YouTube: https://www.youtube.com/@BreakfastClubPower1051FM
See omnystudio.com/listener for privacy information.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Wait tail as up in the morning.
Speaker 2 (00:02):
Breakfast Club Morning, everybody is DJ Envy just hilarious, Charlamage
the guy. We are to Breakfast Club and we got
a special guest in the building, the legendary Jasmine Guy.
Speaker 1 (00:13):
Welcome back.
Speaker 3 (00:14):
Good morning.
Speaker 1 (00:15):
How you feeling.
Speaker 3 (00:16):
I felt great.
Speaker 4 (00:18):
I love doing your show the last time, and I
got a lot of positive feedback.
Speaker 1 (00:25):
I love you come on.
Speaker 4 (00:27):
It was a different kind of interview though than they
used to. My daddy was like, you were a little
too comfortable. You act like they were at your house. Champagne, right, yes,
champagne whatever that was.
Speaker 3 (00:42):
I didn't even like it, and I was drinking that.
Speaker 4 (00:45):
But my father said that you would put more in
when I was looking at Kadeen.
Speaker 3 (00:51):
That's what he said.
Speaker 4 (00:53):
He said, whenever you looked at Kadeen before, more in there.
So I'm I'm thinking, I'm just drinking one glass probably,
but I'm drinking anywhere.
Speaker 3 (01:09):
It's something in the morning. Embarrassing, is that you talk
you just back there just laughing.
Speaker 4 (01:18):
No, No, it was good because you ask questions that
people don't usually ask. You know, we get the same
questions over and over, especially about a different world, and
I just like that it went into other areas of
my life and my career and his too, because anybody
(01:39):
can look at any interviews we've done and get those answers.
Speaker 3 (01:42):
It's the same answer, you know what I mean? So
can we talk about something else?
Speaker 4 (01:48):
You know, we bring it to another element that hasn't
been explored with us.
Speaker 1 (01:54):
And you've done so much more since since.
Speaker 5 (01:57):
Absolutely, like right now you want your first yearlations.
Speaker 3 (02:03):
She went for the Chronicles of Jessica Woos. Yes, that
was a trip.
Speaker 4 (02:07):
So I was going to Mexico to hang out with
my girlfriends and I land and I get all these
checks from people saying congratulation on your Emmy nomination, and
I really thought people would messing with me.
Speaker 3 (02:22):
I didn't even call them back. I said whatever.
Speaker 4 (02:26):
I wouldn't even And then when I realized I really
had been nominated, I thought it was for the show Harlem. Okay, okay,
Chronicles of Jessica Woo I had done. It was before COVID.
It was a long time ago and I only worked
on it for a day. It was a very interesting
(02:49):
project to me because the production company was a couple,
a small black production company. The superhero in the in
the p had autism, but her powers that whatever put
her on the spectrum made her a superhero. Their daughter
(03:10):
had an autistic child anyway, So I said, well, I'll
do it because I know after this they're going to
need distribution.
Speaker 3 (03:18):
And who knew that's what you know.
Speaker 4 (03:23):
What I'm saying, my love for them and what I
know about you know, pitching ideas. You're gonna need a name.
I know, I've heard it all. And I said, well,
I'll be your name. This is gonna be good. And
it was a short series, like a wepisode series. The
other Oscar nomination I got was also from an independent
(03:45):
black company and it was my nephew Emmett, and I
played em matills aren't on the night that he was
taken from their home, and I was like, oh shit,
I do not want to go to Mississippi.
Speaker 3 (03:59):
And I'm telling you.
Speaker 4 (04:00):
We stayed right down the street from where he got abducted.
Speaker 1 (04:05):
Missippi still got that same energy.
Speaker 3 (04:07):
Thank you. I was gonna stay. I felt ghosts.
Speaker 4 (04:12):
Yeah you know, And I did it and they got
nominated for an Oscar night when the director called me.
He was a graduate student from NYU Film School. His
mentors with Spike Lee and Casey Lemmon's right, beautiful brother,
and the and the crew and everybody.
Speaker 3 (04:31):
I had a great artistic experience.
Speaker 4 (04:35):
But when he told me we, you know, we got
nominated for an Oscar, I thought he was messing with me.
Speaker 5 (04:42):
That's not a lot though, Like about how you know,
I guess black actors and actresses are conditioned in Hollywood
that when they get told that they're even nominated, they
don't believe it.
Speaker 4 (04:52):
Well, when you ignored long enough, you got the message.
I got the message. If you're not nominating a differ world,
Debbie Allen, Susan fails our wardrobe department, any other actor
on that show. I stopped focusing on y'all giving me
my props.
Speaker 3 (05:11):
I know who gives me my props.
Speaker 4 (05:13):
And I told the actors, I said, we just gotta
be good, you know, forget all these accolades or whatever.
They obviously do you know how many times they said
to me, even on I think I did. Dennis Miller,
remember Dennis Randa a talk show. He started with, so
(05:33):
how does it feel being between number one and three?
Speaker 3 (05:38):
And I was stunned because I just sat down.
Speaker 4 (05:41):
You know, you come out all cute and whatever, and
I was like he said, that wasn't a good leader
in question, I said, no, it wasn't.
Speaker 1 (05:48):
You're talking about cognye and cheers.
Speaker 4 (05:50):
Everybody said we were number two because we came between them, Okay.
Speaker 3 (05:55):
And that was the first question. That was the message.
Speaker 4 (05:57):
That was the message that we got this actors as
you know, performers, and we never got our props for
not not just the acting, but it was Debbie Allen,
Susan fails me.
Speaker 3 (06:11):
Three black women in charge of that show. You know
what I mean? We could have been on the.
Speaker 4 (06:17):
Cover of Essence, and I just knew who really saw
us and who really understood us.
Speaker 1 (06:24):
Why was that work for?
Speaker 4 (06:25):
That's the same white motherfuckers.
Speaker 1 (06:30):
Old up to day.
Speaker 3 (06:37):
You came to the right shows. You can't say that word, so.
Speaker 2 (06:43):
You can go back here the same white motherfuckers make
sure you forget just.
Speaker 3 (06:48):
The same world. Just look.
Speaker 4 (06:50):
Okay, So Carcy Warner, our producers also produced a show
with Whoopy Goldberg called Bag That Cafe Grace under Fire
in the Roseanne Show and the cos of the show, right,
so we're one of five.
Speaker 3 (07:09):
They never asked us to do anything.
Speaker 4 (07:11):
They asked Roseanne Barr to sing the national anthem in
which she grabbed her crotch because she can't sing. But
we got five singers on our show that you could
have had, don me kree. You know, never when we
got offered.
Speaker 3 (07:28):
Things that would have I don't know. I just got things.
Speaker 4 (07:35):
We got things on our own, and I never felt
a part of that network. Then when I saw what
happened with Friends, I was like, Yo, that would have
helped us. It would have helped us with work after
the show. It would have given us some props, you
know that we could have used for future projects.
Speaker 3 (07:57):
I pitched a lot.
Speaker 4 (07:58):
I have my own production company after a Different World.
All of my projects were rejected, but then I started
to see.
Speaker 3 (08:06):
Them that was wow, which ones yeah that.
Speaker 4 (08:14):
I had a TV idea about a young woman that
inherited a sweatshop in the garment district from her gay
friend that died of AIDS, and but she still saw
him as a ghost.
Speaker 3 (08:27):
I had even talked to Rue Paul about being my ghost.
You know.
Speaker 4 (08:34):
They was just everything was a reason not to do it.
But then I would see a white girl do it.
Then I had this idea about what was the name
of that spy show? It was a French movie, Independent movie,
and oh, okay, So I thought this would be fierce
well Robin Gibvens. So I wrote up a treatment for
(08:57):
a pilot version of it. No Robin Gibvens, but a
white American girl doing it. So I was like, well,
I know my ideas are valid, but I just started
divorcing myself like a bad relationship.
Speaker 3 (09:13):
Stop asking for what you know you're not gonna get.
Speaker 4 (09:17):
I didn't have a parking space like Don Johnson after
Miami Vice.
Speaker 5 (09:22):
You know, he was the star of the number two
show on the network, one of the biggest shows on television.
Producer on it too, right, no o oh, thoughts you
reduce on it? No, but even even still, a star
of that show can't have a parking spot.
Speaker 3 (09:37):
I had a parking spot, but he had a production deals.
Speaker 4 (09:40):
When I'm saying after he did Miami Vice, he had
a production deal, you know.
Speaker 3 (09:45):
And I don't know.
Speaker 4 (09:49):
I just thought that we were we were ready and
well equipped to move on into other areas. I definitely
wanted to be a producer because I had met so
many people on the different and I wanted to bring
this writer with this director, you know, And the ideas
that I had were not being done. The Dorothy Dandrews story.
(10:13):
I pitched that for years. I had to educate first,
who's the earthy dying dright? I told him it wasn't condescending.
And I didn't want to say the black Marilyn Monroe
because that's all they understand is a black version of
what we already know. So I don't use that term
(10:35):
when I'm pitching. And the movie got done. It just
got done without me. And after a while, I said, Okay,
I understand, you.
Speaker 3 (10:48):
Know what I mean. It's like a bad relationship.
Speaker 4 (10:50):
After a while, you gotta understand, Okay, I ain't what
you want.
Speaker 6 (10:58):
This is, and this is and so is all of
this and other things. I'm sure as what leads up
to Uncensored. Jasmae God Like.
Speaker 3 (11:08):
Yeah, you know what, I'm still like.
Speaker 4 (11:09):
I did uncensored because I did Intimate Portrait on lifetime.
I did Unsung, but they were in different decades of
my life. I mean, Intimate Portrait must have been in
my forties and then fifties, and now I'm in my sixties.
And I said, I may have a different perspective on
(11:31):
my truth. Same things happen, but I feel differently about them.
I have a different perspective, and I'm not. I'm trying
not to be so precious about my private life because
I really do this. When people get like, you know,
that's that's mine. I feel like I do enough with
(11:52):
my work for the public. That is my gift to
the audience, That is my way of communicating. You don't
need to know who I'm sleeping with their business, don't.
Speaker 3 (12:04):
Need to be in the street.
Speaker 2 (12:06):
You from that era, though, Like that era was you
didn't really see your favorite celebrity, favorite actress, favorite actor,
and when you did, everybody went bashit crazy because you
never did. Like our favorite celebrities growing up as kid,
we didn't know who they dated. We didn't know where
they went to eat, we didn't know where they lived,
We didn't know any of that. And that was part
of the mystique of them being a superstar, real celebrity.
Speaker 3 (12:30):
But it's also private.
Speaker 4 (12:32):
I don't feel like I didn't understand why celebrities were
saying private things. When nobody even asked you that.
Speaker 3 (12:48):
You'll make you talk.
Speaker 4 (12:51):
I'm like, why are you nobody asked? Nowadays, I so
with the oh, and I also get an Instagram.
Speaker 3 (13:04):
I mean, I've had an account, but.
Speaker 4 (13:08):
My makeup artist said when he went on my social
media that it was vented.
Speaker 3 (13:14):
Not the vwork that I had not post.
Speaker 4 (13:17):
I said, I don't know what to post. I don't
know what's interesting because work fulfill so many parts of me.
If I'm not working, I really don't have nothing to say.
What I did today, I colored, I did crossword puzzles.
Speaker 2 (13:36):
People are into that, They're into your life outside of
just acting into what does Jasmine guy do? What does
she enjoy?
Speaker 1 (13:43):
What is she like? You know, because we know who
you are on.
Speaker 3 (13:50):
Like a humerus, boring.
Speaker 2 (13:52):
People want to see that. They want to understand that.
They want to see what your life like. If you
just sit outside and you you knit all day, what
are you knitting?
Speaker 1 (13:59):
Why? And to be honest, what calms you down?
Speaker 2 (14:00):
Because maybe what calms you down helped calm me down.
Maybe something that you do can help guide me through
my life. So people are into what people.
Speaker 6 (14:08):
Do, and now we need some boring shit because like
everybody's wilding out here I'm talking about So I'm interested
in what you be knitting.
Speaker 3 (14:19):
I want to see my next staff can.
Speaker 4 (14:24):
No, but it's kind of like that. I like calm
I love my friends. My favorite thing in the world
is when my friends come by my apartment. And I
live in Midtown in Atlanta, so I'm accessible because in
New York I used to have an apartment on seventy
eighth Street between Columbus and Central Park.
Speaker 3 (14:44):
Everybody come through there.
Speaker 4 (14:46):
If you lived in Queens, if you lived in Jersey,
you're gonna come by my and I love that, and
so that's one of my favorite things is having my
people over.
Speaker 3 (14:56):
And I've been cooking to I've been watching TV.
Speaker 2 (15:01):
People like to see what the judgmine got cooked.
Speaker 1 (15:03):
What's your favorite meal?
Speaker 3 (15:04):
Well, I'm trying to make the perfect chicken wing for me.
Speaker 4 (15:09):
No, I've made them and make them every week, but
for me, other people eat them and they're okay, but
I want a certain consistency.
Speaker 3 (15:20):
I think.
Speaker 4 (15:20):
I'm I can't get a deep fire because of my apartment.
I can't have it on the on the patio. So
I've tried all different kinds. They're good, and I've done
the marinading and everything. Also, I've learned meatballs. I got
a good meatball let people like and it's a it's
(15:41):
real import I'll make you some turkey Teresa no, Chriso
sport too.
Speaker 3 (15:51):
I make you some. But I gave a cheesecake.
Speaker 4 (15:56):
So I'm using my mother's cheesecake recipe and I'm just
doing them over and over until I get it.
Speaker 3 (16:04):
My daddy is my guinea pig.
Speaker 4 (16:05):
He has to try out my food and give me notes,
tell me if it's dried, tell me if you know.
And my friend Jamala loves my cheesecakes. So I made
one for the house, gave it to her and I
was like, you know, let me know how it is
or whatever. She gave her mother one piece and she
(16:26):
ate the rest of it because she's had three whole
cheese cases.
Speaker 3 (16:34):
Yes, I love anything.
Speaker 4 (16:35):
I'm like, okay, Jamala, let me tell you what's in this,
because you kid. So she wrote a book about her daughter.
It's a children's book called Mommy, I Think I Have Diabetes.
She found out her daughter as diabetes, but it was
from her daughter.
Speaker 3 (16:51):
This was a truth story.
Speaker 4 (16:53):
She made a children's book, and I said, your second
book is going to be Mommy. I think you got
you beating.
Speaker 3 (17:02):
Whole cheesecakes right.
Speaker 4 (17:08):
I'm glad you like them and whatnot, but you know
you can't beating the whole one.
Speaker 2 (17:13):
Yeah, I gotta ask you know you mentioned earlier that
you know when you do these interviews, people ask the
same questions about a different world. Are you tired of
being of talking about a different world since you had
I mean that was thirty years ago, but.
Speaker 1 (17:25):
Then I sat seven thirty seven.
Speaker 3 (17:27):
Wow.
Speaker 2 (17:27):
But then I see you on the HBCU tours going
from school to school. I see you having those conversations.
Are you just done with talking about that part of
your life?
Speaker 4 (17:36):
I'm not done with that part of my life because
people are exploring, They're asking me the same things. What's
your favorite episode? They want me to see the wedding show?
Speaker 3 (17:45):
That wasn't my.
Speaker 4 (17:45):
Favorite episode, that's your favorite episode. I love when the
kids ask questions. So we go to these schools. We
have a moderator this past when we just spell them
in Morehouse and Clark, we have seven of us. I
love that too. Usually it's no more than four of us.
And when the kids get to ask the questions, their.
Speaker 3 (18:10):
Questions are different. They're not asking those same things.
Speaker 4 (18:14):
I mean, really, you could do your research and know
the answer already, of course, but the kids are like
when you were nineteen.
Speaker 3 (18:23):
Blah, blah blah.
Speaker 4 (18:25):
When you first left home, what did you think about
your character?
Speaker 3 (18:31):
I mean intelligence, especially them Spellman girls.
Speaker 4 (18:36):
First of all, they acted like we were rock stars.
Speaker 3 (18:40):
They were just open shame when we came out.
Speaker 4 (18:44):
Then one girl said Miss Charnell, Miss Charnell, I want
to thank you for being a presence for dark skinned girls.
Miss Jasmine, thank you for showing me confidence. And Miss
(19:06):
cree thank you for being the odd ball.
Speaker 3 (19:11):
That was her.
Speaker 1 (19:16):
There you go. Thank you.
Speaker 4 (19:17):
Yeah, she was saying, I see you and you helped
me see me.
Speaker 3 (19:25):
And you don't know you're doing all that when you're
just playing your role, you know, But.
Speaker 4 (19:30):
I know Debbie knew. I knew Debbie knew what she
was doing when she hired.
Speaker 3 (19:35):
Korea and Sean. Now, that second season, it was very deliberate.
Speaker 1 (19:41):
I was just talking.
Speaker 5 (19:41):
About I was, yeah, what were you saying? We had
a whole conversation about who was the most beautiful on
a different world, and you know, he turned into that.
Speaker 1 (19:55):
I was like, man, Kimberly Reeche was the one.
Speaker 3 (19:57):
He was the one.
Speaker 1 (19:58):
You think they should you.
Speaker 2 (20:00):
I think there should be another show or maybe they
should relaunch it. And the reason is, last time I
tell you. The reason I went to college and HBCU
and Hampton was because I seen a different world and
I wanted that experience coming from Queen's right, I was like,
I want that. I don't know if people see that anymore,
if they see what a college looks like in the
experience and not just you know, the partying, but real life,
(20:23):
real situations and everything going on. I think that's missing.
Speaker 3 (20:27):
It is not there.
Speaker 4 (20:29):
And I thought when we did, you know, because when
I did a Different World, we were coming off school
days and it was you know, months in between the projects,
so it felt like we're a part of a wave.
I didn't know that it crested and was over because
(20:49):
Fox started with Rock Dutton Show, some bad show even
you know, before Martin, and once they got launched, they
dropped those black shit. Same with c W. You saw
what happened with the game. But I thought we were
part of a new, I don't know, a new entertainment
(21:10):
phase for black people.
Speaker 1 (21:13):
It wasn't renaissance, but it was over after.
Speaker 4 (21:16):
College we left, but they just snatched everybody off. They
couldn't wait to get our time slot.
Speaker 1 (21:22):
Yeah, I've had a lot of conversations about that.
Speaker 5 (21:24):
I feel like after the nineties it was an intentional
It was intentional and strategic by Hollywood to change the
image of black people.
Speaker 1 (21:31):
I really feel that way.
Speaker 3 (21:32):
We think so too. Charla made it.
Speaker 5 (21:34):
Went from great scripted shows and people had jobs and
caribs to reality television.
Speaker 4 (21:40):
Wait, they don't have to pay nobody until you make
it big or whatever. And now even with Harlem, and
I loved that show and I love doing it, and
I don't understand the streaming thing. Amazon had us for
ten ten episodes of first season eight, the second season,
this season six. So what you're doing, I don't know.
(22:04):
We have to do twenty two episodes a season. What
you're doing is you can't give anybody long enough work, right,
So the writers on a series, they're given enough four
or five months they're getting.
Speaker 3 (22:18):
Paid, but now six, that's two months working.
Speaker 4 (22:26):
I don't know, And I don't know why they're doing
it with Harlem because people like that show, you know
what I mean.
Speaker 3 (22:34):
And it shows Harlem in a beautiful way.
Speaker 4 (22:36):
It's vibrant and alive, and it's not gray and boarded
up like the Harms like you know, it ain't coulle
high and cornbread. Earl and me, Harlem, it's the celebration.
So I don't know why they're not committing. I find
it selfish that you don't give a show enough legs
(22:59):
to succeed.
Speaker 3 (23:02):
And let Tracy Oliver do what she do.
Speaker 2 (23:06):
I had so much influence, you know, Jamaine dup previous
said yesterday and on it. They did a Freaknik documentary,
Oh have you ever been a Freaknick?
Speaker 4 (23:15):
No, I was in that la during that time, but
I've heard about it. They shutting down NY twenty. There
were a lot of babies made during that sure.
Speaker 2 (23:24):
They said that actually Different World made Freaknick even bigger.
I guess you had an episode where the girls talked
about going to Freaknik and not telling their parents.
Speaker 3 (23:32):
Oh yeah, the younger crew like Jada and them.
Speaker 2 (23:36):
Yeah, And they said that amplified it a thousands, so
many people.
Speaker 1 (23:40):
Watching Different World. It was like, we're going down to
freaking as you call some people to get pregnant. Paying
child's a question with God.
Speaker 5 (23:52):
You find a sense of vindication in this award at
this stage of your career.
Speaker 3 (23:58):
No, you know what I felt.
Speaker 4 (23:59):
I was really surprised at how happy I was when
I when I got it, I really felt like I
won that award for a different world in Atlanta.
Speaker 3 (24:11):
Wow.
Speaker 4 (24:11):
And I say Atlanta because when I got to New York,
I had been trained that I had been poured into,
you know, with my dance schools, my teachers and performing
our school.
Speaker 3 (24:25):
I went to my church, you know.
Speaker 4 (24:30):
And then and I also knew that even though I
was glad that the show won, you know, Jessica, Wo,
I just felt like it was for a different world.
Speaker 3 (24:42):
It's for what nobody you know.
Speaker 5 (24:45):
Got back then you dedicated your award to a different word.
Speaker 1 (24:47):
That's the reason why, just because you felt like, yeah.
Speaker 4 (24:49):
I was like, this is ours because I know what
made that show good. And I know we didn't get
our props from white people. Five sixty Image Awards do
Soul Train Awards.
Speaker 3 (25:11):
Because they know what that does.
Speaker 4 (25:12):
It gives you power in the Hollywood system. We're not
giving them that. That's so disrespectful to me. It's not
like a person I could cuss out. It's just a
cloud of white people, like white Hollywood. Because if that
show would just look at what they do with friends
(25:36):
and what they did with living single, just look at
the publicity, how much money they made, they were at
the Golden Globes.
Speaker 3 (25:46):
They got movies. We are no less talented.
Speaker 4 (25:52):
And the writing was awesome on the Different World because
they're doing deep subjects, and hey, I have to keep
us funny because the network wanted us funny. They said, well,
if we're gonna do this age show, how are we
gonna make it funny? Well, maybe Whitley's gonna lose her
virginity during what's the B line?
Speaker 3 (26:13):
That's gonna not make it so heavy?
Speaker 4 (26:16):
You know, they have to do that for everything the
Riot show that they have to still mix in the humor.
And I think we did that well and that Susan
fails Hill. I'm so proud of lean Away and Easta
Ray to see them as showrunners and starring and.
Speaker 3 (26:40):
This and that.
Speaker 4 (26:41):
I'm like, Oh, they are fierce, and I hope they
get their props.
Speaker 5 (26:46):
But I wonder, how do you think this recognition of
the award contributes to the broader conversation about diversity and
representation in Hollywood, especially for like O G veteran actresses
like yourself who've made significant contribution old a decade.
Speaker 3 (27:01):
Okay, so what like.
Speaker 1 (27:03):
What did this do? Like?
Speaker 5 (27:04):
The award has to do something being that jaminer, I
can still be so good at this stage in her
career that she's still Oh.
Speaker 4 (27:11):
Yes, it does feel validating. And I even said when
I accepted the award, you know, thank you for keeping
me in this community, because the creative community is my world,
whether it's in the New York or LA or Atlanta.
You know, valup my people, and you know, with the
(27:35):
pandemic and then six seven months on strike, I'm like,
I need to work.
Speaker 3 (27:42):
I need to be with my people.
Speaker 4 (27:45):
You know, I need other creatives. I need stories at lunchtime.
And that goes for everybody that goes for him makeup, wardrobe.
Everybody is expressing themselves and there's a spiritual connection to that.
Speaker 3 (28:02):
So I did feel that way.
Speaker 4 (28:03):
But it has been good to see my peers like
Regina King, Victoria Mahony, Sally richardson the Girls that I
was like acting with doing, like directing and killing it
like that, and Tasha.
Speaker 3 (28:24):
Smith directed the last episode. I did a Harlem her
that's a nature of nature.
Speaker 4 (28:34):
As my girl, we needed it. It was a very
long day. It was a long shooting day, and her
energy was and what I was so impressed with was
her technical acumen. She really knew her cameras, you really
(28:58):
knew what she wanted. She had to map out a
ten page scene, which is very long for you know,
anything for movie or TV scene.
Speaker 3 (29:11):
And I don't know, she just did a beautiful job.
Speaker 4 (29:15):
It was the only episode I've done on that show
where I saw other people, because all my episodes that
were Gray Spyers. She's my daughter, well i'm her mother,
I should say she's and everybody was there at this event,
so I got to see Debby Smith was there, Whoopee
was there.
Speaker 3 (29:37):
I don't know what was exciting. I was kind of
fanned out too. Yeah, it's amazing.
Speaker 2 (29:42):
I've seen a clip that was released from You Uncensored
and it talks about being a mixed child. Was that
very difficult in the industry going at that time where
you're going up for auditions and people are saying, well,
she's not white or and then well maybe she's not
black enough.
Speaker 1 (29:55):
Was that difficult?
Speaker 3 (29:57):
Well?
Speaker 4 (29:58):
I always defined myself as black, but I didn't get
roles because I was too light sometimes or I got
like the my first after I left Alvin Ailey, I
did musical theater, Broadway and whatnot, and then I started
taking acting classes and going out for auditions, and I
(30:22):
played three hoes before I go with Ley. I'm just saying,
I asked my agent. I was like, is this normal? Yes,
I played a prostitute on the Equalizer. I played a
hoe on Loving, which was a soap opera back then,
and then on my third when I said, okay, is
(30:42):
this and I was nailing them whatever it is about
ship before I got back to my former I was like, okay.
Speaker 5 (30:53):
But.
Speaker 1 (30:56):
You into to be able to like really play a hope.
Speaker 3 (31:03):
The way they write it.
Speaker 4 (31:06):
They usually write I usually do sarcasm well, and they're
usually snarky.
Speaker 3 (31:13):
You know. Now the other activities the.
Speaker 4 (31:17):
I mean on the Equalizer, I was the whole that
they bought for.
Speaker 3 (31:23):
The guy that just came out of prison.
Speaker 4 (31:26):
Oh my god, this scene was nasty, and I'm like surprised,
and I come out and I'm supposed to do him
because he's just been in prison. And then in the
scene he starts coughing and I say, you catch something
nasty where you've been and he grasps me by the
hair and slams me.
Speaker 1 (31:52):
Trauma.
Speaker 4 (31:56):
I got a little too snarky. But the thing I
didn't know that that should have been blocked.
Speaker 3 (32:03):
I didn't. It was one of my first acting jobs.
Speaker 4 (32:07):
So because I'm a dancer, I was able to go,
you know, slam myself down. All you have to do is,
you know, and make it look like he was just
and then fall. And I did it over and over
and the director was like, are you okay. It wasn't
until after that I talked to some of my actress
friends and they were.
Speaker 3 (32:27):
Like, nobody blocked you. Nobody. I said no, it was
just like a you know, a dance move or whatever.
But yeah.
Speaker 4 (32:37):
Then when I auditioned for Whitley, first of all, they
didn't even have her name yet. It was Sydney slash Whitney,
a black Southern bell. I'm might things that make you
go a black Southern bell, you don't know say Anyway,
(32:58):
she was.
Speaker 3 (32:58):
Hitting on her professor for the a in the scene
another horrorle. We're ruffles.
Speaker 4 (33:09):
But when I got on the set, now she's a
virgin and she doesn't know what's going on.
Speaker 3 (33:14):
It's just interesting because.
Speaker 4 (33:18):
You play things based on who they tell you you're
supposed to be, and then as actors we often do
backstories and you know, make up something that got us
to this point. So we have something to lean on.
But yeah, I was thinking, Wow, I guess I'm just
gonna be. It wasn't that I was playing a horror prostitute.
(33:41):
It was just that I wanted to play all kinds
of characters.
Speaker 3 (33:44):
Yeah, I've always wanted that.
Speaker 2 (33:47):
YE got to ask a question, This is a personal question.
When you started off dancing as a child, right, did
you know what direction you wanted to go into? So
I got two girls that dance, right, and then I
travel all over the country day dance with these these
little babies, and I mean they are amazing. One one
first prize overall seven year old. Oh, one thousand girls,
first prize. But yeah, they get busy. They take it serious.
(34:10):
Six days a week, four hours a day, gymnastics, flipping,
backflip dancing.
Speaker 1 (34:15):
Whoa, it's a lot.
Speaker 2 (34:17):
But I've learned to love it, like really enjoy it.
But you know, as a dad, I always think like, well,
what's next after dancing? Like what do you do as
a dance Like when you get to high school and college?
Like what happens from that? Did you know what you
wanted to do going into alvin ALEI?
Speaker 4 (34:32):
And Okay, So when I was a little kid, I thought.
I just kept asking for more classes, like once a week.
Saturday turned into three turned into five, you know. And
when I saw Alvin Ale and I saw revelations, I
realized that I could do this as a job. I
didn't realize that you could dance as a job other
(34:55):
than be a dance teacher.
Speaker 3 (34:56):
That's all I was seeing.
Speaker 4 (34:59):
And I I told my daddy, I said, I think
I have my calling.
Speaker 3 (35:05):
I want to dance with Alvin Ailey.
Speaker 4 (35:07):
So from twelve to seventeen, that was the trajectory, kind
of on the level where you are with your girls,
because I danced every day. After that, I went to
perform in arts high school, I joined Atlanta Ballet. I
went to North Carolina School of the Arts over the
summer because I knew that I was not technically proficient
(35:32):
enough to get into the Aley company, but I was
also performing. I played Anita in West Side Story and
I was young. I was like thirteen, and I could
already act and I could sing. But it was that
because you know, you can't fake dancing. You could either
dance or you can't. I mean, it's an athletic, you know.
(35:57):
So that's when I knew, do they want to do
it as a profession.
Speaker 2 (36:01):
They don't know right now. One is seven, one is ten,
and they just enjoy it and they want more. And
it's not just ballet, it's not just open for and mad.
It's just it's everything. It's it's jazz, it's it's tap,
it's now they just started getting in their hip hop.
But for me, it's like I enjoy it because I
know where they are right. I know they're not gonna
want to go to their friend's house. I know they're
(36:22):
not gonna want to go to the mall because they
enjoyed so much.
Speaker 1 (36:24):
School's over at two forty.
Speaker 2 (36:25):
From three to seven, they dancing, seven, they come home,
do homework, They tired, and I enjoy it because I
like watching them like I'm the There's not too many
dads out there for some reason, but I'm the one
that's I know the routine and I'm spinning with them
because I if they enjoy it, I enjoy it. But
it's I feel like more people, more kids should get
into it because.
Speaker 1 (36:43):
It's it's it's a it's a great art. Yeah, it's
a great art.
Speaker 4 (36:47):
And they gave me my foundation for everything, discipline, being
on time, confidence, like even when I got a different world.
I remember one of our our scripts, she came up
to me and she said, are you a dancer?
Speaker 3 (37:04):
And I was just standing there and I was like, yeah,
Like what gave me away? What?
Speaker 4 (37:12):
I was always on time? I was always there waiting
for everybody else. I did not understand the way they
did it and all the breaks they take. I'm like,
what are we breaking for? We ain't done nothing right.
Speaker 3 (37:26):
Dancers are the mules of the business.
Speaker 1 (37:31):
Wow.
Speaker 4 (37:32):
If the actors are coming out every now and then,
if we like when I did Fame, we were in
rehearsal or performing all day ten hours, actors going to
trailers are coming back. When we did School Days, you
couldn't be in that movie if you couldn't dance, sing
an act first of all. But that meant we all
(37:52):
came from theater we shot, we filmed the Uh well,
I mean we recorded the song on want to Be
Alone tonight after we filmed that day, and then they said, okay,
now you're going to the studio, and we went and
we learned the song and did it, and then we
learned the choreography and performed it. But that's how we do,
(38:18):
especially in New York and especially in theater. All my
dancing friends can sing and act. All my acting friends
can dance to sing. We had to be triple threats
to continue to work. You think them divers from Dreamgirls, Loretta, Divine, Shirley, Ralph, Jennifer.
Speaker 3 (38:38):
Lewis you built for it? You know?
Speaker 4 (38:41):
So when we go out there, we're not even asked
to work at our full potential, you know what I mean.
And your babies are gonna be like that too, and
whatever they do, because that kind of training is like
an athlete.
Speaker 5 (38:57):
I want to talk about another training you've probably got.
You know, you carry yourself with a certain sense of legalness,
right and when you look at Debbie Allen, when you
look at fore Lisha Rashad, they have that same regal energy.
Speaker 1 (39:10):
What did those two teach you?
Speaker 4 (39:12):
Oh my gosh, everything, I mean, Debbie was ahead of me.
So every time people told me, well, you're mostly a dancer,
we don't know about you acting, or you're a comic actress,
we don't know about you doing drama, in my mind,
I go Debbie dead. I just let them tell me
(39:33):
what they thought I couldn't do. And it wasn't just
that I knew I could. She's already done it.
Speaker 3 (39:40):
She just did it.
Speaker 4 (39:42):
She had two lines in the Fame movie when you
see her next she's directing, choreographing the show she's producing.
Speaker 3 (39:55):
You can't let other people tell you what you can do.
You don't know.
Speaker 4 (39:58):
And the other mantra had, especially like when people were
certain choreographers.
Speaker 3 (40:05):
You know, it's not a nice world, the dance world.
Speaker 4 (40:09):
So they're reading me or cussing me out, whatever, And
I would say, you don't know, you're not God all
I in my mind, So I wouldn't cry because I
was like, don't you know, don't you stand up here
and let him make you cry, because he's saying, you know,
you think you're something, you'll never be anything.
Speaker 3 (40:29):
And I was like, you don't know, you're not God,
that's right. How you gonna proclaim my destiny? You know?
Speaker 4 (40:38):
So you have to be able to talk to yourself.
And Debbie is the same way, Felicia is the same way.
They have a sense of self. Because Debbie told me
about how they rejected her at North Carolina School of
the Yards because she didn't have a body for dance,
because she got a booty in whatever.
Speaker 3 (40:58):
And she said and I took this booty all the
way to Broadway.
Speaker 4 (41:01):
Darling. You know, okay, you don't want me in your school,
Well I'm gonna go to Howard and then I'm gonna
be on Broadway and then and then and then. You
can't let other people tell you what you are and
what you're not. Yeah, And I refuse that. I refuse
that on just a general level. Like there were little
(41:25):
dancers in my class that were great dancers, but a
little chunky or whatever. And I heard how the teachers
talked to them, you know, destroying them.
Speaker 3 (41:37):
How dare you?
Speaker 4 (41:38):
How dare you take your responsibility and do that to her?
You'll know what she's gonna be, and you're only gonna
go with skinny, tall people.
Speaker 3 (41:50):
I just don't like that.
Speaker 4 (41:51):
If you don't teach kids in art form, don't add
your bitter two cents to it because you didn't with
your fat ass.
Speaker 5 (42:00):
That's not that's not politically correct. The political correct term
is big back.
Speaker 3 (42:04):
No, it's not just do women say that or is
that a malt.
Speaker 1 (42:11):
Discovered.
Speaker 3 (42:11):
I'm not saying term ud think I'm gay he discovered.
I'm no, that baby got big bag go down right
coming from us that's.
Speaker 4 (42:32):
It just comes up every now and then, and if
they don't see me with a man, like when I
was I was at an Oscar party of Georgia's and
I was dancing with Debbie and all the fame dancers
were there, like, you know, she keeps all her people.
They got me, you know photo the week me and
Debbie and they're talking about me and the hair salon.
Speaker 3 (42:55):
I knew it.
Speaker 4 (42:55):
I think they together, and Norm calls me he loved it.
Speaker 3 (43:00):
I said, well, I'm single. I don't like that. He said, yeah,
that's some funny.
Speaker 4 (43:05):
I said, funny for you because you're like, yeah, I'm
with Debbie and she's with Jasmine. And then it came
up when I was at a last you know, I
don't know what it is.
Speaker 3 (43:19):
I don't care, but it's just I don't want to
have to undo it. Yeah. And then you know, in
New York it was I got hit on and stuff
and I was like, okay, but what made you think
that I like bother me?
Speaker 4 (43:38):
You know, I was just developing into my womanhood.
Speaker 3 (43:47):
I didn't.
Speaker 4 (43:50):
And it was funk night and I would go there
by myself. Sometimes you can't always have somebody come with you.
You know, and so some sometimes I think it's because
I'm alone. And then, you know, my best friend at
a Lea's, we were walking through the park and unbeknownst
to us, we were walking in the.
Speaker 3 (44:10):
Wooded gay area.
Speaker 4 (44:18):
The valley, the jail, the okay, somebody's saw it there
and you didn't know we were in a certain area
or whatever, because I don't know. And then when I
(44:40):
got back to the school, they were like, you know,
they're saying that you and so and so, and I
was like, I don't even have a boyfriend.
Speaker 3 (44:48):
How can I have a girlfriend? Okay, like I can't
even work. You know, it doesn't bother me.
Speaker 4 (44:55):
But when I was younger, it did because I was
still developing.
Speaker 3 (45:00):
And it was pulling up on you. I was developing
as a young woman. Yeah, would you ever do a memoir?
Speaker 5 (45:07):
I know, I mean, you know you got done sensitly
coming out this weekend, But would you ever do a memoir?
Speaker 4 (45:12):
I would need I would need some help, you know,
I would just need some help. I can't write it
myself by myself.
Speaker 5 (45:19):
Oh yeah, yeah, most people get help with them memoir.
Because I loved reading Jada Pinkett's book Worthy, because like,
you know, and we were saying early and you were
saying it was such a privacy in the nineties.
Speaker 1 (45:29):
So to get those stories from that era.
Speaker 5 (45:32):
When she talks about you and you know, poking, just
yourll friendship, just that friendship of black Hollywood.
Speaker 1 (45:38):
It's just like man.
Speaker 3 (45:40):
And now I was like.
Speaker 4 (45:43):
Privileged enough to hang with them because there's so much
younger than me, you know, and it was just easy.
You know, her birthday party and we went to The Dragonfly,
which was funk night that night.
Speaker 3 (46:00):
He was an, I like me some funk.
Speaker 4 (46:03):
Obviously, I'm like, it's fuck Nay, you're a Dragonfly. But
and you know, accepting of me because so I think,
hold is Jada fifty?
Speaker 1 (46:17):
I don't know, let me look it up.
Speaker 3 (46:19):
I think, well, I'm sixty two.
Speaker 4 (46:20):
So when I'm on the show, I'm twenty five, twenty six,
twenty seven.
Speaker 3 (46:25):
They eighteen nineteen. Yeah, so now it's not a big deal.
But back then, I wasn't hanging out with no you know.
Speaker 4 (46:35):
I remember I went to a restaurant with Cree and
as we were walking to the restaurant, she said, do
they card? I said, card, I mean, I'd never I
had never been carded because eighteen, you know, I said,
how old are you? She said, I just turned eighteen.
I said, what the hell am I doing hanging out with?
Speaker 3 (46:57):
Are you kidding me? Condeemed too. I saw them as kids.
Speaker 4 (47:05):
I like grown ass men when I was young, thirty
thirty two, so that you know, it's like eighteen.
Speaker 1 (47:14):
Yeah.
Speaker 4 (47:14):
But now that they have embraced me yet, I appreciate
it because they kept me current and kept me interested
because they.
Speaker 3 (47:28):
Jada and Cree are out the box thinkers. You know.
Speaker 4 (47:32):
They bring creative ideas to the table that I never
would have thought of.
Speaker 3 (47:37):
And I love that.
Speaker 4 (47:38):
And and of course you know, keeps me laughing, Park.
Speaker 3 (47:45):
And I would like that too. He always had ideas.
Speaker 4 (47:49):
I felt so unaccomplished, you know, because he would say
something and then do it.
Speaker 3 (47:57):
I would tell him an idea.
Speaker 4 (48:00):
And not write it and not finish it, or it's
still like on my shelf. Mostly I wanted him to
know that I felt he was a great actor. And
I heard the murmurings of, oh, he's just being himself
or whatever. They're just writing on his fame as a rapper.
(48:21):
I said, everybody that raps ain't acting on there There
were a lot of rappers that had movies that man
can act. Yeah, I mean his performances were I have
to change. And I just wanted him to know that
and not listen to that. One time in Newsweek, they
(48:41):
used to have little blurbs like Star of the Week
or Celebrity of the week, just a little blurb, and
they said, and surprisingly handsome rapper.
Speaker 3 (48:54):
I said, what the fuck is surprise? How insulting he was?
Find of shit? It wasn't.
Speaker 4 (49:07):
Why was that surprising? He's supposed to be ugly because
he's a rapper. I found it racist. Then when I
got to when I won one of my Image awards
and I go to the press tent, there were two
little white girls there and all they did was ask
me about what I felt about Tupac getting an Image award.
Speaker 3 (49:31):
Now, meanwhile, I have my award, it's my.
Speaker 4 (49:34):
Sixth one, and I'm not even prepared to you know
how they'd like to bring up dirt when you had
a bread carpet.
Speaker 3 (49:43):
And I was thinking, what are y'all doing here?
Speaker 4 (49:46):
This is our party, you know, and you're crashing our
party and asking me to tell some dirt about somebody
else here. So I wasn't in the most receiving way.
They kept asking me if I thought he deserved an
image of Ward and I said, well, I don't know
(50:07):
what the controversy is. Well, you know, because of Dolorus,
Tucker and this, that and the other, and I didn't know.
And I said, well, can you tell me which songs
you're referring to? At the time, I had only heard
Dear Mama, Brenda had a baby and keep your head up.
I honestly didn't know what the controversy was about, because
(50:29):
these are all uplifting female And she said, well, I
don't know which song.
Speaker 3 (50:37):
I haven't heard the CD.
Speaker 4 (50:39):
I said, well, why don't you do your homework and
then come to me and asked me. I was so mad,
And in the back of the house there were two
brothers like this. They were from Jetton Ebony, you know,
because I'm like, how dare you come to our party,
insult our guests and don't even know what the hell
(51:02):
you talking about?
Speaker 3 (51:05):
But I'm supposed to know.
Speaker 4 (51:08):
They were on the radio those three songs, and they
come in like they.
Speaker 3 (51:14):
Well, we just are bad. We just that may hell.
Speaker 4 (51:19):
Oh my god. I was so glad. So the next
day I was in the LA times, I have my
ward up like this and my nostrils and I don't
know what they said, but my publicists called me and
she was like, you know, there are there are white
actresses that don't get hired because their breasts are too big.
(51:39):
I was like, first of all, I don't have to
run everything by you for me to speak. You know,
if you wanted to be.
Speaker 3 (51:49):
By my side, you should have been by there. But
what was she gonna do? Interrupt me? You disrespecting us,
You disrespecting me and they and the faint.
Speaker 4 (52:01):
He saw that article and heard that I stood up
for him, and.
Speaker 3 (52:06):
She never forgot that.
Speaker 4 (52:09):
And I think that's part of why she was cool
with him staying with.
Speaker 1 (52:14):
Me after you got shut Yeah.
Speaker 4 (52:17):
Because she didn't based on what they knew about me
and seeing me on the show, she didn't realize that.
Speaker 3 (52:23):
I was like that, you know what I mean?
Speaker 4 (52:26):
And they're very much soldiers in that. One of her
friends said, oh, you a soldier now, and I was like,
I'm sorry, are we at war?
Speaker 3 (52:39):
I didn't know what she meant.
Speaker 5 (52:40):
By were you afraid during that time? Like when you
took Pokin after he got shot? Did you feel like
what if they come looking for him.
Speaker 4 (52:46):
And yeah, there were times because of the the regularity
of my going in and out of my apartment, I
felt like it would be easy if I had been
on radar for anybody.
Speaker 3 (53:01):
To you know, follow me or come up. And so
there was that.
Speaker 4 (53:07):
And I didn't live in a secured building like a
doorman building, and I was scared of but like I
had never seen a real bullet wound, just you know
on TV like NYPD Blue and when I.
Speaker 3 (53:25):
Played a badass in this movie.
Speaker 4 (53:27):
But I was concerned about that, you know, actually caring
for the wounds and making sure he was gonna be okay.
Speaker 3 (53:37):
Yeah, he should have been in the.
Speaker 4 (53:38):
Hospital for at least two or three more days on antibiotics.
Speaker 1 (53:42):
Everybody has walked out.
Speaker 2 (53:43):
He signed himself out, so you had to help him
out and help meet and help him get himself back together.
Speaker 4 (53:46):
But he when he left Bellevue, he went to his
girlfriends and he realized it was equally accessible. He just
felt like a sitting duck in the hospital. But everybody
knew who he was at his girlfriends. Nobody knew that
we were friends. So him coming to my apartment was
(54:07):
more diary of Frank I just put food under the bookcase.
Speaker 3 (54:14):
But yeah, it was on the down load.
Speaker 4 (54:18):
I didn't know what kind of publicity might have come
from that, but it wasn't anything I was interested in publicizing.
So I just shut the family down.
Speaker 3 (54:30):
I was like, did you tell anybody where those you knew?
Speaker 1 (54:34):
You know?
Speaker 3 (54:35):
Because I didn't do that for that reason.
Speaker 4 (54:38):
It was a personal reason, and that was one of
those moments where you know, y'all don't get that, and
they they respected it all these years until the documentary,
they've been wanting to, I guess, thank me, but their
love and I'm part of that.
Speaker 3 (55:01):
Family now has been enough.
Speaker 4 (55:03):
I don't need public thanks for what I did on
a personal level. So it's interesting the documentary said, Okay, Jasmine,
you can talk about that part of it now, because
I really thought, well, just you know, I'll go to
my grave with certain things. Not because I'm ashamed, but
(55:27):
I don't like the exploitation factor of things that you
do in your personal life for your kids or for
people you love or whatever.
Speaker 5 (55:35):
You know, it was your story, I mean, he said
in the doc Jaya talked about it in her book.
Speaker 3 (55:40):
Yeah, this is a she called me and tell me
what was in the book. This is all I said.
I didn't talk about this about that.
Speaker 4 (55:48):
And I really was calling her more for support because
when I wrote a fane's book, I didn't know all
the other stuff you have to do for a book,
bok tours, you know, And I just wanted to make
sure she was And there was a kind of loneliness
(56:09):
to her story to me, No jaj there's a loneliness
like the bigger and richer and you get more isolated,
you know, there's more things you can't do and you
always have to I don't know, so I just I
(56:30):
just didn't want her to feel that loneliness. She could
talk to me about whatever, because that was some It
was a lot of personal information. Her gauge is way
past mind. That's what I mean about the younger ones.
They showed me that I don't have to be that
old school about my press.
Speaker 3 (56:51):
Let's go say you.
Speaker 6 (56:52):
You didn't say you know, when Tupac stayed with you,
you saw that like you ain't gonna go in it
like that.
Speaker 3 (56:58):
I didn't tell nobody.
Speaker 4 (57:01):
Yeah, I mean when my family saw the documentary, my
best friend said what I told two people and they
both lived in New York because why tell somebody that
can get to me, because I did. I was worried
that anything could happen, you know. And those two people,
(57:22):
two of my friends that lived in New York, that
was it. So all my other friends, I just because
two weeks is on a long period for me not
to call you. I wasn't missed yet, you know, maybe
had It's been a month.
Speaker 3 (57:40):
Yeah.
Speaker 4 (57:41):
So now when that documentary came out, a lot of
my friends were like.
Speaker 3 (57:47):
When did this happen? Were you staying? How come I didn't.
Speaker 4 (57:50):
Know HD his girlfriend at the time. I have a
problem with that because that's part guy. So you know,
I have no idea child. I wasn't doing.
Speaker 3 (58:01):
Twenty one, you know what I mean. I'm not like
your girlfriend.
Speaker 4 (58:06):
And it was dire, it was I mean, he was
in trouble, yeah, and he was still open, like it
wasn't healed yet, you know. So I wasn't thinking about that. Yeah,
they got back together a thing.
Speaker 3 (58:22):
They got back together.
Speaker 1 (58:24):
Yeah, I'm sure you talk about this only since that.
Speaker 5 (58:25):
This is my last question, like, when's the last time
you spoke to him? Like before you die, do you
remember the last conversation in your head or the last
time you saw him.
Speaker 4 (58:35):
I was visiting a Feeny and Stone Mountain when they
had a house there.
Speaker 3 (58:42):
And he came through. Now this is after he had
been in prison for eleven months. Okay, I've seen him
for a while. Yeah, so I saw him at the house.
That was the last time.
Speaker 1 (58:54):
You remember the conversation or you don't, that's personal.
Speaker 4 (58:58):
It was just like hey, you know, and he was like,
I'm strong now because he was.
Speaker 3 (59:03):
He was, you know, infirmed.
Speaker 4 (59:07):
So he wanted me to see his you know, little
prison push up muscles.
Speaker 3 (59:13):
Because we're all black from doing it on you know,
he wanted. I was like, yeah, you look good.
Speaker 4 (59:20):
And then he went out with his friends and you know,
I hung out with a fainting The thing that really
hurt my feelings about him getting shot like that. When
he was with me, I thought I was helping him
go to the next part of his life, like grow.
(59:45):
I was like, you're gonna get You're gonna go to prison,
and then you get shot again. And I knew that
second shooting wasn't the wounds he had the first time,
wearing his appendages.
Speaker 3 (01:00:02):
Not in his lungs. I'm so disappointed.
Speaker 6 (01:00:14):
Yeah, and he told me he was gonna it wasn't
gonna make it past twenty five.
Speaker 3 (01:00:21):
I always thought he was just talking shit.
Speaker 1 (01:00:23):
All the time.
Speaker 3 (01:00:25):
That's legend. Put that in the book. I was like,
I'm not writing a book about you. I'm telling you that.
I'd be like, I'm never telling anybody anything about this experience.
Speaker 4 (01:00:40):
Nah, you need to you know, blunt in the baptib like,
you need to put this in the book.
Speaker 3 (01:00:46):
What am I?
Speaker 4 (01:00:46):
You're fucking now, I'm you're a chronicler. Yeah, And he
kept telling me he was like twenty one, and I
really didn't understand that world.
Speaker 3 (01:01:00):
He knew. I wasn't from it.
Speaker 4 (01:01:04):
I thought it was ridiculous for him to say he
wasn't going to live past twenty five. I treated him
like I treated my little cousins that make these statements
about life.
Speaker 3 (01:01:18):
So that hurts.
Speaker 2 (01:01:22):
I can't wait people to hear your story.
Speaker 1 (01:01:24):
You live the life guy. You got to watch him
since this Sunday.
Speaker 2 (01:01:27):
March twenty four, Central TV one.
Speaker 3 (01:01:30):
You gonna make me. I'm gonna take my lashes off
because I'm going to know yea with lashes if you.
Speaker 1 (01:01:38):
Take them off and put them on ebit, No, I
forgot I got you.
Speaker 3 (01:01:42):
I watch the going.
Speaker 4 (01:01:44):
Make sure they know it's not roaches or a spider
because they like you, just put them on.
Speaker 1 (01:01:49):
All My lesson for Jasmine guy.
Speaker 5 (01:01:54):
Ladies, always the pleasure when guy love you so much. Lady,
you are a cultural We appreciate you so much, we
value you.
Speaker 1 (01:02:02):
Just thank you always.
Speaker 3 (01:02:03):
Now, thank you.
Speaker 2 (01:02:04):
It's Jazmine Guy, It's the Breakfast Club.
Speaker 1 (01:02:06):
Good morning, wake that ass up in the morning. The
Breakfast Club
Wait tail as up in the morning.
Speaker 2 (00:02):
Breakfast Club Morning, everybody is DJ Envy just hilarious, Charlamage
the guy. We are to Breakfast Club and we got
a special guest in the building, the legendary Jasmine Guy.
Speaker 1 (00:13):
Welcome back.
Speaker 3 (00:14):
Good morning.
Speaker 1 (00:15):
How you feeling.
Speaker 3 (00:16):
I felt great.
Speaker 4 (00:18):
I love doing your show the last time, and I
got a lot of positive feedback.
Speaker 1 (00:25):
I love you come on.
Speaker 4 (00:27):
It was a different kind of interview though than they
used to. My daddy was like, you were a little
too comfortable. You act like they were at your house. Champagne, right, yes,
champagne whatever that was.
Speaker 3 (00:42):
I didn't even like it, and I was drinking that.
Speaker 4 (00:45):
But my father said that you would put more in
when I was looking at Kadeen.
Speaker 3 (00:51):
That's what he said.
Speaker 4 (00:53):
He said, whenever you looked at Kadeen before, more in there.
So I'm I'm thinking, I'm just drinking one glass probably,
but I'm drinking anywhere.
Speaker 3 (01:09):
It's something in the morning. Embarrassing, is that you talk
you just back there just laughing.
Speaker 4 (01:18):
No, No, it was good because you ask questions that
people don't usually ask. You know, we get the same
questions over and over, especially about a different world, and
I just like that it went into other areas of
my life and my career and his too, because anybody
(01:39):
can look at any interviews we've done and get those answers.
Speaker 3 (01:42):
It's the same answer, you know what I mean? So
can we talk about something else?
Speaker 4 (01:48):
You know, we bring it to another element that hasn't
been explored with us.
Speaker 1 (01:54):
And you've done so much more since since.
Speaker 5 (01:57):
Absolutely, like right now you want your first yearlations.
Speaker 3 (02:03):
She went for the Chronicles of Jessica Woos. Yes, that
was a trip.
Speaker 4 (02:07):
So I was going to Mexico to hang out with
my girlfriends and I land and I get all these
checks from people saying congratulation on your Emmy nomination, and
I really thought people would messing with me.
Speaker 3 (02:22):
I didn't even call them back. I said whatever.
Speaker 4 (02:26):
I wouldn't even And then when I realized I really
had been nominated, I thought it was for the show Harlem. Okay, okay,
Chronicles of Jessica Woo I had done. It was before COVID.
It was a long time ago and I only worked
on it for a day. It was a very interesting
(02:49):
project to me because the production company was a couple,
a small black production company. The superhero in the in
the p had autism, but her powers that whatever put
her on the spectrum made her a superhero. Their daughter
(03:10):
had an autistic child anyway, So I said, well, I'll
do it because I know after this they're going to
need distribution.
Speaker 3 (03:18):
And who knew that's what you know.
Speaker 4 (03:23):
What I'm saying, my love for them and what I
know about you know, pitching ideas. You're gonna need a name.
I know, I've heard it all. And I said, well,
I'll be your name. This is gonna be good. And
it was a short series, like a wepisode series. The
other Oscar nomination I got was also from an independent
(03:45):
black company and it was my nephew Emmett, and I
played em matills aren't on the night that he was
taken from their home, and I was like, oh shit,
I do not want to go to Mississippi.
Speaker 3 (03:59):
And I'm telling you.
Speaker 4 (04:00):
We stayed right down the street from where he got abducted.
Speaker 1 (04:05):
Missippi still got that same energy.
Speaker 3 (04:07):
Thank you. I was gonna stay. I felt ghosts.
Speaker 4 (04:12):
Yeah you know, And I did it and they got
nominated for an Oscar night when the director called me.
He was a graduate student from NYU Film School. His
mentors with Spike Lee and Casey Lemmon's right, beautiful brother,
and the and the crew and everybody.
Speaker 3 (04:31):
I had a great artistic experience.
Speaker 4 (04:35):
But when he told me we, you know, we got
nominated for an Oscar, I thought he was messing with me.
Speaker 5 (04:42):
That's not a lot though, Like about how you know,
I guess black actors and actresses are conditioned in Hollywood
that when they get told that they're even nominated, they
don't believe it.
Speaker 4 (04:52):
Well, when you ignored long enough, you got the message.
I got the message. If you're not nominating a differ world,
Debbie Allen, Susan fails our wardrobe department, any other actor
on that show. I stopped focusing on y'all giving me
my props.
Speaker 3 (05:11):
I know who gives me my props.
Speaker 4 (05:13):
And I told the actors, I said, we just gotta
be good, you know, forget all these accolades or whatever.
They obviously do you know how many times they said
to me, even on I think I did. Dennis Miller,
remember Dennis Randa a talk show. He started with, so
(05:33):
how does it feel being between number one and three?
Speaker 3 (05:38):
And I was stunned because I just sat down.
Speaker 4 (05:41):
You know, you come out all cute and whatever, and
I was like he said, that wasn't a good leader
in question, I said, no, it wasn't.
Speaker 1 (05:48):
You're talking about cognye and cheers.
Speaker 4 (05:50):
Everybody said we were number two because we came between them, Okay.
Speaker 3 (05:55):
And that was the first question. That was the message.
Speaker 4 (05:57):
That was the message that we got this actors as
you know, performers, and we never got our props for
not not just the acting, but it was Debbie Allen,
Susan fails me.
Speaker 3 (06:11):
Three black women in charge of that show. You know
what I mean? We could have been on the.
Speaker 4 (06:17):
Cover of Essence, and I just knew who really saw
us and who really understood us.
Speaker 1 (06:24):
Why was that work for?
Speaker 4 (06:25):
That's the same white motherfuckers.
Speaker 1 (06:30):
Old up to day.
Speaker 3 (06:37):
You came to the right shows. You can't say that word, so.
Speaker 2 (06:43):
You can go back here the same white motherfuckers make
sure you forget just.
Speaker 3 (06:48):
The same world. Just look.
Speaker 4 (06:50):
Okay, So Carcy Warner, our producers also produced a show
with Whoopy Goldberg called Bag That Cafe Grace under Fire
in the Roseanne Show and the cos of the show, right,
so we're one of five.
Speaker 3 (07:09):
They never asked us to do anything.
Speaker 4 (07:11):
They asked Roseanne Barr to sing the national anthem in
which she grabbed her crotch because she can't sing. But
we got five singers on our show that you could
have had, don me kree. You know, never when we
got offered.
Speaker 3 (07:28):
Things that would have I don't know. I just got things.
Speaker 4 (07:35):
We got things on our own, and I never felt
a part of that network. Then when I saw what
happened with Friends, I was like, Yo, that would have
helped us. It would have helped us with work after
the show. It would have given us some props, you
know that we could have used for future projects.
Speaker 3 (07:57):
I pitched a lot.
Speaker 4 (07:58):
I have my own production company after a Different World.
All of my projects were rejected, but then I started
to see.
Speaker 3 (08:06):
Them that was wow, which ones yeah that.
Speaker 4 (08:14):
I had a TV idea about a young woman that
inherited a sweatshop in the garment district from her gay
friend that died of AIDS, and but she still saw
him as a ghost.
Speaker 3 (08:27):
I had even talked to Rue Paul about being my ghost.
You know.
Speaker 4 (08:34):
They was just everything was a reason not to do it.
But then I would see a white girl do it.
Then I had this idea about what was the name
of that spy show? It was a French movie, Independent movie,
and oh, okay, So I thought this would be fierce
well Robin Gibvens. So I wrote up a treatment for
(08:57):
a pilot version of it. No Robin Gibvens, but a
white American girl doing it. So I was like, well,
I know my ideas are valid, but I just started
divorcing myself like a bad relationship.
Speaker 3 (09:13):
Stop asking for what you know you're not gonna get.
Speaker 4 (09:17):
I didn't have a parking space like Don Johnson after
Miami Vice.
Speaker 5 (09:22):
You know, he was the star of the number two
show on the network, one of the biggest shows on television.
Producer on it too, right, no o oh, thoughts you
reduce on it? No, but even even still, a star
of that show can't have a parking spot.
Speaker 3 (09:37):
I had a parking spot, but he had a production deals.
Speaker 4 (09:40):
When I'm saying after he did Miami Vice, he had
a production deal, you know.
Speaker 3 (09:45):
And I don't know.
Speaker 4 (09:49):
I just thought that we were we were ready and
well equipped to move on into other areas. I definitely
wanted to be a producer because I had met so
many people on the different and I wanted to bring
this writer with this director, you know, And the ideas
that I had were not being done. The Dorothy Dandrews story.
(10:13):
I pitched that for years. I had to educate first,
who's the earthy dying dright? I told him it wasn't condescending.
And I didn't want to say the black Marilyn Monroe
because that's all they understand is a black version of
what we already know. So I don't use that term
(10:35):
when I'm pitching. And the movie got done. It just
got done without me. And after a while, I said, Okay,
I understand, you.
Speaker 3 (10:48):
Know what I mean. It's like a bad relationship.
Speaker 4 (10:50):
After a while, you gotta understand, Okay, I ain't what
you want.
Speaker 6 (10:58):
This is, and this is and so is all of
this and other things. I'm sure as what leads up
to Uncensored. Jasmae God Like.
Speaker 3 (11:08):
Yeah, you know what, I'm still like.
Speaker 4 (11:09):
I did uncensored because I did Intimate Portrait on lifetime.
I did Unsung, but they were in different decades of
my life. I mean, Intimate Portrait must have been in
my forties and then fifties, and now I'm in my sixties.
And I said, I may have a different perspective on
(11:31):
my truth. Same things happen, but I feel differently about them.
I have a different perspective, and I'm not. I'm trying
not to be so precious about my private life because
I really do this. When people get like, you know,
that's that's mine. I feel like I do enough with
(11:52):
my work for the public. That is my gift to
the audience, That is my way of communicating. You don't
need to know who I'm sleeping with their business, don't.
Speaker 3 (12:04):
Need to be in the street.
Speaker 2 (12:06):
You from that era, though, Like that era was you
didn't really see your favorite celebrity, favorite actress, favorite actor,
and when you did, everybody went bashit crazy because you
never did. Like our favorite celebrities growing up as kid,
we didn't know who they dated. We didn't know where
they went to eat, we didn't know where they lived,
We didn't know any of that. And that was part
of the mystique of them being a superstar, real celebrity.
Speaker 3 (12:30):
But it's also private.
Speaker 4 (12:32):
I don't feel like I didn't understand why celebrities were
saying private things. When nobody even asked you that.
Speaker 3 (12:48):
You'll make you talk.
Speaker 4 (12:51):
I'm like, why are you nobody asked? Nowadays, I so
with the oh, and I also get an Instagram.
Speaker 3 (13:04):
I mean, I've had an account, but.
Speaker 4 (13:08):
My makeup artist said when he went on my social
media that it was vented.
Speaker 3 (13:14):
Not the vwork that I had not post.
Speaker 4 (13:17):
I said, I don't know what to post. I don't
know what's interesting because work fulfill so many parts of me.
If I'm not working, I really don't have nothing to say.
What I did today, I colored, I did crossword puzzles.
Speaker 2 (13:36):
People are into that, They're into your life outside of
just acting into what does Jasmine guy do? What does
she enjoy?
Speaker 1 (13:43):
What is she like? You know, because we know who
you are on.
Speaker 3 (13:50):
Like a humerus, boring.
Speaker 2 (13:52):
People want to see that. They want to understand that.
They want to see what your life like. If you
just sit outside and you you knit all day, what
are you knitting?
Speaker 1 (13:59):
Why? And to be honest, what calms you down?
Speaker 2 (14:00):
Because maybe what calms you down helped calm me down.
Maybe something that you do can help guide me through
my life. So people are into what people.
Speaker 6 (14:08):
Do, and now we need some boring shit because like
everybody's wilding out here I'm talking about So I'm interested
in what you be knitting.
Speaker 3 (14:19):
I want to see my next staff can.
Speaker 4 (14:24):
No, but it's kind of like that. I like calm
I love my friends. My favorite thing in the world
is when my friends come by my apartment. And I
live in Midtown in Atlanta, so I'm accessible because in
New York I used to have an apartment on seventy
eighth Street between Columbus and Central Park.
Speaker 3 (14:44):
Everybody come through there.
Speaker 4 (14:46):
If you lived in Queens, if you lived in Jersey,
you're gonna come by my and I love that, and
so that's one of my favorite things is having my
people over.
Speaker 3 (14:56):
And I've been cooking to I've been watching TV.
Speaker 2 (15:01):
People like to see what the judgmine got cooked.
Speaker 1 (15:03):
What's your favorite meal?
Speaker 3 (15:04):
Well, I'm trying to make the perfect chicken wing for me.
Speaker 4 (15:09):
No, I've made them and make them every week, but
for me, other people eat them and they're okay, but
I want a certain consistency.
Speaker 3 (15:20):
I think.
Speaker 4 (15:20):
I'm I can't get a deep fire because of my apartment.
I can't have it on the on the patio. So
I've tried all different kinds. They're good, and I've done
the marinading and everything. Also, I've learned meatballs. I got
a good meatball let people like and it's a it's
(15:41):
real import I'll make you some turkey Teresa no, Chriso
sport too.
Speaker 3 (15:51):
I make you some. But I gave a cheesecake.
Speaker 4 (15:56):
So I'm using my mother's cheesecake recipe and I'm just
doing them over and over until I get it.
Speaker 3 (16:04):
My daddy is my guinea pig.
Speaker 4 (16:05):
He has to try out my food and give me notes,
tell me if it's dried, tell me if you know.
And my friend Jamala loves my cheesecakes. So I made
one for the house, gave it to her and I
was like, you know, let me know how it is
or whatever. She gave her mother one piece and she
(16:26):
ate the rest of it because she's had three whole
cheese cases.
Speaker 3 (16:34):
Yes, I love anything.
Speaker 4 (16:35):
I'm like, okay, Jamala, let me tell you what's in this,
because you kid. So she wrote a book about her daughter.
It's a children's book called Mommy, I Think I Have Diabetes.
She found out her daughter as diabetes, but it was
from her daughter.
Speaker 3 (16:51):
This was a truth story.
Speaker 4 (16:53):
She made a children's book, and I said, your second
book is going to be Mommy. I think you got
you beating.
Speaker 3 (17:02):
Whole cheesecakes right.
Speaker 4 (17:08):
I'm glad you like them and whatnot, but you know
you can't beating the whole one.
Speaker 2 (17:13):
Yeah, I gotta ask you know you mentioned earlier that
you know when you do these interviews, people ask the
same questions about a different world. Are you tired of
being of talking about a different world since you had
I mean that was thirty years ago, but.
Speaker 1 (17:25):
Then I sat seven thirty seven.
Speaker 3 (17:27):
Wow.
Speaker 2 (17:27):
But then I see you on the HBCU tours going
from school to school. I see you having those conversations.
Are you just done with talking about that part of
your life?
Speaker 4 (17:36):
I'm not done with that part of my life because
people are exploring, They're asking me the same things. What's
your favorite episode? They want me to see the wedding show?
Speaker 3 (17:45):
That wasn't my.
Speaker 4 (17:45):
Favorite episode, that's your favorite episode. I love when the
kids ask questions. So we go to these schools. We
have a moderator this past when we just spell them
in Morehouse and Clark, we have seven of us. I
love that too. Usually it's no more than four of us.
And when the kids get to ask the questions, their.
Speaker 3 (18:10):
Questions are different. They're not asking those same things.
Speaker 4 (18:14):
I mean, really, you could do your research and know
the answer already, of course, but the kids are like
when you were nineteen.
Speaker 3 (18:23):
Blah, blah blah.
Speaker 4 (18:25):
When you first left home, what did you think about
your character?
Speaker 3 (18:31):
I mean intelligence, especially them Spellman girls.
Speaker 4 (18:36):
First of all, they acted like we were rock stars.
Speaker 3 (18:40):
They were just open shame when we came out.
Speaker 4 (18:44):
Then one girl said Miss Charnell, Miss Charnell, I want
to thank you for being a presence for dark skinned girls.
Miss Jasmine, thank you for showing me confidence. And Miss
(19:06):
cree thank you for being the odd ball.
Speaker 3 (19:11):
That was her.
Speaker 1 (19:16):
There you go. Thank you.
Speaker 4 (19:17):
Yeah, she was saying, I see you and you helped
me see me.
Speaker 3 (19:25):
And you don't know you're doing all that when you're
just playing your role, you know, But.
Speaker 4 (19:30):
I know Debbie knew. I knew Debbie knew what she
was doing when she hired.
Speaker 3 (19:35):
Korea and Sean. Now, that second season, it was very deliberate.
Speaker 1 (19:41):
I was just talking.
Speaker 5 (19:41):
About I was, yeah, what were you saying? We had
a whole conversation about who was the most beautiful on
a different world, and you know, he turned into that.
Speaker 1 (19:55):
I was like, man, Kimberly Reeche was the one.
Speaker 3 (19:57):
He was the one.
Speaker 1 (19:58):
You think they should you.
Speaker 2 (20:00):
I think there should be another show or maybe they
should relaunch it. And the reason is, last time I
tell you. The reason I went to college and HBCU
and Hampton was because I seen a different world and
I wanted that experience coming from Queen's right, I was like,
I want that. I don't know if people see that anymore,
if they see what a college looks like in the
experience and not just you know, the partying, but real life,
(20:23):
real situations and everything going on. I think that's missing.
Speaker 3 (20:27):
It is not there.
Speaker 4 (20:29):
And I thought when we did, you know, because when
I did a Different World, we were coming off school
days and it was you know, months in between the projects,
so it felt like we're a part of a wave.
I didn't know that it crested and was over because
(20:49):
Fox started with Rock Dutton Show, some bad show even
you know, before Martin, and once they got launched, they
dropped those black shit. Same with c W. You saw
what happened with the game. But I thought we were
part of a new, I don't know, a new entertainment
(21:10):
phase for black people.
Speaker 1 (21:13):
It wasn't renaissance, but it was over after.
Speaker 4 (21:16):
College we left, but they just snatched everybody off. They
couldn't wait to get our time slot.
Speaker 1 (21:22):
Yeah, I've had a lot of conversations about that.
Speaker 5 (21:24):
I feel like after the nineties it was an intentional
It was intentional and strategic by Hollywood to change the
image of black people.
Speaker 1 (21:31):
I really feel that way.
Speaker 3 (21:32):
We think so too. Charla made it.
Speaker 5 (21:34):
Went from great scripted shows and people had jobs and
caribs to reality television.
Speaker 4 (21:40):
Wait, they don't have to pay nobody until you make
it big or whatever. And now even with Harlem, and
I loved that show and I love doing it, and
I don't understand the streaming thing. Amazon had us for
ten ten episodes of first season eight, the second season,
this season six. So what you're doing, I don't know.
(22:04):
We have to do twenty two episodes a season. What
you're doing is you can't give anybody long enough work, right,
So the writers on a series, they're given enough four
or five months they're getting.
Speaker 3 (22:18):
Paid, but now six, that's two months working.
Speaker 4 (22:26):
I don't know, And I don't know why they're doing
it with Harlem because people like that show, you know
what I mean.
Speaker 3 (22:34):
And it shows Harlem in a beautiful way.
Speaker 4 (22:36):
It's vibrant and alive, and it's not gray and boarded
up like the Harms like you know, it ain't coulle
high and cornbread. Earl and me, Harlem, it's the celebration.
So I don't know why they're not committing. I find
it selfish that you don't give a show enough legs
(22:59):
to succeed.
Speaker 3 (23:02):
And let Tracy Oliver do what she do.
Speaker 2 (23:06):
I had so much influence, you know, Jamaine dup previous
said yesterday and on it. They did a Freaknik documentary,
Oh have you ever been a Freaknick?
Speaker 4 (23:15):
No, I was in that la during that time, but
I've heard about it. They shutting down NY twenty. There
were a lot of babies made during that sure.
Speaker 2 (23:24):
They said that actually Different World made Freaknick even bigger.
I guess you had an episode where the girls talked
about going to Freaknik and not telling their parents.
Speaker 3 (23:32):
Oh yeah, the younger crew like Jada and them.
Speaker 2 (23:36):
Yeah, And they said that amplified it a thousands, so
many people.
Speaker 1 (23:40):
Watching Different World. It was like, we're going down to
freaking as you call some people to get pregnant. Paying
child's a question with God.
Speaker 5 (23:52):
You find a sense of vindication in this award at
this stage of your career.
Speaker 3 (23:58):
No, you know what I felt.
Speaker 4 (23:59):
I was really surprised at how happy I was when
I when I got it, I really felt like I
won that award for a different world in Atlanta.
Speaker 3 (24:11):
Wow.
Speaker 4 (24:11):
And I say Atlanta because when I got to New York,
I had been trained that I had been poured into,
you know, with my dance schools, my teachers and performing
our school.
Speaker 3 (24:25):
I went to my church, you know.
Speaker 4 (24:30):
And then and I also knew that even though I
was glad that the show won, you know, Jessica, Wo,
I just felt like it was for a different world.
Speaker 3 (24:42):
It's for what nobody you know.
Speaker 5 (24:45):
Got back then you dedicated your award to a different word.
Speaker 1 (24:47):
That's the reason why, just because you felt like, yeah.
Speaker 4 (24:49):
I was like, this is ours because I know what
made that show good. And I know we didn't get
our props from white people. Five sixty Image Awards do
Soul Train Awards.
Speaker 3 (25:11):
Because they know what that does.
Speaker 4 (25:12):
It gives you power in the Hollywood system. We're not
giving them that. That's so disrespectful to me. It's not
like a person I could cuss out. It's just a
cloud of white people, like white Hollywood. Because if that
show would just look at what they do with friends
(25:36):
and what they did with living single, just look at
the publicity, how much money they made, they were at
the Golden Globes.
Speaker 3 (25:46):
They got movies. We are no less talented.
Speaker 4 (25:52):
And the writing was awesome on the Different World because
they're doing deep subjects, and hey, I have to keep
us funny because the network wanted us funny. They said, well,
if we're gonna do this age show, how are we
gonna make it funny? Well, maybe Whitley's gonna lose her
virginity during what's the B line?
Speaker 3 (26:13):
That's gonna not make it so heavy?
Speaker 4 (26:16):
You know, they have to do that for everything the
Riot show that they have to still mix in the humor.
And I think we did that well and that Susan
fails Hill. I'm so proud of lean Away and Easta
Ray to see them as showrunners and starring and.
Speaker 3 (26:40):
This and that.
Speaker 4 (26:41):
I'm like, Oh, they are fierce, and I hope they
get their props.
Speaker 5 (26:46):
But I wonder, how do you think this recognition of
the award contributes to the broader conversation about diversity and
representation in Hollywood, especially for like O G veteran actresses
like yourself who've made significant contribution old a decade.
Speaker 3 (27:01):
Okay, so what like.
Speaker 1 (27:03):
What did this do? Like?
Speaker 5 (27:04):
The award has to do something being that jaminer, I
can still be so good at this stage in her
career that she's still Oh.
Speaker 4 (27:11):
Yes, it does feel validating. And I even said when
I accepted the award, you know, thank you for keeping
me in this community, because the creative community is my world,
whether it's in the New York or LA or Atlanta.
You know, valup my people, and you know, with the
(27:35):
pandemic and then six seven months on strike, I'm like,
I need to work.
Speaker 3 (27:42):
I need to be with my people.
Speaker 4 (27:45):
You know, I need other creatives. I need stories at lunchtime.
And that goes for everybody that goes for him makeup, wardrobe.
Everybody is expressing themselves and there's a spiritual connection to that.
Speaker 3 (28:02):
So I did feel that way.
Speaker 4 (28:03):
But it has been good to see my peers like
Regina King, Victoria Mahony, Sally richardson the Girls that I
was like acting with doing, like directing and killing it
like that, and Tasha.
Speaker 3 (28:24):
Smith directed the last episode. I did a Harlem her
that's a nature of nature.
Speaker 4 (28:34):
As my girl, we needed it. It was a very
long day. It was a long shooting day, and her
energy was and what I was so impressed with was
her technical acumen. She really knew her cameras, you really
(28:58):
knew what she wanted. She had to map out a
ten page scene, which is very long for you know,
anything for movie or TV scene.
Speaker 3 (29:11):
And I don't know, she just did a beautiful job.
Speaker 4 (29:15):
It was the only episode I've done on that show
where I saw other people, because all my episodes that
were Gray Spyers. She's my daughter, well i'm her mother,
I should say she's and everybody was there at this event,
so I got to see Debby Smith was there, Whoopee
was there.
Speaker 3 (29:37):
I don't know what was exciting. I was kind of
fanned out too. Yeah, it's amazing.
Speaker 2 (29:42):
I've seen a clip that was released from You Uncensored
and it talks about being a mixed child. Was that
very difficult in the industry going at that time where
you're going up for auditions and people are saying, well,
she's not white or and then well maybe she's not
black enough.
Speaker 1 (29:55):
Was that difficult?
Speaker 3 (29:57):
Well?
Speaker 4 (29:58):
I always defined myself as black, but I didn't get
roles because I was too light sometimes or I got
like the my first after I left Alvin Ailey, I
did musical theater, Broadway and whatnot, and then I started
taking acting classes and going out for auditions, and I
(30:22):
played three hoes before I go with Ley. I'm just saying,
I asked my agent. I was like, is this normal? Yes,
I played a prostitute on the Equalizer. I played a
hoe on Loving, which was a soap opera back then,
and then on my third when I said, okay, is
(30:42):
this and I was nailing them whatever it is about
ship before I got back to my former I was like, okay.
Speaker 5 (30:53):
But.
Speaker 1 (30:56):
You into to be able to like really play a hope.
Speaker 3 (31:03):
The way they write it.
Speaker 4 (31:06):
They usually write I usually do sarcasm well, and they're
usually snarky.
Speaker 3 (31:13):
You know. Now the other activities the.
Speaker 4 (31:17):
I mean on the Equalizer, I was the whole that
they bought for.
Speaker 3 (31:23):
The guy that just came out of prison.
Speaker 4 (31:26):
Oh my god, this scene was nasty, and I'm like surprised,
and I come out and I'm supposed to do him
because he's just been in prison. And then in the
scene he starts coughing and I say, you catch something
nasty where you've been and he grasps me by the
hair and slams me.
Speaker 1 (31:52):
Trauma.
Speaker 4 (31:56):
I got a little too snarky. But the thing I
didn't know that that should have been blocked.
Speaker 3 (32:03):
I didn't. It was one of my first acting jobs.
Speaker 4 (32:07):
So because I'm a dancer, I was able to go,
you know, slam myself down. All you have to do is,
you know, and make it look like he was just
and then fall. And I did it over and over
and the director was like, are you okay. It wasn't
until after that I talked to some of my actress
friends and they were.
Speaker 3 (32:27):
Like, nobody blocked you. Nobody. I said no, it was
just like a you know, a dance move or whatever.
But yeah.
Speaker 4 (32:37):
Then when I auditioned for Whitley, first of all, they
didn't even have her name yet. It was Sydney slash Whitney,
a black Southern bell. I'm might things that make you
go a black Southern bell, you don't know say Anyway,
(32:58):
she was.
Speaker 3 (32:58):
Hitting on her professor for the a in the scene
another horrorle. We're ruffles.
Speaker 4 (33:09):
But when I got on the set, now she's a
virgin and she doesn't know what's going on.
Speaker 3 (33:14):
It's just interesting because.
Speaker 4 (33:18):
You play things based on who they tell you you're
supposed to be, and then as actors we often do
backstories and you know, make up something that got us
to this point. So we have something to lean on.
But yeah, I was thinking, Wow, I guess I'm just
gonna be. It wasn't that I was playing a horror prostitute.
(33:41):
It was just that I wanted to play all kinds
of characters.
Speaker 3 (33:44):
Yeah, I've always wanted that.
Speaker 2 (33:47):
YE got to ask a question, This is a personal question.
When you started off dancing as a child, right, did
you know what direction you wanted to go into? So
I got two girls that dance, right, and then I
travel all over the country day dance with these these
little babies, and I mean they are amazing. One one
first prize overall seven year old. Oh, one thousand girls,
first prize. But yeah, they get busy. They take it serious.
(34:10):
Six days a week, four hours a day, gymnastics, flipping,
backflip dancing.
Speaker 1 (34:15):
Whoa, it's a lot.
Speaker 2 (34:17):
But I've learned to love it, like really enjoy it.
But you know, as a dad, I always think like, well,
what's next after dancing? Like what do you do as
a dance Like when you get to high school and college?
Like what happens from that? Did you know what you
wanted to do going into alvin ALEI?
Speaker 4 (34:32):
And Okay, So when I was a little kid, I thought.
I just kept asking for more classes, like once a week.
Saturday turned into three turned into five, you know. And
when I saw Alvin Ale and I saw revelations, I
realized that I could do this as a job. I
didn't realize that you could dance as a job other
(34:55):
than be a dance teacher.
Speaker 3 (34:56):
That's all I was seeing.
Speaker 4 (34:59):
And I I told my daddy, I said, I think
I have my calling.
Speaker 3 (35:05):
I want to dance with Alvin Ailey.
Speaker 4 (35:07):
So from twelve to seventeen, that was the trajectory, kind
of on the level where you are with your girls,
because I danced every day. After that, I went to
perform in arts high school, I joined Atlanta Ballet. I
went to North Carolina School of the Arts over the
summer because I knew that I was not technically proficient
(35:32):
enough to get into the Aley company, but I was
also performing. I played Anita in West Side Story and
I was young. I was like thirteen, and I could
already act and I could sing. But it was that
because you know, you can't fake dancing. You could either
dance or you can't. I mean, it's an athletic, you know.
(35:57):
So that's when I knew, do they want to do
it as a profession.
Speaker 2 (36:01):
They don't know right now. One is seven, one is ten,
and they just enjoy it and they want more. And
it's not just ballet, it's not just open for and mad.
It's just it's everything. It's it's jazz, it's it's tap,
it's now they just started getting in their hip hop.
But for me, it's like I enjoy it because I
know where they are right. I know they're not gonna
want to go to their friend's house. I know they're
(36:22):
not gonna want to go to the mall because they
enjoyed so much.
Speaker 1 (36:24):
School's over at two forty.
Speaker 2 (36:25):
From three to seven, they dancing, seven, they come home,
do homework, They tired, and I enjoy it because I
like watching them like I'm the There's not too many
dads out there for some reason, but I'm the one
that's I know the routine and I'm spinning with them
because I if they enjoy it, I enjoy it. But
it's I feel like more people, more kids should get
into it because.
Speaker 1 (36:43):
It's it's it's a it's a great art. Yeah, it's
a great art.
Speaker 4 (36:47):
And they gave me my foundation for everything, discipline, being
on time, confidence, like even when I got a different world.
I remember one of our our scripts, she came up
to me and she said, are you a dancer?
Speaker 3 (37:04):
And I was just standing there and I was like, yeah,
Like what gave me away? What?
Speaker 4 (37:12):
I was always on time? I was always there waiting
for everybody else. I did not understand the way they
did it and all the breaks they take. I'm like,
what are we breaking for? We ain't done nothing right.
Speaker 3 (37:26):
Dancers are the mules of the business.
Speaker 1 (37:31):
Wow.
Speaker 4 (37:32):
If the actors are coming out every now and then,
if we like when I did Fame, we were in
rehearsal or performing all day ten hours, actors going to
trailers are coming back. When we did School Days, you
couldn't be in that movie if you couldn't dance, sing
an act first of all. But that meant we all
(37:52):
came from theater we shot, we filmed the Uh well,
I mean we recorded the song on want to Be
Alone tonight after we filmed that day, and then they said, okay,
now you're going to the studio, and we went and
we learned the song and did it, and then we
learned the choreography and performed it. But that's how we do,
(38:18):
especially in New York and especially in theater. All my
dancing friends can sing and act. All my acting friends
can dance to sing. We had to be triple threats
to continue to work. You think them divers from Dreamgirls, Loretta, Divine, Shirley, Ralph, Jennifer.
Speaker 3 (38:38):
Lewis you built for it? You know?
Speaker 4 (38:41):
So when we go out there, we're not even asked
to work at our full potential, you know what I mean.
And your babies are gonna be like that too, and
whatever they do, because that kind of training is like
an athlete.
Speaker 5 (38:57):
I want to talk about another training you've probably got.
You know, you carry yourself with a certain sense of legalness,
right and when you look at Debbie Allen, when you
look at fore Lisha Rashad, they have that same regal energy.
Speaker 1 (39:10):
What did those two teach you?
Speaker 4 (39:12):
Oh my gosh, everything, I mean, Debbie was ahead of me.
So every time people told me, well, you're mostly a dancer,
we don't know about you acting, or you're a comic actress,
we don't know about you doing drama, in my mind,
I go Debbie dead. I just let them tell me
(39:33):
what they thought I couldn't do. And it wasn't just
that I knew I could. She's already done it.
Speaker 3 (39:40):
She just did it.
Speaker 4 (39:42):
She had two lines in the Fame movie when you
see her next she's directing, choreographing the show she's producing.
Speaker 3 (39:55):
You can't let other people tell you what you can do.
You don't know.
Speaker 4 (39:58):
And the other mantra had, especially like when people were
certain choreographers.
Speaker 3 (40:05):
You know, it's not a nice world, the dance world.
Speaker 4 (40:09):
So they're reading me or cussing me out, whatever, And
I would say, you don't know, you're not God all
I in my mind, So I wouldn't cry because I
was like, don't you know, don't you stand up here
and let him make you cry, because he's saying, you know,
you think you're something, you'll never be anything.
Speaker 3 (40:29):
And I was like, you don't know, you're not God,
that's right. How you gonna proclaim my destiny? You know?
Speaker 4 (40:38):
So you have to be able to talk to yourself.
And Debbie is the same way, Felicia is the same way.
They have a sense of self. Because Debbie told me
about how they rejected her at North Carolina School of
the Yards because she didn't have a body for dance,
because she got a booty in whatever.
Speaker 3 (40:58):
And she said and I took this booty all the
way to Broadway.
Speaker 4 (41:01):
Darling. You know, okay, you don't want me in your school,
Well I'm gonna go to Howard and then I'm gonna
be on Broadway and then and then and then. You
can't let other people tell you what you are and
what you're not. Yeah, And I refuse that. I refuse
that on just a general level. Like there were little
(41:25):
dancers in my class that were great dancers, but a
little chunky or whatever. And I heard how the teachers
talked to them, you know, destroying them.
Speaker 3 (41:37):
How dare you?
Speaker 4 (41:38):
How dare you take your responsibility and do that to her?
You'll know what she's gonna be, and you're only gonna
go with skinny, tall people.
Speaker 3 (41:50):
I just don't like that.
Speaker 4 (41:51):
If you don't teach kids in art form, don't add
your bitter two cents to it because you didn't with
your fat ass.
Speaker 5 (42:00):
That's not that's not politically correct. The political correct term
is big back.
Speaker 3 (42:04):
No, it's not just do women say that or is
that a malt.
Speaker 1 (42:11):
Discovered.
Speaker 3 (42:11):
I'm not saying term ud think I'm gay he discovered.
I'm no, that baby got big bag go down right
coming from us that's.
Speaker 4 (42:32):
It just comes up every now and then, and if
they don't see me with a man, like when I
was I was at an Oscar party of Georgia's and
I was dancing with Debbie and all the fame dancers
were there, like, you know, she keeps all her people.
They got me, you know photo the week me and
Debbie and they're talking about me and the hair salon.
Speaker 3 (42:55):
I knew it.
Speaker 4 (42:55):
I think they together, and Norm calls me he loved it.
Speaker 3 (43:00):
I said, well, I'm single. I don't like that. He said, yeah,
that's some funny.
Speaker 4 (43:05):
I said, funny for you because you're like, yeah, I'm
with Debbie and she's with Jasmine. And then it came
up when I was at a last you know, I
don't know what it is.
Speaker 3 (43:19):
I don't care, but it's just I don't want to
have to undo it. Yeah. And then you know, in
New York it was I got hit on and stuff
and I was like, okay, but what made you think
that I like bother me?
Speaker 4 (43:38):
You know, I was just developing into my womanhood.
Speaker 3 (43:47):
I didn't.
Speaker 4 (43:50):
And it was funk night and I would go there
by myself. Sometimes you can't always have somebody come with you.
You know, and so some sometimes I think it's because
I'm alone. And then, you know, my best friend at
a Lea's, we were walking through the park and unbeknownst
to us, we were walking in the.
Speaker 3 (44:10):
Wooded gay area.
Speaker 4 (44:18):
The valley, the jail, the okay, somebody's saw it there
and you didn't know we were in a certain area
or whatever, because I don't know. And then when I
(44:40):
got back to the school, they were like, you know,
they're saying that you and so and so, and I
was like, I don't even have a boyfriend.
Speaker 3 (44:48):
How can I have a girlfriend? Okay, like I can't
even work. You know, it doesn't bother me.
Speaker 4 (44:55):
But when I was younger, it did because I was
still developing.
Speaker 3 (45:00):
And it was pulling up on you. I was developing
as a young woman. Yeah, would you ever do a memoir?
Speaker 5 (45:07):
I know, I mean, you know you got done sensitly
coming out this weekend, But would you ever do a memoir?
Speaker 4 (45:12):
I would need I would need some help, you know,
I would just need some help. I can't write it
myself by myself.
Speaker 5 (45:19):
Oh yeah, yeah, most people get help with them memoir.
Because I loved reading Jada Pinkett's book Worthy, because like,
you know, and we were saying early and you were
saying it was such a privacy in the nineties.
Speaker 1 (45:29):
So to get those stories from that era.
Speaker 5 (45:32):
When she talks about you and you know, poking, just
yourll friendship, just that friendship of black Hollywood.
Speaker 1 (45:38):
It's just like man.
Speaker 3 (45:40):
And now I was like.
Speaker 4 (45:43):
Privileged enough to hang with them because there's so much
younger than me, you know, and it was just easy.
You know, her birthday party and we went to The Dragonfly,
which was funk night that night.
Speaker 3 (46:00):
He was an, I like me some funk.
Speaker 4 (46:03):
Obviously, I'm like, it's fuck Nay, you're a Dragonfly. But
and you know, accepting of me because so I think,
hold is Jada fifty?
Speaker 1 (46:17):
I don't know, let me look it up.
Speaker 3 (46:19):
I think, well, I'm sixty two.
Speaker 4 (46:20):
So when I'm on the show, I'm twenty five, twenty six,
twenty seven.
Speaker 3 (46:25):
They eighteen nineteen. Yeah, so now it's not a big deal.
But back then, I wasn't hanging out with no you know.
Speaker 4 (46:35):
I remember I went to a restaurant with Cree and
as we were walking to the restaurant, she said, do
they card? I said, card, I mean, I'd never I
had never been carded because eighteen, you know, I said,
how old are you? She said, I just turned eighteen.
I said, what the hell am I doing hanging out with?
Speaker 3 (46:57):
Are you kidding me? Condeemed too. I saw them as kids.
Speaker 4 (47:05):
I like grown ass men when I was young, thirty
thirty two, so that you know, it's like eighteen.
Speaker 1 (47:14):
Yeah.
Speaker 4 (47:14):
But now that they have embraced me yet, I appreciate
it because they kept me current and kept me interested
because they.
Speaker 3 (47:28):
Jada and Cree are out the box thinkers. You know.
Speaker 4 (47:32):
They bring creative ideas to the table that I never
would have thought of.
Speaker 3 (47:37):
And I love that.
Speaker 4 (47:38):
And and of course you know, keeps me laughing, Park.
Speaker 3 (47:45):
And I would like that too. He always had ideas.
Speaker 4 (47:49):
I felt so unaccomplished, you know, because he would say
something and then do it.
Speaker 3 (47:57):
I would tell him an idea.
Speaker 4 (48:00):
And not write it and not finish it, or it's
still like on my shelf. Mostly I wanted him to
know that I felt he was a great actor. And
I heard the murmurings of, oh, he's just being himself
or whatever. They're just writing on his fame as a rapper.
(48:21):
I said, everybody that raps ain't acting on there There
were a lot of rappers that had movies that man
can act. Yeah, I mean his performances were I have
to change. And I just wanted him to know that
and not listen to that. One time in Newsweek, they
(48:41):
used to have little blurbs like Star of the Week
or Celebrity of the week, just a little blurb, and
they said, and surprisingly handsome rapper.
Speaker 3 (48:54):
I said, what the fuck is surprise? How insulting he was?
Find of shit? It wasn't.
Speaker 4 (49:07):
Why was that surprising? He's supposed to be ugly because
he's a rapper. I found it racist. Then when I
got to when I won one of my Image awards
and I go to the press tent, there were two
little white girls there and all they did was ask
me about what I felt about Tupac getting an Image award.
Speaker 3 (49:31):
Now, meanwhile, I have my award, it's my.
Speaker 4 (49:34):
Sixth one, and I'm not even prepared to you know
how they'd like to bring up dirt when you had
a bread carpet.
Speaker 3 (49:43):
And I was thinking, what are y'all doing here?
Speaker 4 (49:46):
This is our party, you know, and you're crashing our
party and asking me to tell some dirt about somebody
else here. So I wasn't in the most receiving way.
They kept asking me if I thought he deserved an
image of Ward and I said, well, I don't know
(50:07):
what the controversy is. Well, you know, because of Dolorus,
Tucker and this, that and the other, and I didn't know.
And I said, well, can you tell me which songs
you're referring to? At the time, I had only heard
Dear Mama, Brenda had a baby and keep your head up.
I honestly didn't know what the controversy was about, because
(50:29):
these are all uplifting female And she said, well, I
don't know which song.
Speaker 3 (50:37):
I haven't heard the CD.
Speaker 4 (50:39):
I said, well, why don't you do your homework and
then come to me and asked me. I was so mad,
And in the back of the house there were two
brothers like this. They were from Jetton Ebony, you know,
because I'm like, how dare you come to our party,
insult our guests and don't even know what the hell
(51:02):
you talking about?
Speaker 3 (51:05):
But I'm supposed to know.
Speaker 4 (51:08):
They were on the radio those three songs, and they
come in like they.
Speaker 3 (51:14):
Well, we just are bad. We just that may hell.
Speaker 4 (51:19):
Oh my god. I was so glad. So the next
day I was in the LA times, I have my
ward up like this and my nostrils and I don't
know what they said, but my publicists called me and
she was like, you know, there are there are white
actresses that don't get hired because their breasts are too big.
(51:39):
I was like, first of all, I don't have to
run everything by you for me to speak. You know,
if you wanted to be.
Speaker 3 (51:49):
By my side, you should have been by there. But
what was she gonna do? Interrupt me? You disrespecting us,
You disrespecting me and they and the faint.
Speaker 4 (52:01):
He saw that article and heard that I stood up
for him, and.
Speaker 3 (52:06):
She never forgot that.
Speaker 4 (52:09):
And I think that's part of why she was cool
with him staying with.
Speaker 1 (52:14):
Me after you got shut Yeah.
Speaker 4 (52:17):
Because she didn't based on what they knew about me
and seeing me on the show, she didn't realize that.
Speaker 3 (52:23):
I was like that, you know what I mean?
Speaker 4 (52:26):
And they're very much soldiers in that. One of her
friends said, oh, you a soldier now, and I was like,
I'm sorry, are we at war?
Speaker 3 (52:39):
I didn't know what she meant.
Speaker 5 (52:40):
By were you afraid during that time? Like when you
took Pokin after he got shot? Did you feel like
what if they come looking for him.
Speaker 4 (52:46):
And yeah, there were times because of the the regularity
of my going in and out of my apartment, I
felt like it would be easy if I had been
on radar for anybody.
Speaker 3 (53:01):
To you know, follow me or come up. And so
there was that.
Speaker 4 (53:07):
And I didn't live in a secured building like a
doorman building, and I was scared of but like I
had never seen a real bullet wound, just you know
on TV like NYPD Blue and when I.
Speaker 3 (53:25):
Played a badass in this movie.
Speaker 4 (53:27):
But I was concerned about that, you know, actually caring
for the wounds and making sure he was gonna be okay.
Speaker 3 (53:37):
Yeah, he should have been in the.
Speaker 4 (53:38):
Hospital for at least two or three more days on antibiotics.
Speaker 1 (53:42):
Everybody has walked out.
Speaker 2 (53:43):
He signed himself out, so you had to help him
out and help meet and help him get himself back together.
Speaker 4 (53:46):
But he when he left Bellevue, he went to his
girlfriends and he realized it was equally accessible. He just
felt like a sitting duck in the hospital. But everybody
knew who he was at his girlfriends. Nobody knew that
we were friends. So him coming to my apartment was
(54:07):
more diary of Frank I just put food under the bookcase.
Speaker 3 (54:14):
But yeah, it was on the down load.
Speaker 4 (54:18):
I didn't know what kind of publicity might have come
from that, but it wasn't anything I was interested in publicizing.
So I just shut the family down.
Speaker 3 (54:30):
I was like, did you tell anybody where those you knew?
Speaker 1 (54:34):
You know?
Speaker 3 (54:35):
Because I didn't do that for that reason.
Speaker 4 (54:38):
It was a personal reason, and that was one of
those moments where you know, y'all don't get that, and
they they respected it all these years until the documentary,
they've been wanting to, I guess, thank me, but their
love and I'm part of that.
Speaker 3 (55:01):
Family now has been enough.
Speaker 4 (55:03):
I don't need public thanks for what I did on
a personal level. So it's interesting the documentary said, Okay, Jasmine,
you can talk about that part of it now, because
I really thought, well, just you know, I'll go to
my grave with certain things. Not because I'm ashamed, but
(55:27):
I don't like the exploitation factor of things that you
do in your personal life for your kids or for
people you love or whatever.
Speaker 5 (55:35):
You know, it was your story, I mean, he said
in the doc Jaya talked about it in her book.
Speaker 3 (55:40):
Yeah, this is a she called me and tell me
what was in the book. This is all I said.
I didn't talk about this about that.
Speaker 4 (55:48):
And I really was calling her more for support because
when I wrote a fane's book, I didn't know all
the other stuff you have to do for a book,
bok tours, you know, And I just wanted to make
sure she was And there was a kind of loneliness
(56:09):
to her story to me, No jaj there's a loneliness
like the bigger and richer and you get more isolated,
you know, there's more things you can't do and you
always have to I don't know, so I just I
(56:30):
just didn't want her to feel that loneliness. She could
talk to me about whatever, because that was some It
was a lot of personal information. Her gauge is way
past mind. That's what I mean about the younger ones.
They showed me that I don't have to be that
old school about my press.
Speaker 3 (56:51):
Let's go say you.
Speaker 6 (56:52):
You didn't say you know, when Tupac stayed with you,
you saw that like you ain't gonna go in it
like that.
Speaker 3 (56:58):
I didn't tell nobody.
Speaker 4 (57:01):
Yeah, I mean when my family saw the documentary, my
best friend said what I told two people and they
both lived in New York because why tell somebody that
can get to me, because I did. I was worried
that anything could happen, you know. And those two people,
(57:22):
two of my friends that lived in New York, that
was it. So all my other friends, I just because
two weeks is on a long period for me not
to call you. I wasn't missed yet, you know, maybe
had It's been a month.
Speaker 3 (57:40):
Yeah.
Speaker 4 (57:41):
So now when that documentary came out, a lot of
my friends were like.
Speaker 3 (57:47):
When did this happen? Were you staying? How come I didn't.
Speaker 4 (57:50):
Know HD his girlfriend at the time. I have a
problem with that because that's part guy. So you know,
I have no idea child. I wasn't doing.
Speaker 3 (58:01):
Twenty one, you know what I mean. I'm not like
your girlfriend.
Speaker 4 (58:06):
And it was dire, it was I mean, he was
in trouble, yeah, and he was still open, like it
wasn't healed yet, you know. So I wasn't thinking about that. Yeah,
they got back together a thing.
Speaker 3 (58:22):
They got back together.
Speaker 1 (58:24):
Yeah, I'm sure you talk about this only since that.
Speaker 5 (58:25):
This is my last question, like, when's the last time
you spoke to him? Like before you die, do you
remember the last conversation in your head or the last
time you saw him.
Speaker 4 (58:35):
I was visiting a Feeny and Stone Mountain when they
had a house there.
Speaker 3 (58:42):
And he came through. Now this is after he had
been in prison for eleven months. Okay, I've seen him
for a while. Yeah, so I saw him at the house.
That was the last time.
Speaker 1 (58:54):
You remember the conversation or you don't, that's personal.
Speaker 4 (58:58):
It was just like hey, you know, and he was like,
I'm strong now because he was.
Speaker 3 (59:03):
He was, you know, infirmed.
Speaker 4 (59:07):
So he wanted me to see his you know, little
prison push up muscles.
Speaker 3 (59:13):
Because we're all black from doing it on you know,
he wanted. I was like, yeah, you look good.
Speaker 4 (59:20):
And then he went out with his friends and you know,
I hung out with a fainting The thing that really
hurt my feelings about him getting shot like that. When
he was with me, I thought I was helping him
go to the next part of his life, like grow.
(59:45):
I was like, you're gonna get You're gonna go to prison,
and then you get shot again. And I knew that
second shooting wasn't the wounds he had the first time,
wearing his appendages.
Speaker 3 (01:00:02):
Not in his lungs. I'm so disappointed.
Speaker 6 (01:00:14):
Yeah, and he told me he was gonna it wasn't
gonna make it past twenty five.
Speaker 3 (01:00:21):
I always thought he was just talking shit.
Speaker 1 (01:00:23):
All the time.
Speaker 3 (01:00:25):
That's legend. Put that in the book. I was like,
I'm not writing a book about you. I'm telling you that.
I'd be like, I'm never telling anybody anything about this experience.
Speaker 4 (01:00:40):
Nah, you need to you know, blunt in the baptib like,
you need to put this in the book.
Speaker 3 (01:00:46):
What am I?
Speaker 4 (01:00:46):
You're fucking now, I'm you're a chronicler. Yeah, And he
kept telling me he was like twenty one, and I
really didn't understand that world.
Speaker 3 (01:01:00):
He knew. I wasn't from it.
Speaker 4 (01:01:04):
I thought it was ridiculous for him to say he
wasn't going to live past twenty five. I treated him
like I treated my little cousins that make these statements
about life.
Speaker 3 (01:01:18):
So that hurts.
Speaker 2 (01:01:22):
I can't wait people to hear your story.
Speaker 1 (01:01:24):
You live the life guy. You got to watch him
since this Sunday.
Speaker 2 (01:01:27):
March twenty four, Central TV one.
Speaker 3 (01:01:30):
You gonna make me. I'm gonna take my lashes off
because I'm going to know yea with lashes if you.
Speaker 1 (01:01:38):
Take them off and put them on ebit, No, I
forgot I got you.
Speaker 3 (01:01:42):
I watch the going.
Speaker 4 (01:01:44):
Make sure they know it's not roaches or a spider
because they like you, just put them on.
Speaker 1 (01:01:49):
All My lesson for Jasmine guy.
Speaker 5 (01:01:54):
Ladies, always the pleasure when guy love you so much. Lady,
you are a cultural We appreciate you so much, we
value you.
Speaker 1 (01:02:02):
Just thank you always.
Speaker 3 (01:02:03):
Now, thank you.
Speaker 2 (01:02:04):
It's Jazmine Guy, It's the Breakfast Club.
Speaker 1 (01:02:06):
Good morning, wake that ass up in the morning. The
Breakfast Club
The Breakfast Club News
Hosts And Creators
Charlamagne Tha God
DJ Envy
Jess Hilarious
Popular Podcasts
The Breakfast Club
The World's Most Dangerous Morning Show, The Breakfast Club, With DJ Envy, Jess Hilarious, And Charlamagne Tha God!
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com
Decisions, Decisions
Welcome to "Decisions, Decisions," the podcast where boundaries are pushed, and conversations get candid! Join your favorite hosts, Mandii B and WeezyWTF, as they dive deep into the world of non-traditional relationships and explore the often-taboo topics surrounding dating, sex, and love. Every Monday, Mandii and Weezy invite you to unlearn the outdated narratives dictated by traditional patriarchal norms. With a blend of humor, vulnerability, and authenticity, they share their personal journeys navigating their 30s, tackling the complexities of modern relationships, and engaging in thought-provoking discussions that challenge societal expectations. From groundbreaking interviews with diverse guests to relatable stories that resonate with your experiences, "Decisions, Decisions" is your go-to source for open dialogue about what it truly means to love and connect in today's world. Get ready to reshape your understanding of relationships and embrace the freedom of authentic connections—tune in and join the conversation!