One Song - Missy Elliott's "Work It" with Punkie Johnson

Episode Date: June 27, 2024

On this special re-run, 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. The song Work it is the first single from Missy Elliot's 2002 album Under Construction. Stems, interpolations and sampled songs from Peter Pipe by Run-D.M.C, The Request Line by Rock Master Scott and more. Music genres: Hip hop, R&B, progressive rap, Female Rappers. Learn more about your ad choices. Visit megaphone.fm/adchoices

One Song Nation, what's going on? Diallo here. Listen, Luxury and I are back in the lab cooking up some new episodes of One Song that we'll be sharing with you real soon. Including an episode all about one of the biggest R&B hits of the 1990s. I'm talking about 1994's Creep by TLC off that epic album, Crazy, Sexy Cool. So while we get our hot takes, breakdowns, and hidden gyms ready for you, we wanted to share with you an earlier episode that we really enjoy. It's a classic from one of the most creative, out-of-the-box rappers, from the 90s and 2000s. She was the one who put her thing down,

flipped it, and reversed it, only to forever change the rap game for women, and actually all rappers, if you think about it. And there's no doubt it introduced you to the word, badonga-dong. Oh, and this episode also features the hilarious comedian stand-up and star of Saturday Night Live,

Punky Johnson. So now, from the one-song vault, we give you Miss E. Eliot's Work It. I'm actor, writer, director, and sometimes DJ, Dialo 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 be all? 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. New York City. We both used to live here. And number two, Number two, we're joined by a very special guest. That's right, Diyah, with us today is SNL cast member, stand-up star, and host of the hit podcast Love Thing. It's Pumpy Johnson.

Woo! Woo! Thank you. Thanks for coming on one song today. How are you doing? I'm happy to be here. I feel so happy. 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. Yes. 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, like, between April 15th and June 1st is great. Yes. We sound like Los Angeles, guys. I'm 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 liked 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, some old stuff.

We do some recent songs, but we also. do a lot of songs from, like he said, the last 60 years. Yeah. So listen, in this episode, we're going to be talking about Missy Elliott. Yes. 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 on. Man, they had a Super Bowl one time when Missy Elliott came out as a surprise. I almost broke the TV. 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, no, I was, oh, man, bum, but I was acting a fool. Missy Elliott makes everything 100 times 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's Come up.

Is it worth it? Let me work it. I put my thing down, flip it and reverse it. Punky, when 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 Blok, blokka, la-tac-tac-tac-tac- It's when that bass come in. It's a great drop. I'll keep starting it over sometimes. Sometimes I don't even, with a Missy song,

sometimes I don't even 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 and 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 to get too far on the song right now, but we just didn't understand what she was saying. Yes. Shosh-sh-s-J-J-J-Jet. Yep. I can't even tell you what we thought that meant for years. years. We could always, like, you know, edit it if it's too hardcore, but we do want to know. 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, though. It's yours, but of course it's the P word, but just to be cleaner. It's yours if you get the coochewat, and we would just be, you know. 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 spec. 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. Hit him. And we so 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 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. 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 person woman in a song to say, put this pussy on you? I don't know.

Very, very much possible. I just thought about that. She was a 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 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 each, 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 3, because it's 1984. That's what you call your rap group. Yes, Rockmaster. You've got some number. It's the something 4. Yeah. You're treacherous, you're ferocious, you're furious.

The Furious. Furious 5 or Fears 3. In this case, you're dynamic. Dynamic, okay. And here's the original. Let's hear Rockmaster. Let's hear Rockmaster. Dynamic 3.

DJ, please. So it's 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. Yeah. 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. Like, 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 80-o-weight drum. A rolling 80-o-weight 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. 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 anytime, 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.

Jukit, chat, please. Everybody's like, oh, I got to put down my drink. I got to get the dance. You know, like it's just pandemonium. No, 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.

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 the song in 2002. Easily, 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. She's really 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-p-dum-pam. 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 war on the mind. You're right to point that out. It was 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 Right He's still like old school He liked the temptation You got a band 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 I'm a statement something for 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.

I've been thinking about 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. Yes, but Q-Tip welcomed me with the hip-hop.

He wanted to be your friend, but you had to come and honor hip-hop. on certain terms. Yeah. 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, she wasn't like, oh, you have to respect hip hop. She was just like, hey, this is hip hop. This is, you know, this is what we do.

And like everybody, I can't think of one person, she's one of those rare artists, where 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? You know, Missy was singing. She was singing. She was writing crazy. 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. A great song. Yeah. For like Sierra. Sierra! I can't, if I ever see Sierra, I will probably say it the way Missy Elliott is 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 pretty angelic.

She can say. 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 her. 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, what we're talking about, the rain? Like, Superdupa fly, the rain. Like, when you first see her, the garbage bags. I can't stand the rain. I think that might have been the first song I might have of... Really?

Seeing her. Oh, I was like, cool. 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 hypewomenes video. Right.

But then I'm like, Ma, 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. 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 the 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 Dupa Fly My favorite 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 Hipop songs

Room. I mean, we weren't doing shrooms back then, really, but it felt like hip-hop on shrooms or something like that. We're going to get to that when we get to the acopal. But that's one of her, like, obviously, that we're all talking about is we love her use of sound. And so much of what she's doing, it's not just lyrics, it's not just melody, 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 of 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, a ween-a-ween. That's original. That's something that Timbleon 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 pluk-a-plooka-plook 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 after it'll reverse it. It's yours if you get the other way. Wow. That's dope. So that's 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 it. I've heard both of those songs,

you know, working at Harder Glass a million times, never drew that connection. You know what's crazy, too, is that on, in Work It, 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 like I always like boss of Nova

I always like the video. You hit a button and we go It has this really cute little thin little sound But when you add what happened obviously Is this drum machine came out and Blondie and a couple artists were like oh this is this is a nice element We can add 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, this is... Hall of notes. 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.

With the last one. Oh, okay. So I'll play that... Oh, you should talk about that drum that's in the Hall of 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 1980s. I hadn't been invented yet. So drum machines had these tiny little dinky sounds, and this is one of them. That little... And it's even got this cute little full of tink-d-d-d-d-d-d-d. Yes, yeah, because it's so soft.

And we were just talking about that DJ-Pleeze, 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 machine 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 today. Oh yes! And they're about to come in with the big drums. That's right. That's right. 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? They go from zero to a hundred really quick. It's not even a big drums. It's not even a big drum thing. build-up. It's just like from here to here,

quickly. But I love it. That type of music cop off. Speaking of drums, as a DJ, like, there's certain breakbeats 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 that 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 breakbeats, 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 like, lifted from and intentionally referencing the classic Rendium-C song Peter Piper from 1986. Let's hear a little bit of that.

Let's hear that. Let's hear that. So hard. Break all this bag, yo. Breaking back. The scratches, the looping, the like, whoo, where it's a little out of key, because it's being done on a turntable.

This is when sampling wasn't done in a sampler or on a laptop. So you could perfect it and have it to 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 quite. 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 grope. 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, is same guy. Yeah, yeah, yeah. He's done a lot. I mean... Listen. These people know how to make music. They want to make music.

I forgot how good music can. 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. So we struggle and strive niggas just to stay alive. I sense fear in these pussy rock. 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 at like the two-minute mark. So wait until 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 Timberlin 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. That's track right there. Let's pull 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.

Other people singing. 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...

Okay. Because his song was covered. That is freaking crazy. Who knew that? 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.

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Free of charge. BetMGM operates pursuant to an operating agreement with Eye Gaming Ontario. Welcome back. So a hip-hop producer like Teppelin takes inspiration for the past and other records. What inspires you when you write your comedy? Well, it all depends. So... 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 sampling in comedy? Like, and it is, and honestly, is there interpolation in comedy? Because there's such a line where it's like, you can't take someone's joke at the end. 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, 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? Like, I feel like we do sometimes sample one another when it's 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. Yeah, 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 this guy's mine. But the difference would be that that's a reference. You're just, 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 hard for somebody that's still a joke. Exactly.

As far as like, I think there is a such thing as a light sample of the path that we've, because if I watch too much Kevin Hart, I'm going to start acting 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. I'm like, all right, he's on punishment for about six months. 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 a such thing 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, fuck, 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. That's an excited thing. 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. Yeah, okay, okay. I'd be like, I love this joke. You stop doing it. I ain't heard you do it about. And I want it. Wait, that's super interesting to me. So have you, have you not taken, like, Steele's take it?

But like, 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 mine now. You're like, wait, 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 giant that bitch does 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's 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, which means he'll set up a 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 12 second, he'll have the joke, the punchline.

So then he'll set it up for five seconds. And then he'll take seven seconds to get it. It's complicated out of it. That is a math. But there's a rhythm to it, like you're saying. It's rhythm. 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 fifth second, at the fifth 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 it. 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. 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 in there how 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 how he flipped it how he

flipped it and reversed it 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 Timberlin 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 gave the told the computer okay give me a you know four four beat like it would just be boom tap boom tap but but Timlin knows a to put that drum. Just behind the beat. And I feel like that's what makes it more vivy.

That's what makes it sound more real. I also think that Timberlin was clearly listening to drum and bass at the end of the 90s because if you go back and you listen to like that stuff he did with Alia and that stuff he did with Genuine, like that snare is always like real cutoff. It's like boom, kak, boom. You know, like it's like it's really staccatoed. Yeah, it's dope.

Yeah, it's dope. You know, somebody, actually, what's your favorite Timberlin beat of all the 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

Timberland Beat, and that video, I mean, it's life-changing. There's something that's like pre-Supupa-Duba fly, like in, there's 9-11 for global events. Right. And then for my musical, like, life, I would say that like, I would say 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 Timberland 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. 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, 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 Timberlin beat is one in a million. 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 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, 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, you know, people from like one little area. What about the people, Punky, in the neighborhood where you grew up?

Where there are 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 the bounce music. Where they are. That's still one of my favorite. tracks of all time.

We grew up on House, the bounce music. Yeah. 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 because Master P is quietly the king of interpolation. He will take your song from the 70s and have his cousin sing the cook. So instead of summer breeze, it's smoking weed.

Smoking weed makes me feel high. That's the best way to explain interpulation. All I got is chronic on my mind. You know, like we used to. 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.

P was making all the money. And you got, you know, young money, cash money was in the building. Cash money came out. Turk, Lil Wayne. Yep. Juvenile. That's crazy how much talent there is.

Yeah. Man, we was. How was a, how was a moment? How was it when, when juvenile's high came up? Oh, yeah. You got your bow jeans, huh? You know, like, that's all 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. My favorite Master P line of 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 not, best thought. Okay, no editing required all the time. You don't always have to answer. 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, Skull Doug, we're coming out next. Then we're going to do Mia X. Like, 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 got to ask, what about the older stuff? I mean, not obviously New Orleans is the only. of jazz, but like you have this incredible era of like funk music. I mean, I'm personally a huge fan of like the meters, maybe one of my favorite bands of all time. Was that like in your house growing up or was that like in the air? Or was like, was that kind of of another era? Was that already a little forgotten about?

By time I got old, first of all, we listened to our parents' music, number one. So of course I'm raised on Deerita Franklin's, the 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, 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've got to listen to this. 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, right. Okay, for the next part, we're going to talk about Missy's vocals. And, of course, this is where all the magic happens. Yes. 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 every minute before I had me at number five. It's your every minute before I had a number five. There's a lot to unpack there. There's a lot of moaning on that.

I had 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. Luxury, I have to ask you the back. backwards parts. Okay. Yeah, I mean, we're going to have to use our production magic text.

We 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 need you. You can play it forwards first just to remind you. Is your remittable for it yet? It's your remitable for it. 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. Dang down, flip it in reverse it. I put my thing down, flip it in reverse it. That's it. 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, so she basically just repeated herself. She repeats herself. It's just the previous line. 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 bullshit is what's going on here

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 of 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.

Look at that fucks you up so bad because after the reverse 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 said. You 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 one more time. I'm not going to stop.

When we thought it was Mama se and Mama Sa and Mama Sao and Mama Su. So he does say Mama say Mama Sa, Mamma. No, you're right. That is what he says. No, he said, I'm going to say it one more time. I'm not going to stop. No, that's an internet thing. That is bullshit.

He does not say no damn mama's. Yes, he does. Because he actually had to pay out because that's an interpolation. Mato de Bongo's. soul macosa and he does say Mama se, Mama, Maasama, Ma'a Maqosa. But the internet was convinced he was saying

This is the era we live in. It's disinformation, it's misinformation, so you were right. That's the good news, Punky. Well, guess what? Now I'm happy again. You're happy to be happy. Because I love Mama say mama'sa.

You were 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. Yes. 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, yeah. 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 was gay. 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 Maher can't be sexualized and Butch is, I mean, it's just what it is with gay, bitch 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 on the, 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 seemed kind of like 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-Dunk comes to mind. Love Ben-Konka-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 end effect. Mandela, what do you ever you call it? I swear to God, is it we think the word badonka-dunk is the word, right? Okay, I'm going to isolate it for you. Tell me what this is happening here. By the way, you can't forget that Soldier Boy also did a song called Donk. You know, like, we went from

Badonka-Dong to just don't. Here is the part of the song where she says it. Keep your eyes on my bambon-bo-bom-b-b-bong. You think you can handle this. Kidunk-a-don-don. None of those are bad-don-don-don. She said ca-don-c-c-c-c-c-. Okay, fine.

None of those are bad-a-d-d-d-d-d-d-d-d-on. She said, ca-don-c-a-don. This is not a controversial, like, you know, hot take. I'm not trying to, like, blow up anyone's, like, lies here. She said, ca-don-c-c-donk-don. It's okay. I don't hear a cop. We were one constant.

Off. You let her away my butt. Keep your eyes on my babon-p-bon-p-bon. I think you can handle this. It's like a 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-dunk. You know, like, maybe we've conflated the two.

is how people always remember him saying, you know, Luke, I am your father, which he never says. Or play it again, Sam. Or he never says play it again Sam. 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 wise 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 Nicky 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.

Yeah, absolutely. I'm not discredited anybody. Everybody from Ice Spice to, I feel like all the biggest stars are... Megan. Yes, they're all living right now. Yeah, I'm not discrediting anybody, but it's a very, very unfair comparison. I'm telling you with in regards to Missy Elliott. But I am excited for like Glorilla and Ice Spice. Love Blurilla.

I just love the ghetto shit. You know what I'm saying? Hanging out my window. I just love how the feet... Honestly, I just love... I give mad credit to the female hip hop artists right now. They just unapidgetically who they are and they're 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 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 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'm 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. You know, like she's sing, you know, 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. 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 talks together. She's technically, you know, it gets producer credit a lot of these times. So I think that's one of the things is that she's not just a rapper. She was a songwriter. Songwriter, singer. Pinned great songs for some of the people. She started as a singer with a singing group. I mean, it's wild. I think about, like, 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. You know, like, that's some of the best stuff. Knock, knock, knock. Come knocking. Drive by your house and sit.

You know what I mean? Oh, my God. 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 and she just lays down like this fluffy calmness to it, like, especially on that Monica song. Oh. Mm-hmm.

Yeah. Like, and then the song, It's funny how the table turned. Like, damn, how you go so calm? Like, I mean, Jesus. Ladies' night. Remember when she was on Ladies' Night? Oh, yeah.

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 a Lady's Night track, The Brat. Oh, what a night. The Brack got me. The brats, 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, funkified was, was a moment. I remember when Fuctified dropped. That was just, that was the B side. I mean, like, she held her own with Big Papa. That was, 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. Nobody would ever say that. Yeah. You know what I'm saying? She had her own lane and she has her own lane. She's still here, you know?

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 Skrillix and Monsieur Roizzo, this French producer.

Oh, my gosh. It's called ratata-ta-ta. Oh, I do like this. Just the can of be to go rat-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ha-ha-ha-ha-ha-ha-ha-ha-ta-ha-ha-tta-ha-ha-tta-a-tta-tta-tta-tta-tta-tta-old. She's-ha-old. She's a lot of rappers, they do sing. Yeah. But they don't sound good on a cappella.

When you bust at that acapella, Missy, she sounds excellent. Yeah, because one of the layers in there is her singing. I hadn't noticed that until we were, you can hear the live. You can hear the live. 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 gone soprano, alto, she's going, 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 does Diallo, but our producer, neither it is punky. 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, monkey, luxury, diallo. Hey Matt, hello. How's it going? 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. Punkie. I'm going to just say, I know it. Okay. Where are you feel comfortable with?

Okay, so I will be keeping score, but there's no budget for a prize either. 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, 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. I believe the luxury was first. It's uptown funk, my friend. Yes, it is. One point for Mr. Luggery.

Congratulations. I couldn't hear it. Could you not hear it at all? Oh, can you hear it in your head? No, I lied. Oh. All right. Okay.

So, in the lead with one point is luxury. Here is song two. Oh, I got it. Buzz, that does. The yellow. That's Return of the Mac. It is indeed. We're all square.

One point. Wow, this is weird. It's weird that you can kind of hear it. Yeah. We've never played this game before. Punky, do not look at me like that. She's not happy. I actually wouldn't be.

surprised if you if you guys do practice this kind of thing. Backwards. Kind of man that you are. Okay, song number three. Yes. California love.

It is indeed. Taking the lead. He's a freaking DJ. Who has Serato, so he's practiced the backwards thing. I'm sorry. I didn't see the game was fair. Okay,

Okay, moving on the song number four. Beep, beep, beep. Yes. It's either a vondervol. You can't say either or? It's an oasis. Hold on, hold on. There's no either or.

You have to give an end. You've got to commit, bro. Come on. I at least get to hold the ball for a second because it's oasis. I'm going with Wonderwall. It is indeed Wonderwall. We're all square. Two points.

Two points. Poor punky over here. I think we should let Punky get. this next one. No, anybody going to let me get nothing. I'm not

three years old playing against my father. I have kids one of them isn't when I'm always like, hey, come on, let the guy,

let the guy have one. But no, that's fair enough. Pocky's best. Okay. Yeah. So the final song, good luck to Punky

is this one. That's much, buzz. I'm not getting that shit. That's Jimmy Hendrix. Yes. And it's Purple Hays.

It is indeed. Ah. That means that the winner I think there was some I think there was some cultural bias in the tech in the exam What? What, turn of the back, come on.

I'm upset. I am too. We got to make punky feel better for the show I am. Come on, we can't end on this note. That's right. All right. Actually, I've got one bonus one. I'll listen.

Neither of these two can answer. This is only for punk. Well, then I'm just being sitting up here like, oh, uh, uh, uh. 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? She was Hannah Montana.

Yeah, I wasn't going to guess 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 just go on and kiss my face. It was flowers, right?

Yes. By Miley? Just my ca-don-c-donk-don-don-don. I'll give you guys a fun quote. You learn more when you lose. That's true. All right, I think that's it. Pungi 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, professional 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.

And Puckie, when can the people, how can the people, and find it and listen to Love there? Y'all go and listen to that on Sirius XM or Kevin Horse Radio, Channel 96, every Tuesday, and then I think every way you get your podcast. Yeah, yeah, yeah. By the way, you heard her say, that's that, that's that New Orleans right there. Was it? You say Kevin Hart's name?

Kevin Hall. 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 L-O-L-Radio production. This episode was produced by Matthew Nelson and George. and 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.

We really hope you enjoyed this episode. If you want to follow Luxury and I outside of the pod, follow us on Instagram. I'm at Diallo, D-I-A-L-L-O, and he's at luxury, L-U-X-X-U-R-Y. Or on TikTok. I'm at Dialla Riddle and he's at luxury X-X. So that's L-U-X-X-U-X-U-R-Y-X-X.

Keep your eyes peeled and ears open for more fresh one-song episodes on this feed very soon. If you're already subscribed, stay subscribed. And if you're not subscribed, what are you waiting for? Seriously! Stay cool and talk soon.