be learned. You actually get to be better the next time. And you're not alone. Right. You know, so go for it. Why regret? Why not? So I've seen the improvement, and I think I've had opportunities that prove time and time again that, you know, you might suck at something first, but if you have a little bit of resilience and perseverance and can take the criticism along the way, you might just get good at it or be great one day. Just hang in there. Yeah.

[Danielle Fishel]

So you all laid some of your tracks together. You did the independent, the solos separately.

[Mýa]

Yes.

[Danielle Fishel]

But Lady Marvel, you're all in the same room.

[Mýa]

Yeah.

[Danielle Fishel]

Did it just feel special immediately? I find it hard to believe that it didn't sound like a Grammy winner from just the very first get go.

[Mýa]

Well, I wasn't even thinking Grammy. I was honestly thinking, oh, this is for a film. How cool. Soundtracks. Oh, this. This video is going to be amazing because movie money is a little bit different than music money.

[Danielle Fishel]

Right.

[Mýa]

And I'm so excited for that. So I wasn't really thinking Grammy, because I didn't even know at the time that sound songs on soundtracks could get nominated for Grammys, you know?

[Danielle Fishel]

Yeah.

[Mýa]

I was still new.

[Ryan Seacrest]

Yeah.

[Mýa]

Yeah.

[Danielle Fishel]

So, yeah. That's so crazy that then being nominated for Grammy isn't even.

[Mýa]

Yeah.

[Danielle Fishel]

Which makes sense. You're thinking a movie. Movie, money, video. Grammy's like the last thing on your mind. I had mentioned your class of R and B singers from the late 90s, early 2000s, and it is stacked with talent. Who impressed you? Was there anyone that you were like, a big fan of from your peer group?

[Glen Washington]

Group?

[Mýa]

Of course. I have to think about this. From my peer group. Oh, yeah, Usher. Yeah, I work with Usher for the Michael Jackson 30th anniversary tribute.

[Kal Penn]

Yep.

[Danielle Fishel]

Okay.

[Mýa]

And he just very focused. He's also a Libra.

[Danielle Fishel]

Libras. Libras have such a special place in your life.

[Mýa]

Yeah. My production partner for this new album is a Libra. Snoop is a Libra. Like a lot of folks. 21 savages. Libra, Libras and I work so well together. Lots of creative energy. Yeah. But, yeah,

[Danielle Fishel]

Usher is a great one.

[Mýa]

So. Usher. Yeah. I thought he was very focused, driven. He was so young when he stepped into this business. Probably about 14.

[Danielle Fishel]

Yeah.

[Mýa]

Maybe even younger when he recorded his first album. And growing up in front of the world. Yeah. But of course, cardio dancing and singing are two different types of breath work. And he mastered that so young. And to see him in rehearsals, but also see him perform at Madison Square Garden with no fear, like, yay. Like, we're the same age.

[Ryan Seacrest]

Yeah.

[Mýa]

Yeah. So I was highly impressed. Michael Jackson was in the room.

[Danielle Fishel]

Really?

[Mýa]

During our rehearsals, Whitney Houston was there. Oh, my gosh. Timid. And yes, you're just having a ball. So I was so impressed with his free energy.

[Danielle Fishel]

So do you think when you perform. Because no one would ever think you're nervous watching you perform, Are you putting on a character in order to be able to do it? Are you nervous inside?

[Mýa]

I think we all are a bit nervous because so many things can go wrong and when it's in front of an arena crowd, something that's actually being taped or filmed or live, I get so nervous inside when something is airing live because there's no room for mistakes.

[Danielle Fishel]

Right. Gotta do it.

[Mýa]

With millions watching Dancing with the Stars, was that every single week for me. And I'm a dancer.

[Danielle Fishel]

I have absolutely no idea how you did not win Dancing with the Stars. Can we. Can we just for a moment talk about how you're the best dancer to have ever been on Dancing with the Stars? I'm saying it right now so you

[Mýa]

can win in scores and points, which I did, but that doesn't matter. It's about, are you being voted for? Right. Your fan base has to chime in. If people think you're safe because you have high scores. Oh, you might technically be a good team dancer. That's not what that show is about. It's about. Okay. Do the judges think so? Did you nail every component of technique and this hand and this finger placement or whatever it is that they judge timing and embodiment for that specific dance style, which I have no clue of, because you're literally learning a new style of dance every single week.

[Danielle Fishel]

Yep.

[Mýa]

Not my forte or anyone's, for that matter, but it's about all of those things, including the votes at the end of the day, which really counts are

[Danielle Fishel]

the thing at the end of the day. That's the end. All be all. Did you have a favorite dance from Dancing with the Stars? Is there anything when you look back on your time, you think, that's my number one? I'm the most proud of that.

[Mýa]

Yes. There was a very difficult dance, Dancing with the Stars, that I'm most proud of because first by seeing it, I didn't think I could do it. It's so technical, and it's actually so brutal because your partner and you are kicking each other most of the time until you're Argentine tango. Exactly. My legs were black, blue, purple from bruising, and I loved it. But. But when I saw the performance and, like, I literally worked overtime to get it right because it was so difficult. So difficult. Looking back at it, I was so impressed.

[Kal Penn]

Yeah.

[Danielle Fishel]

You're like, I can't believe that's me.

[Mýa]

And learning it in just one week. Yeah. And being lifted in the air.

[Kal Penn]

Yes.

[Mýa]

Yeah, it was a lot.

[Danielle Fishel]

Argentine tango was my favorite, too. Absolutely loved it. Yes. Absolutely loved it. Same. Like, I remember watching videos of it and being like, I'm not gonna be able to do this. And the lifts. And I also. Huge bruise on my hip from a couple of the, you know, lifts where you get swung around and you're just smacking your hip into each other. It's. It's. It's brutal, but it's my favorite one. My favorite performance. I did my everything about it. Loved it so much. So I.

[Mýa]

There's so much strength in it, too.

[Danielle Fishel]

Yeah, absolutely.

[Mýa]

Yep.

[Danielle Fishel]

You come away from that experience real ripped.

[Bowen Yang]

This is Bowen Yang from Lost Culture Research with Matt Rogers and Bowen Yang. We all know the feeling when life gets really busy. Taking care of yourself can feel impossible. That's why premier protein shakes are my go to they have 30 grams of protein, 160 calories, no added sugar, and they taste amazing. So they're a healthy choice you'll actually want to make. It's not just for fitness, it's for getting after life. Premier Protein powers me to say yes to more. Find your favorite [e-mail] that's P R E M I E R protein.com hey

[Kal Penn]

everyone, it's Kal Penn. I'm the host of Irsay The Audible and iHeart Audiobook Club. This week on the podcast, I am sitting down with Ray Porter, the narrator of Andy Weir's audiobook project, Hail Mary Massive sci fi adventure about survival and science and what happens when you wake up alone, very far from Earth.

[Ray Porter]

I really had to make a decision because I caught myself getting that frog in my throat and starting to get teary as I'm narrating some of these sections. And it's like, okay, yo, yo, yo, is this indulgent? And I really thought about it. I was like, no. At this point it would kind of be betraying the trust the author and the listener have in telling this story if I don't go through it. But there's places in this book that that deeply, emotionally affected me and I left it on the mic. That's great because it served the story. People will say like, oh my God, I cried at the end. It's like, yeah, dude, me too.

[Kal Penn]

Listen to Irsay the Audible and iHeart audiobook club on the iHeartradio app or wherever you get your podcasts.

[Glen Washington]

I'm Glyn Washington, host of Snap Judgment from kqed. Every week, Snap drops you inside someone's biggest decision. The kind of decision you can only make once. With everything on the line. What do you believe? What do you want? And what would you risk to get it? Find out Snap Judgment new episodes every Thursday. Wherever you get your podcasts.

[Ryan Reynolds]

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[Mýa]

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[Danielle Fishel]

You last year performed on some dates with Brandi and Monica, and I have to think that was a blast. I can't believe I missed it. As someone who is also heavily associated with nostalgia myself, do you enjoy seeing these crowds who have grown up with you coming out to support you and sing along to every word with you?

[Kal Penn]

Yes.

[Mýa]

It's. It's so special to be amongst your family.

[Danielle Fishel]

Yes.

[Glen Washington]

Literally, yes.

[Danielle Fishel]

The peers. Our peers.

[Mýa]

Your peers. You know, we speak the same language, and we've had lives that have been lived since we were teenagers. And the music that speaks to us, whether it would be core memories for some or where we are in our lives, because we're all still making music that resonates with our timeline line now, and the world has changed so much, and we're still here holding each other down. So I loved it. I loved being a spectator, just listening to all the nostalgic songwriting compositions, the great music with bridges and modulations and wonderful lyrics. My dad and I sat front of house at one of the shows. I can't remember the city. I think it was actually Baltimore. Okay, okay. Which is, you know, close to where we're from. And he held my hand when Brandy started singing. Have you ever? I'm like, oh, the power of music, dad. The power of music and lyrics. So that was so special for me and it being from my generation, you know, because usually parents and grandparents kind of talk down on the generations under them about the music that we're making, and it doesn't sound like real music anymore, you know? So for him to resonate with something from my age bracket was really great and an emotional song of that year.

[Danielle Fishel]

Yeah, that's a beautiful moment. I wanna talk a little bit about Ghetto Superstar. It's an infamous rumor that ODB was on the song because he was going door to door at the recording studio trying to force his way into songs.

[Mýa]

Is that true? I've never heard that story before.

[Danielle Fishel]

Okay, so then I'm gonna check out. That is not true.

[Mýa]

I don't know. I've never heard that before.

[Ryan Seacrest]

Really?

[Mýa]

It could be because he was very spontaneous yeah.

[Danielle Fishel]

Okay. All right. So not unsurprising for him to knock on the door and be like, I'm here. What can I do?

[Mýa]

Uh huh. I actually believe that.

[Ryan Seacrest]

Really?

[Mýa]

You're like, I do believe that.

[Danielle Fishel]

Oh, that is so funny. Do you have any fun favorite experiences with him other than him saying nothing? He almost burned himself on pyro performing at the 1998 MTV Theater EMAs. That must have been traumatizing.

[Mýa]

I'm not sure if Proz pulled him back.

[Danielle Fishel]

I think so. Yeah.

[Mýa]

Yeah. And I'm not sure if we rehearsed it at all, really. I can't remember. Or if he was there. Yeah, rehearsals. But that could have been a disaster. I mean, yes, but thankfully nothing happened. My gosh. Cues matter, which is why I'm so detail oriented. It's very anal, but things like that matter to know exactly what part of the song and going over it and over every time. So every person on that stage understands, you know, where they need to be markers on the stage. I'm literally there making sure we have a long strip of tape of where every prop goes, cutting them, placing them, where, you know, having the dancers in certain places. Because anything can happen if anything, anytime. But yeah, details matter.

[Danielle Fishel]

They really do. I just went on the Dancing with the Stars tour. I was there for a month and it was very much the same way. You know, there's three sets of stairs and everyone's gotta walk and people are crossing and you've got 12, 13 people dancing at the same time.

[Mýa]

In heels.

[Danielle Fishel]

In heels, by the way, with fog, which makes the stage moist or half. You know, sometimes we were at amphitheaters where it was humid outside and now you're like, watch out. Beads falling off of costumes and people dancing barefoot. The amount of beads lodged into barefoot feet while we were on tour and those, you know, if you're not showing up for your cues and you can't see the tape when it's dark. Those things are important. These are people's bodies. And yeah, it, it all very important. So don't ever feel bad about being anal and being like, I'm here taking notes. Very smart.

[Mýa]

I will share this with you. ODB was responsible for my feature on Ghetto Superstar Star. Really? Yeah. I only had one song, out in the Universe, which was all about me featuring Cisco, my debut single in 1998. My dad and I took a train to New York, had a session with Wyclef John, laid down the chorus, and that was that. We didn't hear anything back, you know. Yeah, I Was asked to do the chorus and it was the shortest session I probably ever had to this day day. There were several other singers that were established that recorded that chorus that were being considered because, you know, they had much bigger presence.

[Danielle Fishel]

Yeah.

[Mýa]

And yeah, I was just the new girl on the block. Right, Right. ODB heard my voice and said, that's the magic. That's the money. Who's that? Keep that. Keep her, whoever that is. I'm telling you right now, it's her. Yeah. That's why my voice was on Get a Superstar.

[Danielle Fishel]

Unbelievable.

[Mýa]

Yeah, he convinced them.

[Danielle Fishel]

So great. And what an ear. I mean, he's right. He's absolutely right.

[Mýa]

Well, he may or may not be. Oh no, we don't know.

[Danielle Fishel]

I'll say it. I'll say it. You don't have to say it. I'll say it. He's right. But it was written and that's the way it turned out.

[Mýa]

Yeah.

[Danielle Fishel]

Pretty great. Your music has always included such great rap features. From Mace to Jadakiss to ODB to Jay Z on the Best of Me remix. How did that come together with Jay Z? Because he was flying very, very high at that time.

[Ray Porter]

Yeah.

[Mýa]

So on the record label side and Interscope, there's my independent company through Haq Islam University Music Entertainment. And then in marketing, there's like Steve Stout Advertising as well. And he had all of these relationships being that he's from New York, from Jadakiss to Jay Z and he would do some calling for features, etc. There were a lot of remixes that happened around that time too. So he and Jay Z had a relationship and he may have actually called the producers track masters who are legends in hip hop to create the new track for the remix as well. And the rest is history. Geez.

[Danielle Fishel]

Isn't it funny? It's just like knowing the right person who knows the right people who get the inspiration at the right time.

[Mýa]

Yeah.

[Danielle Fishel]

And the next thing you know, history is has been made. Well, Hype Williams, the Hype Williams video brought us the iconic North Carolina baby blue basketball dress. Just an all timer. Tell me all about that dress. Where did it come from? Did you design it? Did your mom design it? Did you know how big of a deal it was going to become? Were you offered Tar Heel tickets for Life? Where is it now? Can I put it under glass? What? Tell me everything about that dress.

[Mýa]

Oh my goodness. Well, the North Carolina jersey dress from the Best of Me remix video. We call it part two, by the way.

[Danielle Fishel]

Okay.

[Mýa]

That was styled and thought of and manifested by June Ambrose, a legendary, iconic stylist, you know, fashionista. Yes, yes. She was doing so many artists at that time in hip hop and R and B that created this whole aesthetic during that time. It was the Mary J. Bliges of the world. A lot of artists that were on Bad boy Fashion was a big thing.

[Danielle Fishel]

Yeah.

[Mýa]

In hip hop and R B culture during the early 90s till I came into the equation into the 2000s, to this day. And she was a part of that. So her iconic mind came up with the idea of turning something just so sporty and casual to. For the woman in a dress form. Yeah.

[Danielle Fishel]

And perfect for you, who grew up such a tomboy and I mean, just. Just so perfect for you. Where is it today? Do you have it?

[Mýa]

I do, yes. And I have renditions of it too, that I'll wear for live performances.

[Danielle Fishel]

So great. Oh, so great. Your new album, Retrospect is wonderful. It is a really evolved, unique, unique sound. And it's been a while since you've released an album. So why now? What was. What was it about now that spoke to you?

[Mýa]

Well, if I could release an album every year, it would be now.

[Danielle Fishel]

Yeah.

[Bowen Yang]

Okay.

[Mýa]

So what I do is release lots and lots of singles in between projects, and my Last one was TKO in 2018. And pandemic happened while we were actually crafting other projects and singles as well as putting them into the universe. But that time, that uncertain time in all of our lives, was the confirmation to continue the thought of this project that started in 2003, really, with a Rick James cover on my Moodering album. Oh, so this is my living room on retrospect. A lot of these sounds, especially for the first half of the album, which is very celebratory, pick me up moods and in party moods. That's how my living room sounded. And that's the music that I would craft in my playlist during the Pandemic. And I was instantly brought joy, like the environment and my frequency. My vibe shifted to an uncertain place, doubtful place, to joy. And I said, yeah, we have to do this. This is the direction we're going. No if, ands or buts about it. And that's how Retrospect was finished. Because the very first song on this project I cut in 2016 because I heard the music happening across the hall while I was working on another album.

[Danielle Fishel]

Wow. And you went across and you were like, what is that?

[Mýa]

What's that? Who does that belong to? Oh, no one. Okay, give me a copy now. And I wrote the song that night.

[Ryan Reynolds]

Really?

[Mýa]

Yeah.

[Danielle Fishel]

Wow. So this has been. I mean, you mentioned 2003, so 23 years in the making. But also the first song 10 years ago, special place in your heart. Getting 21 Savage on the ASAP was a big deal. Are you a fan of new hip hop?

[Mýa]

I am. I kind of like it all.

[Glen Washington]

Yeah.

[Mýa]

It has its place in my life. Life. There are certain things I don't listen to on Sundays.

[Danielle Fishel]

Right.

[Mýa]

There are lots of things I do listen to that I don't listen to on Sundays. In the gym.

[Danielle Fishel]

Right. There you go. Everything has its place.

[Ray Porter]

I love it.

[Mýa]

Yes. Because I need to get in beast mode. So I love all the sub genres of R B. Sub genres of hip hop. It's really interesting to see how the new kids and the younger kids are expressing themselves.

[Danielle Fishel]

Yeah.

[Mýa]

I just love honesty and we grow as human beings. But it's not for me to talk down on. I like the transparency that the kids are going for nowadays. And there's like not a care in the world. It doesn't have to be perfect anymore. Right. I come from a specific era where everything just had to be too perfect. And so there's a bit of freedom that's stripped. Or honesty. Sometimes that's stripped when things are overworked.

[Kal Penn]

Yeah.

[Mýa]

Or too refined. And I love the rawness of today, even if it's not necessarily what I can relate to.

[Danielle Fishel]

Right.

[Mýa]

I like the rawness of the younger generation.

[Danielle Fishel]

Yeah.

[Mýa]

Like, I admire that because I'm too meticulous.

[Danielle Fishel]

I feel you on that. I also. I am like, ah, wouldn't it be nice to be a little more. I don't have it in you. I don't have it. I cannot do it. But. But it is enjoyable to watch someone else do it.

[Mýa]

Yeah.

[Danielle Fishel]

I sensed a big funk and 70s soul influence on the album. Was that a conscious direction? Cause the first thing it made me think of was that it was like hearkening back to albums your parents probably played for you when you were a kid.

[Mýa]

You nailed it on the head.

[Ray Porter]

Yeah.

[Mýa]

I transport and retreat to my living room where the touch and feel vinyl, the needle to the wax were all experiences. The artwork on the vinyl, the little. What do they call those plastic things for the 45s?

[Bowen Yang]

Yes.

[Mýa]

The little discs.

[Danielle Fishel]

Yes.

[Mýa]

I don't even know what they're called. But there was fascination. Being able to see, but also witness and then experience the music and the artwork of all of those individuals or bands from that time. But what happened in my living room as a kid was just pure joy. Whether it was extended family coming over and being the center of attention and singing and dancing for everyone or just literally being in my own world and letting the music take me wherever it took me. But there were musicians as well that came to rehearse with my dad for his performances still to this day, by the way, and I use this word so many times in this sit down with you. It was electric.

[Danielle Fishel]

Yeah.

[Mýa]

And I will never forget those experiences. And I've always wanted to bring that to my own projects, but also the stage because my dad is a kick butt performer too. Right. And so it's all of that. It's, it's my childhood wrapped in one project.

[Danielle Fishel]

Oh, I love that. Listen, if Maya is willing to sit down with me for an interview, I am going to force her to stick around for as long as possible. So we have a bonus episode dropping this Friday exclusively on the Teen Beat dedicated podcast feed where I continue this conversation with Maya. And we listen to one of your voice memos recalling an embarrassing childhood memory that will forever remain our little secret. And don't forget to listen to Maya's newest album, Retrospect, available wherever you stream music. And you can go to mayamya.com that's my a m y a dot com to learn how you can pick up physical copies, which is a great way to support her new independent journey. Teen Beat is an I heart podcast produced and hosted by Danielle Fishel, executive producers Jensen Karp and Amy Sugarman, executive in charge of production, Danielle Romo, producer and editor Tara Sudbaksh. The theme song is by Mark Hoffman. Yes, that Mark Hoppas. Follow us on Instagram teenbeatpod.

[Glen Washington]

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[Danielle Fishel]

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[Bowen Yang]

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[Mýa]

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