One Song - Missy Elliot “Work It” with guest Punkie Johnson

Episode Date: September 14, 2023

Diallo and LUXXURY are joined this week by comedian and friend of the pod, Punkie Johnson. Together, they go on a quest to flip it and reverse it and unpack the many layers of samples and interpolations that went into Missy Elliott’s 2002 banger, Work It. Come for the badonkadonk, stay for the obscure Paul Simon sample.  Album: Under ConstructionReleased: 2002Genres: Southern hip hop; R&B; progressive rap; neo soulFeatured songs: The Request Line by Rock Master Scott and The Dynamic Three, Peter Piper by Run-D.M.C., Take Me to the Mardi Gras by Bob James, Take Me to the Mardi Gras by Paul Simon, The Things That You Do by Gina Thompson, Heart of Glass by Blondie, Kiss on My List, Daryl Hall & John Oates, In the Air Tonight by Phil Collins, RATATA by Skrillex, Miss Elliot and Mr. Oizo Learn more about your ad choices. Visit megaphone.fm/adchoices

I'm actor, writer, director, and sometimes DJ Diallo-Riddle. And I'm producer, DJ, and songwriter Luxury, also known as the guy who talks about interpolation on TikTok. And this is one song. The show where we deconstruct and celebrate some of your favorite songs from the past 60 years in music history and tell you why they deserve one more listen. You'll never hear these songs the same way.

Again, will you, Diyah? No, you will not. Okay, so today's show is going to be quite different because number one, we're recording in New York City. New York City. I love it here. I used to live here. We both used to live here.

And number two, number two, we're joined by a very special guest. That's right. Diala with us today is SNL cast member, stand-up star, and host of the hit podcast. Love thing. It's Punky Johnson. Woo! Punky! Woo!

Woo-hoo-hoo-hoo-woo-woo-oo-oo-oo-oo-oo-oo-oo-oo-oo-oo. Thanks for coming on one song today. How are you doing? I'm happy to be here. I feel so happy. of y'all, y'all have to come out here in New York in this box. In this muggy heat. It's a hot box in here. That's right. I always say that, like, New York, like, people always talk about the winters, but it's actually those summers that are quite sticky. We were trying to remember, like, because we both lived here once upon a time in former lives, and, like, you know, the spring is great.

And, like, the fall is wonderful. The fall is the best. It's one of the best falls. But you also pointed out that there's, like, a few months on either side. Like, when you really pin it down, there's actually, like, maybe six weeks in the same. Like between April 15th and June 1st is great. Yes. We sound like Los Angeles guys. I am so sorry. But seriously, thank you for coming on the show. This is...

Oh, absolutely. You know, this is really, you know, this is not something that we do all the time. But like when we heard, you know, you were a music fan and like to talk about music, we were like, we got to get punky in here. Oh, yeah. I'm very specific about music, too. But I don't really know what the new music is these days. but I keep a load of some old stuff. We do some recent songs, but we also do a lot of songs from, like you said, the last 60 years.

Yeah. So listen, in this episode, we're going to be talking about Missy Elliott. And before we get into this song, I wanted to ask, what does Missy Elliott mean to you? Man, every song, Missy Elliott is like bacon. She makes everything better. That was not a song. That you didn't want Missy Elliott. For real. Man, they had a Super Bowl one time when Missy Elliott came out as a surprise.

I almost broke the TV. Yes. I had like a tray on my lap with food. That shit went flying in the air. I got meatballs and sandwiches all over the floor. I was like, nah, I was, oh, man, bum, but I was acting a food. Missy Elliott makes everything 100 times better. She made everything better.

I feel like she shows up like in the mid to late 90s. And then she's just there for like a solid, you know, 10 or 12 on everybody's songs, everybody's cuts. We're absolutely going to dive into that. All of the above, exactly, yep. Okay, luxury, what Missy's song are we getting into? Well, it's time to put your thing down, flip it, and reverse it, because it's 2002's Missy Elliott song, Work it.

Punkie, do you hear that? What are you feeling? What are you thinking? Sometimes I'll keep starting it over here. All I need to hear is blon-blok-la-la-c-c-d-d-d-boom. It's when that bass come in. It's a great drop. I'll keep starting it over sometimes.

With a missy song, sometimes I don't even need to hear the rest of it. I mean, the DJ, please pick up your phone up on the request. Like everybody knew what that song was. I was already DJed when this song came out. And you could just scratch that in. Everyone's like, oh! Do you remember the first time you heard it? Is there like a story, like memorable work-it story?

I don't know if you want me to get too far on the song right now but we just didn't understand what she was saying with the Shoshosh josh josh jim jett I can't even tell you what we thought that meant for years we could always like you know edit it if it's too hardcore but we do want to know we thought we thought at my school I don't know who said this but we thought it was it's yours if you get the coochie wet

that's amazing it's yours but of course it's the P word but just to be cleaner. It's George if you get the coochewet, and we would just be... That's brilliant. That might be better than... That's brilliant.

I've heard so many things said. It was like, you know, oh, it's some devil shit. You know, like, people had all kinds of speck- but I was a DJ, so all I had to do was just slowly drag that thing back. Answer your own question. Yeah, well, we are going to, like,

we are going to reveal the mystery of what she's saying there when she flips it and reverses it. Oh, please. But if there's any opportunity to do the punky edit, you know, we've got to get you on, like, with your misinterpretation. Well, okay, fine. We thought it was, it's yours if you get the pussy wet.

I mean, that's amazing. I feel like we should record you saying that and then play it backwards and hear what that sounds like. We'll play in the show with that, yeah. That's funny that you thought that that's what she was saying in reverse. But it actually goes towards the heart of why I think this song was so important, which is that this song really was like it was sexually empowering for women. You know what I mean?

Like hip-hop, you know, just, just, Just in the last couple of years, it has stopped being so male-dominated. You know, I'd argue that all the biggest stars right now, with the exception of, like, maybe one or two guys are women. But when Missy came out with this, like, we, you know, it was still so male-dominated. And yet here she comes with this song, where she's literally objectifying men and also getting, you know,

she's getting her rocks off, so to speak. Don't forget she's shaving her cho-cha in this song, too. It's the same song, you know. Get a pedicure, get your hair did, you know? Was she the first person? Now I'm starting. Now you got me thinking. Was she the first, first woman in a song to say, put this pussy on you?

I don't know. Very, very much possible. I just thought about that. I mean, little Kim. I mean, Little Kim probably said something like that. I mean, MC Light didn't talk like that. No, not, no. No. Queen Latifah is not up there.

She's royalty. She can't talk like that. But no, this was like, this was the first superstar female rapper who was like raunchy. And I feel like, you know, it was sexually empowering women and sexually empowering to black women. Also, very important part of this story. But before we get into all of that, when I think about the song, just from mechanical

point of view, I don't often associate it with sampling, but you pointed out to me that there are a lot of samples going on here. There's actually a lot of interesting samples and, like, there's not that many of them, but there's two in particular that have like these crazy layers to them. So we're going to deconstruct that in just a moment.

Straight out the gate, we've got that one sample, which is the DJ, please pick up the phone on the request line. That's straight out of a song from 1984 by rockmaster Scott and the dynamic three. That is such an old school rap name. What is it, rockmaster? It's rockmaster Scott and the dynamic three.

Because it's 1984. That's what you call your rap group. Yes, rockmaster. You've got some number. It's the something four. You're treacherous, you're ferocious, you're furious. Furious Five or Fears three. In this case, you're dynamic. Dynamic, okay. And here's the original. Let's hear Rockmaster. Let's hear Rockmaster.

Dynamic three. So just straight up, sampled from that. And then you get a little wikiki. And you get into the next sample. But there's something about this song, which, right out the gate, I think it's really packaged as such an homage to old school hip hop. And all of the samples reflect that. Right out the gate with this one.

In the video, she's wearing an old school track suit, and she's got like all those break dancers in the video and stuff. I think we're probably going to say something about the video in a little bit. But I got to say, that track is kind of hot. That's the thing I like about old school hip-hop. It's just literally like a clap for a snare and like an 80-weight. The gigantic beat. A rolling A-O-Wade drum.

A rolling A-O-A-Wed drum. They didn't have a whole lot. There's just two turntables. Not three. That's all you need. Two turntables, one mic. It was real simple. You have all the clarity with the old school shit.

That's right. By the way, as a DJ, I will say that any time, I like as a DJ, it's always fun when you can put on a song that doesn't start with the music. But yet, everybody knows the song. When they come running to the dance floor? Yeah, so you can scratch you that. You can check a check, please. Everybody's like, oh, I got to put down my drink. I got to get to this.

You know, like, it's just, it goes down. Pandemonium. No, that'd be my, that'd be my favorite. I mean, I was always like that with Missy Ellie. Missy Elliott put a lot of people on, too. Missy is just still to me. Yes. Just the queen of it.

Does she go on the Mount Rushmore? Absolutely. I think she goes on the Mount Rushmore. Absolutely. I think people forget. That was, like, the song of the year. One, like MTV video music video video of the year. I can't talk.

It was just. It was the song in 2002, absolutely, yeah, for everybody. And it was a bad year. I mean, like, you got to put it in context. Like, 2002, let's not forget what's happening. Literally digging out of the rubble of 9-11, about to go to war in Afghanistan. People were thinking we're going to end up in war in Iraq. I think it's interesting in that music video when she says, hear the drum of boy, go brum-pah-dump.

Like, they show straight up just some Marines saluting. And I was like, what a weird image to put in a music video. But, like, the world had, the world had, and especially America had, Got about the context about that. You're actually right to point that out. It's a very troubling year. She also brought the heat and brought the flavor too. She almost remind me, I can't even say this.

I mean, I am, but she almost remind me of a Bruno Mars, which should be said in reverse, but it makes more sense for what we're talking about right now. In what sense? In a sense of Bruno Mars is not the regular R&B singer. He's still like old school. He liked the temptation. You got a hand and everything.

And then you got Missy Elliott. She comes in and she gives you. a different type of... This is some happy hip hop to me. Right. This ain't... Maybe that's a response to you. She ain't talking about drugs or money or power.

And if she is, it's all subliminal. It's all under the beat. You raised such a good point because I'm thinking about it and I've been thinking about it when I knew we were going to do this song. There was something really welcoming about Missy Elliott as a person. You know what I mean?

Like, you think about all the biggest hip-hop stars, Tupac, Biggie, all the people who came before her. And I was trying to think, has there ever been anybody? I'm going to make the case, maybe Q-Tip. But Q-Tip, welcome to do it to hip-hop.

He wanted to be your friend, but you had to come and honor hip-hop on certain terms. But by the time Missy's out there, hip-hop is becoming the sound of American youth culture. And as a result, everybody's paying attention to it.

So she wasn't like, oh, you have to respect hip-hop. She was just like, hey, this is hip-hop. This is what we do. And, like, everybody, I can't think of one person. She's one of those rare artists. Even if you don't buy a Missy Elliott album and you only listen to the kinks or something like that.

You still wanted to be down with Missy Elliott. You know what I'm saying? Missy was singing. She was singing. She was writing crazy looks. She was writing and producing. And she'll make a dance song. You remember the dance song she made for Sierra?

She made a couple good dance songs for like Sierra. Sierra! If I ever see Sierra, I will probably say it the way Missy Elliott's out. Absolutely. Oh, Sierra! Yeah, she's just making all around. The Princess. is here.

Music. Yeah. And she got a beautiful, like, her voice is really pretty, too. It's really angelic. She can sing. She wrote songs for, like, TLC and... Alia. She wrote that song for Tweet.

Yeah. Oh, tweet. Yeah. One thing about Missy is they didn't... What's the word? I'm trying to use him. I'm drawing a blank. But they didn't, like, sexualize her.

You know how a lot of women, they got to be in a bikini. They got to be in the small bra, the small pants, all of the makeup, they didn't do that to Missy. Missy was a beautiful, thick, fine woman and came out, I mean, like... With the garbage bag, right? With the garbage bag in her hair, she had a whole head full of finger waves, my nigga.

Like, what? Finger waves? I think that's one of the reasons why she was so welcoming because she seemed legit. She was like, I'm just real. What did you think when you first saw that video we were talking about, the rain? Like super duper fly, the rain. Like when you first see her, the garbage bags,

The hand of rain. I think that might have been the first song I might have. Really? See her? Oh, I was like, who is this crazy lady with these finger waves? And she looked like a beetle, like a bug or something with the glasses on. Yeah, she had the high-wheres video. But then I'm like, Mom, we should get the black garbage bags instead of the white garbage bags.

And let me sit in the mirror and practice being Missy Elliott. Yeah. So she influenced your family's garbage bag decision. Yeah, I got the glasses, I got the finger waves, and I had a fan that would blow under me. Are you serious? Yes, for the bag to just, man, I was trying to be Missy Elliott. It's so bad. That's some stuff that you just can do as a kid because you've got time.

You know what I'm saying? There's nothing. I don't care how cool it is. There's no way that I'm going to set aside the time. To recreate. Super duper fly. That's beautiful. And I think that really is one of the reasons why everybody loves Missy because she just, she's whimsical.

She's real. She just, and by the way, the first time I heard Super Dupa Fly, just to step back a second, I remember thinking, this is one of the weirdest hip-hop songs. Vroom. Like, I mean, we weren't doing shrooms back then, really, but, like, it felt like hip-hop on shrooms or something like that. We're going to get to that when we get to the Acapul. But that's one of her, like, obviously, that we're all, you know, talking about is we love her use of sound. Yes, yes.

And so much of what she's doing, it's not just lyrics, it's not just melody. It's also, and not just placement. That's like those are the typical weapons you wield as a vocalist. She's also playing with crazy sounds and weird repetitions and inventing new words, neologisms, right? So we're going to get into that. Oh, that sounds like a new word. Okay, so you mentioned Request Line.

What are some of the other songs? You tell me there's a Blondie sample. So let's keep getting into it. So here's the song as it stands. This is just the instrumental of work. And I'll tell you what this comes from. So there's obviously a couple things going on there. It's hot.

There's kind of the main hip-hop beat with the big kick and the big snare. And then there's that ween and a week. ween, a ween. That's original. That's something that Timbaln probably got from a sample CD, actually, because he famously likes to kind of mix and match from these sample CDs and his beat library. But that other beat that's kind of on top, that's a little bit, plucka, pluck, up, pluck. It's like a high beat. If that sounds a little familiar to you, it's because you probably recognize it from this. Wow. We worked it. Let me check it. And then it ain't after the reverse it.

It's yours. If you get the other way. Wow. That's dope. Blondie's Heart of Glass and it's obviously It was in love And it was a gas Yeah, it's slowed down The tempo slowed down

Make it more hip hop friendly And the pitch is a little bit different I would have never connected to me I've heard both of those songs You know working at Heart of Glass A million times Never drew that connection You know what's crazy too

Is that on in Workit There's in the publishing credits If you go and check out like And by the way this is kind of like a side note This is you won't find this on Wikipedia Or Spotify Those are often wrong You have got to go a little deeper

But I went I went, did a deep dive and found the actual records in ASCAP and BMI's library. And Blondie's Debbie Harry and Chris Stein are both credited as co-writers of working because of the use of that beat. But what's doubly crazy about it is that beat itself is from a drum machine that anyone can buy and use free of charge. It's one of the settings on the drum machine. It's just a preset on the Roland CR 78. Really? Yeah.

And this is a drum machine that was available in the late 70s. You've heard it on other songs, too. What's crazy is when I was a kid, I had a Cassio keyboard. And I always like Bossa Nova. I always like the video. Oh, yeah. You hit a button and we go, do, do, do, do, do, do. It has this really cute little, little, thin little sound.

But when you add, what happened, obviously, is this drum machine came out, and Blondie and a couple of artists were like, oh, this is a nice element we can add, you know, to our regular rock song. And here's a, I'm going to play a couple more songs that use this that you'll recognize. And they're using the same drum machine. That's the CR 78. Oh, I love this song. This is a...

Hell yeah. Hall of notes. Hullin' Oates. Kiss is on my list. So with this song, you got to go back to the Missy song and help me to fill the comparison. There's a lot going on. With the last one. Oh, okay.

So I'll play that for you. That drum that's in the hollow notes, though, right? So what I'm playing for you is literally that very first thing. I'll play it again. Okay. So it's just those little tiny, dinky drums at the very beginning. It's this early drum. machine. This is before 808s,

which are every hip-hop song forever, after they started being used in Planet Rock in 1982. I hadn't been invented yet. So drum machines have these tiny little dinky sounds, and this is one of them. That little and it's even got this cute little full,

ding-d-d-d-d-d-d-d. Yes, yeah, because it's so soft. And we were just talking about that DJ, please, that first song, when it was like a huge filling the room with space. Those little drum machines, they hadn't gotten there yet. And there's one more song that uses the same drum as an element. And similarly, right out the gate

at the very top of the song, it's this one. See if you can recognize it. Yeah. That's the homie Phil Collins. It's Phil Collins in the air tonight. Oh, yes! And they're about to come in with the big drums.

That's right. That's right. Bo go, boom. Yeah, which is obviously part of it. All three of these artists were like, we're going to have this tiny little drum thing and then we'll have this moment where big drums come in and make it excited.

Tiny drums. I go from zero to a hundred quick. Big drums! It's not even a build-up. It's just like from here to here, like quickly. Right. But I love it. That type of music top off.

Speaking of drums, as a DJ, like, there's certain break beats that are just classic because the drums just hit so hard. Tell me about, this is the one part of the song where I was aware there was a sample. Right. And it's at the end where it's like, to the ladies!

Yeah. I show you how to work it. Tell us about that sample. Well, and it plays into what we've been discussing already throughout this song and the track in the video, which is like the old school hip-hop homage. So it's very consciously done to be a shout-out to the past. The original break beats, yeah.

Original break beats. So the song kind of plays through with that beat that we heard. Like it's kind of that beat the whole song. There really isn't a lot of variety in the track. Until the very end, the Hey Ladies part, it's kind of like, I would call it a coda, musically speaking, because the song's kind of over, so it's just kind of like a little bonus at the end.

Oh, yeah, it just keeps the party going a little bit longer. And then you hear this. Beat right there is a classic, classic breakbeat. That's lifted from and intentionally referencing the classic Run DMC song Peter Piper from 1986. Let's hear a little bit of that. Let's hear that. So hard.

Break all this bag, yo. Right it back. The scratches, the looping, the like, whoo, whoo, where it's a little out of key, whoo, because it's being done on a turntable. This is when sampling wasn't done in a sampler or on a laptop. Right. So you could perfect it and have it be the same loop every time.

You had to have a DJ. You had to have Jam Master Jay on the decks actually physically doing that. And it's going to be a little different every time. Yes. It's not going to loop perfectly. It's not perfectly quantized, as they say. It's not quantized, absolutely. But that itself was a sample.

That's absolutely right. So there's two more layers. And that's the next layer is that that is a sample of this track by Bob James called, Take Me to the Marti Gras. And Bob James, just for those who don't know, Bob James is like this sort of, I don't know what you call him. It was sort of like a pop jazz. Quiet Storm It kind of got

See I think it got kind of pejoratively labeled as like easy listening jazz But the hip hop generation Took a lot of those songs And then they flipped and made them just hard Let's hear a little bit of Take Me to the Marty Gron

Oh stop This is crazy Wait wait for it And by the way Bob James That organ is going hard He's known for playing the roads That's like his main instrument

And if it sounds kind of like a vibe you've heard before, it's also the Angela, the theme from Taxi, the same guy. He's done a lot. Listen. These people know how to make music. I forgot how good music it was. For the real hip-hop heads

or people who really want to find a deep, deep, deep, deep cut, my favorite sampling of Bob Jains is a song called Baby Paw. Baby Paul by the group group home. Baby Paul by group niggas just to stay alive I sense fear in these pussy wrappers Mom ain't okay Baby Paul by group home

And by the way Fun fact about that song The song doesn't start until after They get into a fight over a craps game So you have to listen to the whole fight Because you know it's a 90s hip hop CD There's a whole skit before the song even starts It like the two minute mark

So wait till they get into the fight at the crap game And then the song starts And it's one of my favorite Bob James samples Of all time So just to wrap up how you know the songwriting credits we were saying before we got Blondie on there. Well, we weirdly don't have Bob James on there, but we do have Run DMC on there. The reason we don't have Bob James on there, even though his work was sampled in Peter Piper, which was sampled by Timbalin in this Missy Elliott song, is because that Bob James breakbeat, the Take Me to the Mardi Gras is a cover of a freaking Paul Simon song.

Did not know that. This is like layer five of what's happening in work. God damn. right there. Let's peel back that last layer. This is a busy-ass song. It's a busy-ass song. I'm just going to play a little snippet of it.

So which part? I'm trying to... So to be clear, there is no part of this song in the Missy Elliott song, but the Bob James song that we just listened to is Bob James' cover of this Paul Simon song. Okay. And because sampling and publishing laws are so convoluted and complicated, Paul Simon ends up getting a piece of work at it.

Okay. Because his song was cover. That is freaking crazy. Is there more show? Is there more show coming up? I think there's more show. We're going to come back after a quick break. Welcome back.

So a hip-hop producer like Templeton takes inspiration for the past and other records. What inspires you when you write your comedy? Well, it all depends. I feel like your parents have a lot to do with your comedy. Actually, all of my comedy stems from relationships. Oh, okay. And because I do a lot of crazy. things. Crazy things. And also people that, comedians that talk about relationships too, because I watch how they turn these small little situations into big stories. And like Kevin Hart, he turns these small situations into big stories. And I love that. And he's a family man. So I watch, I love, and Eddie Murphy, of course. And oh, my guy, Richard Pry and all of his relationship struggles, that was huge for me to watch him.

That's so interesting that you bring that up because we were talking earlier like, is there such a thing as Sam? sampling in comedy. And honestly, is their interpolation in comedy. There's such a line where it's like, you can't take someone's joke at. Yeah, you don't want to take somebody's joke and, like, you know, Carlos Monsia got in all that trouble because they were like,

no, you're just dealing jokes. But, like, I feel like, if I'm on stage and I'm doing stand-up and I say, like, Eddie, well, everybody knows that that's a reference to Eddie Murphy. You know what I'm saying? I feel like we do sometimes sample one another when it's clear that we are referencing. Like if you got up on stage and was like, I ain't scared of you, motherfuckers.

We know what you're sampling. Absolutely. Burn it back. Exactly. So, but also, shit, I'll sample the shit out of a meme, I see. I'd be like, ain't nobody saying this on stage. Give me this guy's the meme. But the difference would be that that's a reference.

You're just, you everyone understands that you're referencing it. You're not like taking his joke and saying, this is pretending it's your joke. I mean, some people will flat out still a joke, but you can't. It's like when you just so, like, you know, original in your own style, it's very half of somebody is still a joke. Exactly. As far as like, I think there is a such thing as a light sample of the path that we, because if I watch too much Kevin Hart, I'm going to start like Kevin Hart. And then I got to be like, all right, we got to start watching this.

You start getting his cadences a little bit. Yes, his cadences, his sound. You know, I'm like, all right, he's, he's on punishment for about six months. Yeah, you got to stay away. If you listen to too much Chris Rock, I said if you listen to too much Chris Rock, you see everything twice. So, you know, I think it's, I think it's a such thing of. of in that nature.

But also, sometimes we go through a lot of similar experiences and we just tell the same stories. I was to say topically, there's like topics that are just, everyone's going to hit certain topics. Absolutely. But I will say as someone who also writes comedy, the best feeling is when you like pick up on something and it was like, it was right there.

You know what I mean? Like it was everybody saw it. You know what I mean? But you were the first person to really be like, that's when you feel like, yeah, this is what I'm supposed to do. When you can find that thing and everybody's like, how did I not come up with that joke first?

How did I not see that? Yeah, I must be excited. I'll call a friend if I love a joke. I'd be like, you ain't put this on your special. I remember you did this joke back in 2010. Have you done that? You've made sure that you're not like ripping something else off. Oh, I will call you for your joke.

Okay, okay. I'd be like, I love this joke. You stop doing it. I ain't heard you do it in a while. That's interesting. And I want it. Wait, that's super interesting to me. So have you not taken, like, Steele'll take it,

but there's a joke that's in your head that you just love. And you're like, I feel. like I can work this in, but I want to make sure I do it in proper channels. Absolutely. That's interesting. Yeah, I know the comedians will call each other and be like, yo, remember that time you said that the... I'll tell you, I'll tell you in your face. I'm like, you know what? Even if you're just saying something and it's funny and we laugh together, I'd be like,

you know what? That's hilarious. I'll tell you it's mine before you go use it. That's like a band, though, doing like a cover. Like they'll do the set with like 11 original songs, and the song number 12 is a cover version. There you go. Someone else wrote it. Left hand Johnny, bitch, that's my joke. It's actually funny because I don't do stand-up, but when I come up with a joke that I think is a good joke for a stand-up,

there are certain people I'll text, I'll be like, hey, you know, you can add this. You know what I mean? Give it away. I do. That's generous. Because stand-up is weird. I don't know how you guys have the ability to do that. I just think that.

Oh, I don't know either. I question my life every day. How do you do it? That is a question I have. And how much variety do you throw into, if it's a set, where you have kind of like beats, you know you're going to hit this joke, this joke. How much variation do you have from night to night? It is.

definitely a music thing to me. It is definitely a rhythm. And I like to go, I watch Steve Harvey say this. He said he'd go by five seconds, seven second, seven second, five. So he'll set up a joke and it'll take about seven seconds. And then at the fifth second, which is the 12th second, he'll have the joke, the punchline. So then he'll set it up for five seconds. And then at the, and then he'll take seven seconds to get, it's complicated out. It's a math. But there's a rhythm to it, like you're saying. It's rhythm. So I went to Arizona and I had, and I had, and then he'll take seven seconds to get, it's complicated. It's, it's a math. It's a So I went to Arizona and I had like the set. And I was like, okay, my special is going to run off of this set.

It was the best set that I've done. It was probably show number 41. And finally at the 41st show, I'm like, this is the set that I'm going to go off of and extend from this one. And it was perfect. From start to finish, it was joke at the fifth second, at the seventh second, at the fifth second, at the seventh second, at the seventh second, at the 12 second at the fifth second at the seventh second. The whole thing.

So people couldn't breathe. It was this material that you'd been working, but you found the rhythm. I found it. The cadence for each of the, each joke and the timing. And that felt so good. That's real. And now every night you kind of know where it's going to go and for how long and this sort of five second, seven second thing. Do you have variety from night to night to kind of keep yourself?

Are there things so that if it becomes too routine? Like you've got it nailed and perfect. But is there a point where that becomes less interesting to actually be performing? Well, once I get it, I leave it alone for a couple days. I don't drive myself insane. with. I'm like, you know what? I'm going to just let this soak in. And so I did that Saturday. So the next time I'm going to look at that

is Thursday. So it could be nice, it could be fresh, and I won't be tired of beating the shit out of it. That makes sense. Yeah. That's cool. Speaking of rhythm. I would like to, now that we've gotten all these samples into our heads, I would love to go back to Timlin. Can you play us the isolated

beat so that we can hear the blondie drums and all the other samples all mesh together? Happy to? Here it comes. And you hear it in there. There's that scratching thing. And that's also part of, that's from Peter Piper. So you get the Bob James sampled Peter Piper, but possibly the reason why they didn't just go to the Bob James record

for the take me to the Mardi Gras sample is because they wanted how Run DMC flipped it and added the scratching and added the kind of 1984. How he flipped it. And reversed it. He didn't quite reverse it. He didn't reverse it. That's coming up.

You know, one thing I want to say is that it always strikes me about Timberland Beats is that it's always a little bit behind the beat. That's what people don't realize. Like, you know, if you just told the computer, okay, give me a 4-4 beat, like it would just be boom, tap, boom, tap. But Timbalin knows enough to put that drum. No hesitation.

Just behind the beat. And I feel like that's what makes it more vibe. That's what makes it sound more real. I also think that Timbalin was clearly listening to drum and bass at the end of the 90s because, like, if you go back and you listen to like that stuff he did with Alia and that stuff he did with Genuon, Like that snare is always like real cut off.

It's like boom. You know like it's like it's really staccato. Yeah, it's dope. You know, somebody. Actually, what's your favorite Timberlin beat of all time? Oh man. I mean, I got to go with probably the first one I ever heard, which is, I mean, Super Dupa Fly just has so much personal emotional resonance for me.

It's my favorite, probably my favorite Missy song, probably my favorite Timberlin beat. And that video, I mean, this is just a lot. It's life-changing. There's something that's like pre-super-dupa-flai. There's 9-11 for global events. Right. And then for my musical life, I would say that like, I would say that that video, that song, everything about it is like,

so everything that came after is a completely different planet that I live. Yes. Off the top of the dome, your favorite Timberlin beat. Oh, my God, off the top of the dome? And there are some wrong answers. Bro, it's like 10 of them. But it might... You're going to remember one.

I mean, come on, he did Aaliyah. He did Aaliyah. He did Genuine. Yes. He did Missy. Frick... You forget he also did Justin Timberlake and Britney Spears. You can start with one, fumble your way through an answer if it's not feeling right.

Honestly, and then flip it and reverse it and go back and undo. Well, first of all, I'm a half to say this one, and let me tell you why. Okay. Because, we're not analyzing all those other songs, but since we are, analyzing this one and I'm learning all these layers. I'm like, this got to be the best goddamn beat I've ever heard. Just understanding how they put, I mean, this is a goddamn jigsaw puzzle. Yeah, it really is.

You know what I'm saying? So to just take it and then, I mean, it's, I, like I said, I thought it was sitting on two samples. We're sitting on about five or six samples and then he's doing stuff under the beat and then he used and run DMC because he flipped it but didn't reverse. I mean, this is, and then it's just jacked up. This song is on a whole bunch of muscle milk. It's just jacked. I'm going to go out on limb and say my favorite timbrelain beat is one in a million by ALEA.

There's something about that beat. I just feel like, you know, love it, babe, love it, babe. It's hot. And then number two for me, I think, is, are you that somebody by Aaliyah? Because it's got the baby in it. And there's no better use of a baby and a pop record than the... Like, I was like, oh, my God, he put a baby on.

on the track. So those are by two. One of the wild things about the Missy and Timberlin collaborations is that they're both from Virginia Beach and Farrell's from Virginia Beach. I'm pretty sure the clips also from there. Like Virginia, Virginia is kind of slept on as a state. I mean, you got skills.

You got, I know I'm leaving out so many people, but there are a lot of people from like one little area. What about the people punky in the neighborhood where you grew up? Where there are a lot of Were there a lot of talented, you know, youngsters running around doing that thing. New Orleans is the House of Bounce Music.

It really is. Shout out to DJ Jimmy. Man, look, it's the House of Bounce Music. Where they at. Where they at. That's still one of my favorite tracks of all time. We grew up on House, the Bounce Music. We grew up on Master P and them.

We always bring up Master P. We always bring up Master P when he talks about interpolation. Listen. Master P is quietly the king of Interpolius. He will take your song from the 70s and have his cousin sing the cook. So instead of summer breathes, it's smoking weed, makes me feel high. That's the best way to explain interpolation. All I got is chronic on my mind.

You know, like, we used to be like, who's, Pete, P don't want a spring for a real singer, so he got his cousin to see this track. He was making it happen. Pete was making all the money. And you got, you know, young money, cash money was in the building. Cash money came out. Turk, little way. Yep. Juvie.

Juvenile. It's crazy how much talent there is, yeah. Man, we was... How was a moment? How was it, when juvenile's high came up? Oh, yeah. You got your bow jeans, huh? You know, like, that song was just a classic.

It just took hip-hop into a whole different direction of, oh, okay, so we don't have to rhyme. Well, you know, my thing about Master P is he didn't mind rhyming the same word with the same word. It works. It rhymes. My favorite Master P line of all. all time, because you can see the rhyme company. He was like, I got to make money. And if I die in this game, I guess that wouldn't be funny.

I can't play with you. P. Percy, Percy, if you're listening. Come on the show. I want to talk to you about your process. First stop, best thought, okay? No editing required all the time. You don't always have to have to.

Listen, man. He had a double and triple CD to put out that month. For real. He put out CDs, everybody. He was like, okay, school, does. We're coming out Nix. Then we're going to do Mia X. He was just always putting out CDs every single month.

Oh, yeah, and it was making that money. I love the music of New Orleans. Before we leave the New Orleans, I've got to ask, what about the older stuff? I mean, not obviously New Orleans is the home of jazz, but you have this incredible era of, like, funk music. I'm personally a huge fan of like The Meeters, maybe one of my favorite bands of all time. Was that like in your house growing up?

Or was that like in the air? Was that kind of another era? Was that already a little fair on? But by time I got old, first of all, we listening to our parents' music, number one. So, of course, I'm raised on the Auretha Franklin's, Diana Ross's. Not too much funk unless we get into, I guess the most funkiest was, honestly, it is not funk at all, but honestly like the Isley brothers. You know, we was on that. Yeah.

Because it was the South, and I do think that, like, in the South, I'll just speak for myself, like, in Atlanta, you know, that was absolutely the music that was, like, your uncles, your aunts. You know, like, that was the kind of music that they listened to. And the Quiet Storm was always big. They didn't play hip-hop on the radio in the South until really around the time that Biggie dropped the remix to One More Chance. That was when I first started to hear it during the daytime.

But before that, like, it was. It was all Anita Baker. You know, it was all Anita Baker and, you know. Yeah, and we just had all the ghetto music that was local. That wasn't out yet. Yeah. No, I got DJ Jimmy on a cassette. That's what I'm saying. Somebody was like, yo, you got to listen to this.

And I heard, here go to one, two, three, hit, we're going to start this thing off right. We got New Orleans in the house tonight. You know, like, that was some real, that was some, you had to have, you had to know somebody even know the tape existed. Right, right, right, right. Okay, for the next part, we're going to talk about Missy's vote. vocals. And of course, this is where all the magic happens. Missy's wordplay, her sound effects, all the effects that Timbalin puts on her vocals. It's interesting to hear some of that isolated track because it really points out how much action is happening on top.

Almost everything is happening on the vocal part, on the vocal side of things in this track. So let's start with the chorus. Is it worth it? Let me work it. I put my thing down, flip it and reverse it. It's your remitted before I had a number five. It's your remitted before I had a number, if you got a big... There's a pole. lot of, there's a lot to unpack there. There's a lot of moaning on that. I never

noticed that she's going, oh, oh, you can't hear it. You can't hear it over the beep. But it's there. You know, it's getting the party started. I, luxury, I have to ask you the backwards parts, okay? Yeah, I mean, we're going to have to use our production magic to actually hear what's happening there. With the flip of a button, I can answer the question

that we've all had all these many years. Are you ready for it? We ready for it? I mean, let's talk about it. You can play it forwards first just to remind you. It's your remitted before I had. It's your remitted before I'm yet. All right. So the last chance in life to have to not know what she's really saying.

Because from this point forward... Play it backwards. I'm going to flip it. I'm going to reverse it. And it sounds like this in reverse. Thing down, flip it and reverse it. I put my thing down, flip it and reverse it. That's it. Now, can you do this on the fly?

Can you play it in reverse? Can you play the whole track, the whole chorus in reverse? Sure. Okay. Let's hear what that sounds like. Wait, so she was saying? That's all she was saying. Basically, she just repeated herself.

It's just the previous line. She repeats herself. That bitch. I know. It was actually, I feel like she could have done anything there, really. I thought this was about to be some magical, like cold to get in. No, go ahead. Oh, Rome, anything.

A whole life's been leading up to this moment and it's this. We have brought Missy her flowers, but can I just say, I wish she said something like, you know. I don't know. Some Al Capone's bowl. But here, can you play the whole chorus in reverse so that we can hear everything? I thought it was going to be like a different language or something. I thought it was going to be like God is great or something. I had no idea what it's going to be.

Here we go. Here's everything in reverse. Here's everything in reverse. I put my thing down, flip it in reverse it. I put my thing down, flip it in reverse it. It's your every minute. It's funny. It's girl women.

It's girl with it. Look, that fucks you up so bad because after the reverse. First part is forward, we get the forward part reverse. So it just sounds like the original. We're just in a loop. That's messing me. This is some MC Escher shit. I am in a box.

I am upset. I thought I was going to be happy. I'm so sorry. You know, they say never meet your heroes and never play them backwards. But this is almost worse than the Michael Jackson when I was mad about that. What were you mad at Michael Jackson about? I'm going to say it. When we thought it was Mama say Mama say Mama Say and Mama Sa and Macu Maucosa.

So he does say Mama say Mama say Mama Sa, Mamma Su. No, you're right. That is what he's. says. No, he said, I'ma said one more time. I'm not going to stop. No, that's a, that's an internet thing. That is bullshit. He does not say no damn mama's. Because he actually had to pay out because that's an interpolation. Mano de Bongo's, uh, soul macosa. And he does say, Mama say, Mama say, Mama, Maasama Maasama, Maqosa.

But the internet was convinced he was saying, I'm going to say it. This is the error we live in. It's disinformation. It's misinformation. It's misinformation. So you were right. That's the good news. Well, guess what? Now I'm happy again. You're happy. Because I love Mama Say Mama's love. That's what? You're right.

You know what? You can rest easy tonight. Punky, one thing about Missy, you're so open about your private life. You know, you talk about your relationship on your podcast. Missy, on the other hand, she's overtly sexual in her lyrics and her art, but she's famously closed off when it comes to her private life. You know what I'm saying? What do you make of that? Well, first of all, I thought she was being private because she was gay.

And back then... I think some of us thought that. Well, here's the thing. I assume she was gay because they didn't sexualize her, like I said. She wasn't the... Isn't that crazy? Just because she wasn't the typical

we were like how she must be. And they didn't force her to be it either. Because usually if you're a female rapper, you're not going to make it... Like Young Ma is underrated. Point blank period. Young Ma got bars. I don't know what's going on

with the consistency of the music or the albums or whatever. But Young Ma should be a bigger artist. And I think it's because young Ma is because young Ma can. can't be sexualized. And Butch is, I mean, it's just what it is with gay, gay Butch women. You know what I'm saying? So with that being said, with Missy, I was just like, you know what?

And even if she wasn't gay, I wanted to accept that because I felt like I had somebody that was just like me. Yeah. It's interesting. I think this goes back again towards, look, I think this song is a, you know, it's a sexual declaration of independence for women and for black women. But I also think, again, going back to that idea of Missy being this person that you want to align yourself with, like, I wanted to align with Missy. She seemed like, to me, like she was a nerd. Being a nerd is very central to my personality. Mine too, my friend.

That's where we connect. We might connect on that level. Yes, we do. But I think that, like, for me, like, when I saw her and Timbalin, like, I sort of felt like, oh, these are like some nerds. Like, you know, they might make this, like, you know, wild music. And Farrell is like that, too. It's that Virginia Beach collective. Like, they all seem kind of like all.

alternative a little bit to whatever else was going on. They're happily outside the mainstream. They're happily not doing. In fact, Missy, I've heard a couple of interviews where she mentions this. They made it a point to not listen to anything on the radio when they made, especially their earliest stuff, they realized that what they had was special and they didn't want to taint it by being confused and maybe, you know, wanting to do something that they heard on the radio.

They were just like, no, we're living in our own little cell here in Virginia Beach. And it's cool and it's quirky and it's us. It's our personalities. We're just going to keep on doing it. We're going to keep on doing it. we're going to keep out pushing out culture and new words. Badunk-a-Dunk comes to mind. Love Bono-Dong-A-Dunk.

Okay, can we talk about that for this one second? Because today... I didn't know that that was a controversial thing. It's a strides and effect, Mandela, whatever you call it? I swear to God, is it we think... The word, badunk-a-donk is the word, right? Okay, I'm going to isolate it for you. Tell me what this...

By the way, you can't forget the Soldier Boy also did a song called Donk. You know, like, we went from Bedonka-Dong to just don't. Here is the part of the song where she says it. You know the way my book. Keep your eyes on my b'abomboom pa b'n bong bong Don't you think you can handle this Kadonka don't don't None of those are

Badongka-Dong Okay fine None of those are badonga-d-don. Okay, fine, she said ca-donca-a-don. This is not a controversial like, you know, hot take I'm not trying to like blow up anyone's like Whatever. She said ca-donkad-donk.

This is okay. We were one, we were one constant off. You let her away my butt boom-b-b-b-b-b-b-b-b-bon. Keep your eyes on my babon-bobobob-bon. I think you can handle this, It's like a gu.

It's like a gu-g-g-g-g-g-g-g-g-g-g-g. You know, I feel there might be another song where she does say, but-don-cad-donk. You know, like maybe we've conflated the two. It's how people always remember him saying, you know, Luke, I am your father, which he never says. Or play it again, Sam. He says play it again.

He says play it again. Okay, so this month is hip-hop's 50th birthday. Looking back and reflecting on Missy's legacy, what do we think she's added to the culture? And are there any new female artists you're excited to see take up the baton that Missy definitely ran with for a very long time? There ain't nobody touching Missy. I'm going to tell you why. Everybody these days, I don't know what's going on.

I don't know if it's the influence of social media, but everybody's talking about the same thing. Missy wasn't doing that. Everybody's talking about I got your money. I make them eat it like a mango. Everybody talk about I got houses living rent-free. and nobody is bringing this type of energy. Now, don't get it twisted. I'm a Nicki Minaj freak.

I'm a Cardi B fanatic. Like, let's not get it twisted. I'm happy for the ladies who are running hip-hop right now. I'm not discredited in anybody. Everybody from Ice Space to, I feel like all the biggest stars are... Megan. Yes, they're all living right now. I'm not discrediting anybody, but it's a very, very unfair comparison.

I'm telling you in regards to Missy Elliott. But I am excited for, like, Glorilla, and ice spice. Love Bluerlis. I just love the ghetto shit. You know what I'm saying? Hanging on my window. I just love how the feet, honestly, I get mad credit to the female hip-hop artists right now.

They just unapargetically who they are in their own skin and they're so. Sexy Red came out of nowhere for me. Oh, I don't even know what she came from. And she, and I'm going to say sexy red, you look much better with no makeup. You're so beautiful naturally. You don't need none of that shit in your face. You look, you're just, you're beautiful. just on your own. You don't need no makeup. Stop wearing that shit.

Sexy Red. A confirmed listener of one song, you heard it from our guest's mouth. No makeup. I was just going to say, I think Missy, part of what makes her special, just as we've been talking about it, what I'm realizing is, like, this era, to your point is also about, like, artists tend to jump around different producers and, like, songwriters. It's kind of the team effort to make what the product is has changed so dramatically. And Missy and Timba were like this. They were literally brother and sister. and what's that line?

We so tight our styles get tangled. And every third song, she's dropping his name. She's talking about Tim, talking about Tim. Like, they love each other and they work together and they understand each other. And there's something really special that comes out in the music. The product is obviously they're both throwing ideas out. They're both co-producing, by the way, a lot of these tracks together.

She's technically, you know, it gets producer credit a lot of these times. So I think there's something really special. I think that's one of the things is that she's not just a rapper. She was a songwriter. She was a singer before anything. She started as a singer with a singing group. I mean, it's wild. I think about some of the stuff she'd worked with

when she was working with Monica. You know what I'm saying? That's some of the best stuff. Knock, knock, knock. Come knocking. Drive by your house and sit. You know what I mean? Who hasn't done that?

Who hasn't driven by the ex's house and sat in your car and just did a creep? She'll just come. It's almost like, she just comes into the song at the perfect moments. just lays down like this fluffy calmness to it. Like, especially on that Monica song,

ooh, yeah, yeah. Like, and then the song, it's funny how the table's turn. Like, damn, how you go so calm to, like, I mean, Jesus. Ladies night. Remember what she was on, ladies' night? Oh, yeah. She came in, she came in so great.

Like, you're just always happy when Missy gets on the track. And, like, even, like, you know, Jay Cole. Like, she's done songs, like, for every period. Yeah. And, uh, she just fits so in with that lady. But I can't lie. On the latest night track, the brat. Oh, what a night.

The brat got me. The brat. Yeah. Y'all see how these, bogus knickers. I'm just like, damn, brats. Let's go, Brad. The brat is underrated, man. Shout out to the brat.

I just, um, funkedified was, was a moment. I remember when Functified dropped. That was just a, that was the B side. Yeah. I mean, like, she held her own with Big Papa. That was incredible. Yeah. That was incredible.

But I think it does speak to how special Missy is that you never hear her really compared to the people who came before or after her. You never hear like, oh, yeah. You know, she was kind of biting MC Light and biting, you know, little camera. Like, nobody would ever say that. Yeah. You know what I'm saying? Like, she had her own lane and she has her own lane.

She's still here, you know, like, so we're giving her flowers while she's still here. Absolutely. Yeah. And one last thing, by the way, before we get to our game. There is one last sample, and that is that this song has been sampled in a new track

that's actually just a few months old, and I'm going to play that for you. Oh, wow. This is a collab with Scrillix and Monsieur Roizzo, this French producer. Oh, my gosh. It's called Ratata.

Oh, I do like this. A lot of rappers go ratata, ratata, ra ta ta ta ta ta. This the can a beat to go ratata, Ratata, DJ spinet sweet. A lot of rappers do they do sing.

Yeah. But they don't sound good on acapella. When you bust at that acopella, Missy, she sounds excellent. Yeah, because one of the layers in there is her singing. I hadn't noticed that until we were listening. You can hear the five or six things she's doing at once. And one of them is singing. She's going, when you did that, she's playing.

She's done, she's going soprano, alto, she's going big. She's doing everything. She's got so much range. It's ridiculous. This can do so much. Okay. So the last thing we want to do is play a game. Now, I don't actually have any idea what the game is, but neither it is Diallo, but our producer, neither is Punkie.

So none of us know what this game is. So producer, Matt, you said it's going to be a fun game. I'd like to know what this game is. What are you got us into? Hello, punky, luxury, Diallo. Hey, Matt. Hello. How's it going to be?

Okay, so I am taking over as the game's master, and the game is called Flip it and Reverse it. So here's how it works. I'm going to play some popular songs. in reverse, backwards. And I want you to guess what they are. Now, you don't have buzzers, because we don't have budget for buzzers in here. So you're going to need to make your own buzzer-like noises.

So the first thing we're going to do is we're going to test the buzzers. Luxury was your buzzer. Do your noise, please. Beep, beep, beep. Okay, good buzzer. I'm going to go buzz. Cool. Punky.

I'm going to just say, I know it. Okay, yeah, yeah. This is what. Wherever you feel comfortable with. Okay, so I will be keeping score, but there's no budget for a price. You always do. You always keep score. All you stand to gain is respect and the satisfaction of knowing that your brain can flip it and reverse it. Okay.

Okay, you're ready for the first song? Yes. The first one is actually the easiest one, so be aware they're all going to get harder after this. I'm going to feel so stupid. Okay. Here we go. I'm stressed. I believe the luxury was first.

It's uptown funk, my friend. Yes, it is. One point for Mr. Luxury. I couldn't hear it. Could you not hear it at all? Oh, can you hear it in your head? No, I lie. Oh.

All right. Okay, so in the lead with one point is luxury. Here is song two. Oh, I got it. Buzz the Bello. That's return of the Mac. It is indeed. We're all square. One point. Wow, this is weird. That's weird that you can kind of hear it.

Yeah, yeah. We've never played this game before, but Punky do not look at me like that. She's not happy. I actually wouldn't be surprised if you guys do practice this kind of thing. Backwards. What kind of man that you are. Okay, song number three. Best, best, nice.

Yes. California love. It is indeed. Taking the lead. He's a freaking DJ. Who has Serato, so he's practiced the backwards thing. Exclusive! I'm sorry.

I didn't say the game was fair. Okay, moving on the song number four. B.B.B. Yes. It's either a wonderful. You can't say either or? It's an oasis. It's oasis.

There's no either or. You have to give an answer. You've got to commit, bro. Come on. I at least get to hold the ball for a second, because it's not. it's Oasis. I'm going with Wonderwall. It is indeed Wonderwall.

We're all square. Two points. Poor Punky over here. I think we should let Punky get this next one. No, ain't nobody going to let me get nothing. I'm not three years old playing against my father. I have kids.

One of them isn't winning. I'm always like, hey, come on. Let the guy have one. But no, that's fair enough. Puckie's best. Okay. Yeah. So the final song, good luck to Punky.

is this one. I'm not getting that shit. That's Jimmy Hendricks. Yes. And it's Purple Hays? It is indeed. That means that the winner is three punks.

I think there was some cultural bias in the tech in the exam. What? Return of the back. Come on. I'm upset. I am too.

We got to make punky feel better for the show. Come on, we can't end on this note. That's right. All right. Actually, I've got one bonus one. Oh, listen. Neither of these two can answer

Well then I'm just be sitting up here like Okay punky Just for you I don't know I'm sitting up there like Tina Turner I have literally no idea I'll give you a context clue She is the daughter of a very famous

country musician Oh I know yeah She's the daughter of a country musician Yeah Can I give you a hint? Yeah She was Hannah Montana Yeah I wasn't gonna get that shit

She was on your show All right, fine. I'm not a freaking music freak like the rest of you assholes, okay? I can't, I'm not that freaky that I know it backwards. So everyone's just going to kiss my freaking ass. It was flowers, right? Yes. By Miley?

Kiss my ca don't, a don't. I'll give you guys a fun quote. You learn more when you lose. That's true. All right, I think that's it. Puggy Johnson. Thank you for playing our games.

Thank you so much for joining us. I had an educational ball here. Thank you guys so much. It was so fun having you on. Could you tell us real quick? Tell us about your podcast. Oh, y'all listen to Love Thing. I'm just giving unsolicited, unprofessional advice,

which means it's all coming from love and experience, not the book from the therapist. And they can sue you if your advice doesn't work out for them, right? I ain't say all that. You could try. I don't know what you're going to get. You could try. Oh, man. Puckie, when can the people, how can the people and find and listen to Love Thing?

Y'all go and listen to that on Sirius XM on Kevin Harts Radio, channel 96, every Tuesday, and then I think every Wednesday on every way you get your podcast. Yeah, yeah, yeah. By the way, you heard her say, hook. That's that New Orleans right there. Well, I see. Say Kevin Hart's name? Kevin Hart.

Kevin Hart. Yeah, no, I love it. Kevin Hart's. All right, luxury, listen to this thing. I am actor, writer, director, and sometimes DJ Diallo Riddell. And I'm songwriter, producer, and guy who sometimes whispers. Interpolation luxury. And this has been One Song.

One Song is a Sirius X-M and Kevin Hart's LOL radio production. This episode was produced by Matthew Nelson and Jordan Calling with engineering from Marcus Homb. Additional production support from Leslie Guam, Charles Chulders, and Alicia Shemada. The show is executive produced by Kevin Hart,

Ty Randolph, Mike Stein, Brian Smiley, Eric Eddings, and Eric Wilde.