June 17, 2026 • 53 mins
It’s a 21 Under 21 reunion when Mya joins Danielle for a new episode of Teen Beat!
The legendary singer/dancer/actress shares her early dreams of being an entertainer, and we find out how she survived her teen years, which included a rebellious nose piercing and fake ID.
Mya also tells stories from working with iconic producers like Tricky Stewart and how watching his creative process left a lasting impression.
And we get a a front row seat to a hall of fame TRL moment, right here on Teen Beat!
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Episode Transcript
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Speaker 1 (00:19):
Brand institudes. All that's okay, becaus no one here is
Welcome back to teen Beat. I am your host, Danielle Fischel,
your guide for a weekly journey into awkward teenage years
and embarrassing childhood stories that have somehow teamed up to
create a powerhouse influence on who we are today. Every week,
(00:43):
I sit down with interesting people who've done interesting things,
in hopes of connecting in this commonality. Knowing that the
stories of our past have shaped our blueprints of today.
And since I shared my youth with millions of TV
viewers living in public from twelve to nineteen years years old,
it's time to turn the tables. I see it like this.
(01:04):
I gave you my childhood. It's time we hear yours
and guys. If I had my brothers, this podcast would
be about one thing, and one thing only, something I'm
already always talking about. No, not Boy Meets World, not
the finicky nature of the sneakers app not even my
local topanga mal. It would be about late nineties, early
(01:27):
two thousand's R and B. I could argue and convince
just about anyone willing to listen that this was peak
time for the genre, especially when it comes to strong
talented women who are still thriving in the industry. Mary
J Bli, Jaliah Brandy, Missy, Destiny's Child, s WV Alicia Keys, Ashanti, Monica, TLC,
(01:47):
Escape and Vogue, Faith Evans, Adina Howard, Kalise. The list
goes on and on, and my guest this week is
a pivotal member of this sorority. She's a triple threat who,
as a child, began her career in dance as a
child prodigy of sorts, focusing on ballet, jazz and tap dance,
a style in which she'd study under and later with,
(02:09):
Crispin Glover. But it was her voice that landed her
an Innerscope record deal in the mid to late nineties,
resulting in her double platinum self titled debut featuring collaborations
with Babyface, Diane Warren, Drew Hill, Silk the Shocker, and
Missy Elliott, and her song on the Bulwarth soundtrack Ghetto
Superstar featuring Praz and the Late Old Dirty Bastard, earned
(02:31):
her a Grammy nomination in the Best Rap Performance by
a Duo or Group category. But come On It was
her second album, also platinum, nineteen ninety nine's Fear of
Flying and the single case of the X that real
heads no is the jam come on that song and
soon after she'd be forever immortalized as part of the
(02:53):
Grammy winning Moulin Rouge possecut Lady Marmalade with Christina Aguilera,
Lil Kim Pink and Missy a track that my kids, kids,
kids will still be blasting. And don't even get me
started on how good she made a rugrat song and
she's nowhere near done. Her tenth studio album, Retrospect, was
(03:13):
just independently released, marking a new journey for the singer,
and it features Snoop Dogg, two Short and twenty one Savage,
just to name a few of the guests. But the
real standout is her now creating on her own terms
as a veteran in the game with a sound influenced
by seventies and eighties soul mixed with modern day hip
hop roots. I am honored to welcome my former twenty
(03:37):
one Hottest Stars Under twenty one partner in a nineteen
ninety nine issue of teen People. MAYA good to see you,
and it's only been four years. We're twenty five now, right.
Speaker 2 (03:51):
Yeah, we're about that exactly.
Speaker 1 (03:54):
So good to see you. This really does feel like
a reunion of a teen people.
Speaker 2 (03:58):
Shoot, my goodness.
Speaker 1 (04:00):
I remember seeing that picture for the first time and thinking,
was that was that the best picture of me they
could find? I look very much like a deer in headlights.
Speaker 2 (04:10):
I'm like, you're not the only one, because I was
thinking the exact same. You didn't like it of you either, No,
I didn't.
Speaker 1 (04:15):
I thought, I think we're cuter than this. But you know, listen,
I'm just happy to have had the honor of standing
next to you and what we had a lot of
those you know, so much fun. We have so much
to talk about. But there's really only one place I
want to start, and that's with take me There, a
song for the rug Rats movie that has no right
(04:37):
being as good as it is. Can you tell me
how that song came together?
Speaker 2 (04:42):
You know, some things you just have no clue about.
You just show up and go. But I was in
the studio with Teddy Riley creating that song, actually recording
that song, because it was actually written already when I
walked in, specifically for the sound check. I did cut
it here in La really, yes, But I was not
in the studio with Black Street or Mace.
Speaker 1 (05:04):
Okay.
Speaker 2 (05:04):
And I did, however, get to work with the iconic
producer himself, Teddy Ryle in nineteen ninety eight, which was
the very first year I hit the scene.
Speaker 1 (05:15):
So yeah, so you're like, oh, this is a great
way to enter what is going to be the entire rest.
Speaker 2 (05:21):
Of your career. Well, you're not thinking that way. You're
just kind of like going through the motions and learning
as you go in new territory. Yes, but it was awesome.
I learned that night that he was also a libra.
Oh I have a libra as well.
Speaker 1 (05:35):
Okay, and you guys connected over that.
Speaker 2 (05:38):
He works very similar to myself. It's very quiet until
it's show time.
Speaker 1 (05:43):
And then it's time to go. Yeah, that's actually one
of the things I want to talk to you about.
But I want specifically for this song. When you first
hear it and they're spelling out rug Rats, are you
like what the is this? Or do you ride away?
Speaker 2 (05:57):
Love it? So I have a baby brother, we're twelve
years apart. I already knew what rug Rats was, Okay, okay,
And that's actually when he became my fan, because yeah,
he's like I get.
Speaker 1 (06:08):
It now you're doing Rugrats music.
Speaker 2 (06:10):
Yes, I get it. Yeah, he didn't really care about
his sister before then. But I always loved Angelica the character.
So I was so ecstatic to be a part of
the soundtrack.
Speaker 1 (06:23):
So cool and the music video. I feel like an
entire generation is connected to the song and the visuals.
I'm sorry, I could literally make a whole podcast just
about take me there. Do you have any memories from
the video shoot?
Speaker 2 (06:36):
I do so. Jamie King the iconic choreographer. He's worked
with Madonna, Jenna Jackson and so on. He puts tours together.
I remember he choreographed this video, okay, and I learned
the choreography the night before, coming in from somewhere in Europe,
and the next day we were on set. It was
(06:57):
just so bick fast.
Speaker 1 (06:59):
I'm gonna need you to teach me that xylophone part.
Speaker 2 (07:02):
That was actually a freestyle.
Speaker 1 (07:04):
Yeah, that's my favorite part. So congratulations to you. No offense,
Jamie King. But your little xylophone number is something special.
Speaker 2 (07:11):
Do you remember the movie Big Yes?
Speaker 1 (07:14):
Yeah, that was what was in your home at Yeah,
your Big Moment.
Speaker 2 (07:18):
I love it.
Speaker 1 (07:19):
I mean Teddy Riley, as you mentioned, he is a
legendary producer, one of the many that you've worked with.
While I was researching, I was just counting up the
superstars you have collaborated with. Check Out this list. It
might be the best list out there. Swizz Beats, Babyface,
Missy y Cleff, Jimmy jam And, Terry Lewis, Timbaland, Rock Wilder,
(07:41):
Tricky Stewart, Rodney Jerkins, and Scott Storch. And that's truly
just a tease of your entire roster. So I'm going
to put you on the spot a little bit here.
Who blew you away the most from a producer standpoint?
Speaker 2 (07:56):
Oh my goodness. Well, Tricky Stewart is an instrumentalist. He
knows how to play instruments. Yeah, and I've watched him
on the keys. But it's also a tie between Wycliffe
because he's a guitarist, Okay, And I see it happen
in real time. I get to watch them actually create
(08:17):
from nothing, which is magic. Yeah.
Speaker 1 (08:21):
Yeah, seeing there be nothing, truly nothing, and then someone
go I have an idea and then to be able
to with their body bring it into like fruition. Yeah,
it's magical.
Speaker 2 (08:33):
Yeah. And Wycliff is also a performer, so he has
all of that experience on stage and he's so spontaneous.
He's also a comedian. He brings it to his creation
of music, and just being in the studio is electric, right,
I bet lots of good stories, backstories.
Speaker 1 (08:50):
Is there a producer out there that you haven't worked
with yet that you're still dying to work with?
Speaker 2 (08:57):
Well, he's not with us anymore, but I'd always wanted
to work with Quincy Jones, and still even though I
have a song on my very first album that Babyface produced,
I didn't actually get to meet him during that process.
So I would really like to work with Babyface. Okay,
let's manifest that for you. Yes, I love that.
Speaker 1 (09:29):
Let's talk a little bit about Maya in DC. Dad
was in a band Jump Street. So were you always
surrounded by music always?
Speaker 2 (09:40):
Since I was born? I had a baby picture, she
can share it with you. Pub I was obviously in panthers,
and my mom is teaching me how to play piano.
Her dad orchestrated for orchestras. He wrote all of the
sheet music for every instrument orchestra by hand. Composer. Oh
(10:04):
classic pianist. But yeah, there were always instruments in our house.
My dad is a singer, the leader of his band
always since he was about sixteen seventeen, and it was
an electric living room, you know, and so much rich music.
Speaker 1 (10:25):
You started dancing at a very young age, but you
also played violin and obviously you sang. It was like
you were a musical bo Jackson. How did you choose
which avenue you wanted to pursue?
Speaker 2 (10:39):
It was actually Broadway for me. Yes, So I was
going to college after high school, University of Maryland, College Park.
The goal was eventually to go to Juilliard at some
point in New York and pursue Broadway because I love
to do so many things. But the record deal happened
in the midst of my first year of college, and
(11:02):
I've been recording demos, taking the train back and forth
to Philadelphia from DC to DC, yeah, two hours. And
had to make a choice because there was investment being
put up and there was a label that was interested.
Said well, this is a shot, yeah, and I might
not get again, so let's go for it. College is
(11:24):
always there.
Speaker 1 (11:25):
Correct sees it sees that chance. Like I said, we
did a photo shoot together in the late nineties and
you are a very sweet, relatively soft spoken person. But
musically you have always commanded such a presence on stage.
You are anything but shy. There is that how you've
(11:47):
always been. Is that your libra personality?
Speaker 2 (11:51):
Yes? So my parents are polar opposite, okay, but they
are both libras and I'm the even balanced ten ten libra.
The perfect amount of my dad to survive this business
is in me. Okay, the perfect amount of my mom
to survive this business and be super creative. Okay. My
(12:15):
dad is the performer. She's the artist, but she's also
the accountant. She's sown my costumes. She's so great with organization.
My dad not so much. But he's the creator and
understands spending and investment and you know, aesthetics. Yeah, all
of these things all a perfect mix of both of
(12:37):
your parents. And you're right, you need both sides, yes,
to make it, Yes.
Speaker 1 (12:40):
In this industry.
Speaker 2 (12:41):
Yes.
Speaker 1 (12:42):
So what was a question was what were you like
as a kid? Were you?
Speaker 2 (12:47):
Well? It depends on the environment. Because I grew up
with brothers. My dad raised me a little rough around
the edges. I was a bit of a time boy.
We played tag football, tackle football, a grass stands on
the knees. I was very athletic, yeap, just kind of whatever.
Speaker 1 (13:05):
Uh huh, yeah, you were just thrown.
Speaker 2 (13:08):
In gin dirty whatever it was. I was very active.
Then there were the activities that I was placed in, thankfully,
the summer camps and all the things major rettes. But
I was very quiet. I was an observer, still am
until it was time right not to be and then
but I was loud when I was a kid. As
(13:29):
far as playtime, okay, it is concerned, it was tomboy. Okay.
Speaker 1 (13:34):
I love that you were a high school senior at
only sixteen years old and it wasn't that long after
that that you would be on TRL. So what was
high school like for you? Yeah?
Speaker 2 (13:49):
I was the quiet girl until about my junior or
senior year.
Speaker 1 (13:53):
Okay.
Speaker 2 (13:54):
I became the captain of the dance team, yes, along
with another girl name Nessa, okay, and you know we
were leaders. But I also had my very first job
in high school at fourteen as a day teacher teacher, yeah,
outside of school. So I was very disciplined, very focused
(14:15):
and driven. I did a lot of shopping. Oh and
so my identity you know, came about I got my
nose pierced illegally with a fake ID.
Speaker 1 (14:24):
Oh my sixteen, where'd you get the fake idea?
Speaker 2 (14:26):
At the mall? At the mall, one of those kiosks.
Speaker 1 (14:30):
I love them all. I had a kiosk for fake.
Speaker 2 (14:31):
Id's, well for nose piercings. Oh for nos yet I
don't know, Yes, I do know who gave me the
hook up my friends in high school. He said, I
can get you a fake ID. But yeah, I got it.
I showed my ID.
Speaker 1 (14:46):
You know what did your parents think about the nose piercing.
Speaker 2 (14:49):
Well, they thought it was fake because I'm a whimp
when it comes to needles.
Speaker 1 (14:54):
So they were like, there's no way she would do that.
And did you just let that go? Oh yeah, it's fake?
Speaker 2 (14:58):
No, I said, no, it's real. They were disappointed at first,
they said, why would you do that to your face?
Your career said it'll be fine.
Speaker 1 (15:08):
You know, I look at your now, it's like such
an iconic part of who you are.
Speaker 2 (15:13):
I guess I was a little rebellious back then, just
trying to find my own yes, identity list individualities.
Speaker 1 (15:20):
I got my belly button pierced at fifteen, and it
was still I'd still have it today if it were
up to me, but I've had it beaten out of.
Speaker 2 (15:30):
Me by I've always wanted one.
Speaker 1 (15:32):
Really.
Speaker 2 (15:32):
Yeah.
Speaker 1 (15:33):
Oh, it's so funny. It's stopping you now.
Speaker 2 (15:36):
It's never too late, never.
Speaker 1 (15:37):
Too late, never too late. On weekends, you were studying
with Crispin Glover with your own solo in a Kennedy
Center performance, and you were on BET's teen Summit. Were you,
in any way still able to live a normal teenager's life.
I know you got your nose pierced at them all
and taught dance classes, but one it really started happening
(16:01):
for you and you were performing for crowds. Were you
able to feel like you had a normal teenage life?
Speaker 2 (16:07):
Yeah? I think so. Yeah. Yeah. I was a country girl.
I rode dirt bikes and goat carts and all of
the things. So we definitely had a great life as kids. Yeah,
and teenagers. It was busy, but I loved it because
it was a bit of independency as well as seeing
a check right name on it, you know, every few weeks.
(16:30):
It was great.
Speaker 1 (16:31):
What was the first thing you splurged on and treated
yourself to?
Speaker 2 (16:35):
Mm It was always clothes and shoes. I would always
be at the mall, you know, and it was literally
an investment for my performances because I was tap dancing solo, yeah,
and becoming this the girl that I wanted to be.
Right at that time, it was around fifteen or sixteen,
(16:56):
so it still had something to do with business, huh.
Speaker 1 (16:59):
Yeah. And then I think we also got to use
it as a write off. You could buy clothes and
be like, I need this for performing now that they
don't even let you write it off anymore.
Speaker 2 (17:07):
Well, that was before the record deal, Okay, knew we
didn't have the business established that this was just me
in high school, you know, with my first job, just
thinking his business. Yeah. And the reasoning behind that is
because you know, we always had handy down clothes or
my mom would go to the Thrish store and repurpose things,
(17:28):
she would up cycle, or she would actually make our clothes,
and we hated them because they weren't like the name
brand clothes that all the cool kids were wearing, and
we got teased for everything. But when I found that independence,
I got to choose what I was going to wear.
But I was also an artist just like herself, sketching
designs and all of these things and bringing those things
(17:49):
to life. She sewed my prom dress that I designed.
Really yeah, so those are the first things that I
would spend with my own money. Now, when the advance
came for the record deal, I invested in equipment because
I've always wanted to record harmonies. I was always fascinated
(18:10):
with layering, okay, my voice and different notes, and I
would flip karaoke tapes and cassettes over and over and again,
and equality was just awful. So that's the first thing
that I did equipment.
Speaker 1 (18:25):
Investing in yourself. Again, everything you're saying, I keep hearing
that perfect mix of your dad and your mom. You know,
You're like, this is an expense, but it's an investment
in myself as well, and it will allowed me to create.
Speaker 2 (18:37):
Yeah, it was fun. It wasn't even investment to me.
I just wanted to do it.
Speaker 1 (18:41):
Yeah, yeah, like a toy, but for fun and your career.
So B T one O six in Park and TRL
were both so pivotal in your career. I don't mean
to sound like an old lady here, but I don't
think people realize how great of a time that was
to be a part of Maya could be. Doing the
(19:02):
first segment and then Korn was premiering a video immediately after.
Did you like doing those shows?
Speaker 2 (19:09):
Absolutely? There was a live audience and there's nothing like that.
You know, give and receive the exchange, the energy. Seeing
Times Square outside of the windows and the fans and
the supporters. It's electric when you're just a spectator watching
at home on the tube. But when you're there, it's
(19:32):
in the whole other world. It's awesome.
Speaker 1 (19:35):
Do you have any memorable stories from a trol Yes?
Speaker 2 (19:40):
What viral a couple of years ago? Odb Okay Prize
and I I'm not sure if why club was there, Okay,
it may have been, but we were all on the
couch being interviewed for the Ghetto Superstar record. ODB was
a very honest guy, and I think the question that
(20:02):
was asked was what would you like your legacy to
be or how would you give back to your community?
What it is? What is it that you would like
to give back? Huh he said nothing straight to the camera.
I'm just telling you what. Okay, Well, maybe that's the
honest answer here.
Speaker 1 (20:23):
Did you say anything? Did you like?
Speaker 2 (20:26):
We just all burst out laughing, all of us, the
host of the audience, everyone on that couch. Nothing. I mean,
it wasn't even nicely said nothing. That's how I said,
said it.
Speaker 1 (20:44):
Not modeled at my lab or anything.
Speaker 2 (20:47):
Just nothing.
Speaker 1 (20:56):
Oh my gosh, I love it so much. I found
a clip on line of Carson Daily's Birthday special where
he was that trl or was a birthday tl MTV?
Maybe yeah it was MGV. Yes, and you are giving
him a lap dance during the final credit. Nicky Hilton
is there, Jessica Simpson is with Nick Liche, and Sarah
(21:19):
Silverman is on Jimmy Gimmel's lap. It is so wildly
y two K Do you remember that typing at all?
Speaker 2 (21:29):
I remember clearly, and I remember all the reactions in
the faces. I don't know if they edited it to
be that way, but I mean the jaws.
Speaker 1 (21:40):
Drup jaws were on the floor.
Speaker 2 (21:44):
My love is like whoa, Yes, cocky era just very
overly sexy and cocky of a record that Missy Elliott wrote,
by the way, so of course it would be of course. Yeah.
That was I think a shocking moment for myself, but
so great. So this is not going to happen again
(22:06):
because I'm not going to be able to fit these shorts.
Speaker 1 (22:08):
Every again, enjoy it.
Speaker 2 (22:11):
Well, you can do it while you can.
Speaker 1 (22:14):
I also stumbled upon a picture from the two thousand
and one MTV Janet Jackson Tribute, which you performed at,
and the photo is you bust A Rhymes, Hank Tyres,
Stevie Wonder, and Aliah, which is quite the lineup. But
it also got me thinking about your interactions with Aliyah,
(22:35):
who would tragically die just a few months after that
photo was taken. Did you get to know her at all?
Did you have a relationship with her?
Speaker 2 (22:42):
We done a couple of different shows together. We were
just always crossing, yeah, in workplaces. And we'd done a
photo shoot in New York. There were individual photo shoots
I think they were called fanzines, Okay, yeah, time where
you do several you know, outlets at once in one place,
lots of hair magazines, et cetera. And you know, we
(23:07):
kicked it, but we never had like a very close relationship.
It was more so a work associate out of respect,
you know, very friendly at all times, cordial. Yeah. Yeah.
Speaker 1 (23:20):
So you signed to Interscope Records at nineteen, pretty quickly,
right out of high school. What is it like going
from Maryland to the very fast paced music business recording
that first album, especially because so much of your life
had been focused on dance, not necessarily becoming a pop
R and B sensation. So what was that transition like
(23:41):
from high school to interscope deal?
Speaker 2 (23:45):
Well, I was actually in the orchestra and choir, gospel choir, Okay,
So so singing was always yeah, singing was always there,
but it was more so done in like plays or
a Broadway rightay idea? Yeah, capacity, So you know, the
recording artist thing was unexpected. Yeah, and of course you know,
(24:06):
I knew that I could execute it because of the
entertainment value, and entertainer was always the goal in mind.
Some of the inspirations were Gregory Hines, who I'd seen
live when I was about ten years old on Broadway
and got to train with him and dance with him.
(24:27):
But Sammy Davis Junior, singing, acting, dancing, just personalities and
very nice, you know, very warm and welcoming spirits. So
they were always in my living room, black and white films, etc.
So I was always surrounded by music through my grandfather,
my mom, my dad, and I was always doing something
(24:52):
in choir or national anthems and talent shows. But the
goal was never recording artists until my late later teens. Yeah,
and so were your.
Speaker 1 (25:05):
Parents involved in your career still at that time, like
when you signed an innerscope, are your parents actively involved
in it?
Speaker 2 (25:13):
Yes, So it's really wild. As I was in high
school going into college, i'd recorded demos in Philly, but
prior to that, I recorded my very own first song,
original of my own and I was fifteen years old.
They invested in me to do that. That was actually
(25:35):
shopped to the independent label that was in Washington, DC
who discovered me. And my parents were my managers at
the time, and my mom had experience running my dad's
independent label called TMC Productions, where he'd recorded his own
records for years, pressed up his own vinyl, took them
to the radio station in our state, so they had
(25:57):
all of the chops and what we were doing business
in a very boutique way. But at the release of
my very first single, they got divorced.
Speaker 1 (26:09):
Wrench in the system.
Speaker 2 (26:10):
Yeah, so that didn't work out, and you know, I
found myself being managed by those that I didn't know. Okay,
they were strangers, and you know, divorces can be taxing,
and so neither one of them were kind of capable
at the time to really be engolfed. Yeah, the business
(26:31):
of maya.
Speaker 1 (26:32):
Yes, and it is all encompassing, especially at the beginning
when you're getting started and it's meetings and phone calls
and appointments and yeah, and you're going through a divorce.
Guess what, there's not a lot of time for thinking
about all.
Speaker 2 (26:44):
Yeah, but my mom has always remained my accountant and
watched the books since so.
Speaker 1 (26:49):
Great my mom was. My mom was that person for
me too, and she was meticulous about it. Yes, she
was always so worried that I'd ever have a reason
to suspect that something had been mismanaged, and so she
kept every paste ub I mean, just meticulous records of
everything in case I ever needed it. I never needed it,
(27:11):
but it is. It's we're lucky.
Speaker 2 (27:13):
There are horror stories, true horror stories. Yes, very fortunate.
Speaker 1 (27:18):
Yes, you have somehow also been able to avoid being
gossip fodder for nearly three decades. You've kept to yourself
and you've honestly you've lived a relatively private life. Let's
say you were just starting out in twenty twenty six
and social media and content creation is so important. Do
(27:41):
you think you could do it.
Speaker 2 (27:43):
I think I could do it with the faith that
I've been rooted in in any timeline, any world. I think,
of course today would be a lot tougher, but I
would I would want a mentor for myself, Okay that
has walked this business and walked the shop of an entertainer,
experience the highs, the lows, and devastations to guide me
(28:07):
and hold my hand along the way. Because it's a
different time that we're living in with oversaturation and sensory
overload and mental health awareness i'd say is at the forefront,
which is great because we didn't have those discussions back then.
But I think my parents exposed me to so much
(28:30):
for a long time. It instilled so many values, which
is why I am a huge advocate of the arts
and sports or any programs for youth so that you
can get through this thing called life, regardless of the
time or the era. But I think mentors are very important.
Speaker 1 (28:49):
Yeah, you're absolutely right. Let's get into Lady Marmalague. This
obviously is just heavy hitter central and you are all
(29:11):
so talented. Do you remember the pitch for it? And
how did you find yourself on the song?
Speaker 2 (29:17):
Yes? The managers that I had at the time, they
were in touch with the record label Interscope, and they
mentioned it without too many details. I was familiar with
the song, of course, and of course the names. I
just said, yes, of course, I'm a fan of everyone,
(29:38):
and I didn't think twice about it. And there we
were laying our backgrounds together in California one day, and
then we cut our leads separately. But I was a
fan of everyone, including the producers. Yeah. So it was
a match made in heaven and it was a lot
of fun. I'm noticing a.
Speaker 1 (29:59):
Little with you that's so important, which is that when
an opportunity that sounds exciting to you comes about, you
don't overthink it. You seize it immediately. You go, hey,
there's a record label right out of high school. This
is unexpected. Yes, and Lady Marvelot, Yes, and it's really
(30:21):
paid off for you. The trusting your instincts and trusting
your gut. Is that something that your parents have nurtured
in you? Is that something is trusting your intuition something
that's important to you.
Speaker 2 (30:33):
Yes, my parents have everything to do with that. I'd
say there was a lot of fear and intimidation or
insecurity in my childhood uncertainty okay, but the art's definitely
taught me. Teamwork, of course taught me that you just
go for it. Yeah, you might make a mistake, you
(30:53):
might fall in your face eight times in front of
the world, but there's a lesson to be learned. You
actually get to be better the next time, and you're
not alone, right, you know, So go for it? Why regret?
Why not? So I've seen the improvement, and I think
(31:14):
I've had opportunities that prove time and time again that
you know, you might suck at something first, but if
you have a little bit of resilience and perseverance and can.
Speaker 1 (31:23):
Take good.
Speaker 2 (31:26):
The criticism a lot the way, yeah you might just
get good at it or be great one day. Just
hang in there. Yeah, so you all.
Speaker 1 (31:33):
Laid some of your tracks together. You did the independent
the solos separately, Yes, but Lady Marvel, you're all in
the same room. Did it just feel special immediately? I
find it hard to believe that it didn't sound like
a Grammy winner from just the very first get go.
Speaker 2 (31:48):
Well, I wasn't even thinking Grammy. I was honestly thinking,
oh this is for a film, How cool? Soundtracks. Oh,
this video is going to be amazing. Gas movie is
a little bit different than music money, and I'm so
excited for that. So I wasn't really thinking Grammy because
I didn't even know at the time that sound songs
(32:10):
on soundtracks could get be dominated for Grammys, you know, Yeah,
I was still new.
Speaker 1 (32:18):
Yeah, yeah, so yeah, that's so crazy that then being
nominated for Grammy isn't eve Yeah, which makes sense. You're
thinking a movie, movie, money video. Grammy's like the last
thing on your mind. I had mentioned your class of
R and B singers from the late nineties early two thousands,
and it is stacked with talent who impressed you. Was
there anyone that you were like a big fan of
(32:40):
from your peer group?
Speaker 2 (32:43):
Of course, I have to think about it from my
pear girl. Oh yeah, Usher, m yeah, I'd work with
Usher for the Michael Jackson thirtieth anniversary tribute. Yep, okay,
And you're just very focused. He's also a libra, such
(33:06):
a special place in your life. Yeah. My production partner
for this new album is a libra. Snoop is a libra.
There are a lot of folks twenty one savages a libra. Yeah,
Lira's an I work so well together, lots of creative energy. Yeah,
but yeah, who think about Yes, Usher is a great one.
(33:30):
So Usher, Yeah, I thought he was very focused driven.
He was so young when he stepped into this business,
probably about fourteen, yeah, maybe even younger when he recorded
his first album and growing up in front of the world. Yeah,
but of course cardio dancing and singing are two different
types of breath work, and he mastered that so young.
(33:53):
And to see him in rehearsals, but also see him
perform at Esson Square Garden with no fear, oh like yay,
like where this? Yeah, I was highly impressed. Michael Jackson
was in the room really joying our rehearsals. Whitney Houston
was there, Oh my gosh, Timid and yes, you're just
(34:14):
having it all. So I was so impressed with free energy.
Speaker 1 (34:19):
So do you think when you perform, because no one
would ever think you're nervous watching you perform. Do you
are you putting on a character in order to be
able to do it? Are you nervous inside?
Speaker 2 (34:30):
I think we all are a bit nervous because so
many things can go wrong. Huh. And when it's in
front of an arena crowd, something that's actually being taped
or filmed or live. I get so nervous inside when
something is airing live because there's no room for mistakes.
(34:52):
Gotta do it with millions watching Dancing with the Stars.
Was that every single week for me? And I'm a dan.
Speaker 1 (35:00):
I have absolutely no idea how you did not win
Dancing with the Stars. Can we can we just for
a moment talk about how you're the best dancer to
have ever been on Dancing with the Stars. I'm saying
it right now.
Speaker 2 (35:13):
So you can win in scores and points, which I did,
but that doesn't matter. It's about are you being voted for.
Your fan base has to chime in. If people think
you're safe because you have high scores, oh you might
technically be a good dancer, That's not what that show
is about. It's about, Okay, do the judges think, so,
(35:35):
did you kneel every component of technique and this hand
and this finger placement or whatever it is that they
judge timing an embodiment for that specific dance style, which
I have no clue of because you're literally learning a
new style of dance every single week. Not my forte
(35:57):
or anyone's for that matter. But it's about all of
those things, including the votes at the end of the day,
which really counts.
Speaker 1 (36:04):
Are the thing at the end of the day, that's
the end all. Did you have a favorite dance from
Dancing with the Stars? Is there anything when you look
back on your time you think that's my number one?
I'm the most proud of that.
Speaker 2 (36:18):
Yes, there was a very difficult dance on Dancing with
the Stars that I'm most proud of because first by
seeing it, I didn't think I could do it. It's
so technical and it's actually so brutal because your partner
and you are kicking each other most of the time
(36:40):
until you exactly my legs were black blue purple from bruising,
and I loved it. But when I saw the performance,
and like, I literally worked over time to get it
right because it was so difficult, so difficult. Looking back
(37:06):
at it, I was so impressed.
Speaker 1 (37:08):
Yeah, you're like, I can't believe that's me.
Speaker 2 (37:10):
In learning it in just one week and being lifted
in the air. Yes, yeah, it was a lot.
Speaker 1 (37:18):
Argentine Tango was my favorite too. Absolutely loved it, Yes,
absolutely loved it. Same like I remember watching videos of
it and being like I, I'm not going to be
able to do this, and the lifts and and I
also huge bruise on my hip from a couple of
the you know lifts where you get swung around and
you're just smacking your hip into each other. It's it's
(37:40):
it's brutal, but it's my favorite one, my favorite performance.
I did everything about it, loved it.
Speaker 2 (37:46):
So much, so I have so much strength in it too. Yeah.
Speaker 1 (37:50):
Absolutely, yep, you come away from that experience real ripped.
Speaker 2 (38:06):
You.
Speaker 1 (38:06):
Last year performed on some dates with Brandy and Monica,
and I have to think that was a blast. I
can't believe I missed it. As someone who is also
heavily associated with nostalgia myself, do you enjoy seeing these
crowds who have grown up with you coming out to
support you and sing along to every word with you.
Speaker 2 (38:25):
Yes, it's so special to be amongst your families, literally
the peers, peers, your peers. You know, we speak the
same language, and we've had lives that have been lived
since we were teenagers. And the music that speaks to us,
whether it would be core memories for some or where
(38:49):
we are in our lives because we're all still making
music that resonates with our timeline now and the world
has changed so much and we're still here holding each
other down. And so I loved it. I loved being
a spectator, just listening to all the nostalgic songwriting compositions,
the great music with bridges and modulations and wonderful lyrics.
(39:12):
My dad and I sat front of house at one
of the shows. I can't remember the city. I think
it was actually Baltimore, which is, you know, close to
where we're from, and he held my hand. When Brandy
started singing have you Ever, I'm like, oh, the power
of music, the power of music and lyrics. So that
(39:33):
was so special for me, and it being from my
generation because parents and grandparents kind of talked down on
the generation shows under them about the music that we're
making and it doesn't sound like real music anymore, you know.
So for him to resonate with something from my age,
Bracket was really great and an emotional song of that.
Speaker 1 (39:56):
Yeah, that's a beautiful.
Speaker 2 (39:58):
Yeah.
Speaker 1 (39:59):
I want to talk a little bit about Ghetto Superstar.
It's an infamous rumor that ODB was on the song
because he was going door to door at the recording
studio trying to force his way into songs. Is that true?
Speaker 2 (40:13):
I've never heard that.
Speaker 1 (40:13):
Okay, so then I'm going to check out that is
not true.
Speaker 2 (40:17):
I don't know, I've never heard that.
Speaker 1 (40:18):
Really.
Speaker 2 (40:19):
It could be because it was very spontaneous.
Speaker 1 (40:22):
Yeah, okay, all right, so not unsurprising for him to
knock on the door and be like, I'm here, what
can I do?
Speaker 2 (40:30):
I actually believe that, really, I do believe that.
Speaker 1 (40:32):
Oh that is so funny. Do you have any fun
favorite experiences with him other than him saying nothing? He
almost burned himself on Pyro performing at the nineteen ninety
eight MTV VMAs. That must have been traumatizing.
Speaker 2 (40:54):
I'm not sure if Pross pulled him back. I think so, yeah, yeah,
And I'm not sure if we rehearsed it at all
real I can't remember or if he was there, yeah,
in rehearsals, but that could have been a disaster. I mean, yes,
thankfully nothing happened. My gosh, ques matter, which is why
(41:15):
I'm so detailed oriented that it's very anal, But things
like that matter, to know exactly what part of the
song and going over it and over every time, so
every person on that stage understands, you know, where they
need to be, markers on the stage. I'm literally there
making sure we have a long strip of tape of
where every prop goes, cutting them, placing them where, you know,
(41:38):
having the dancers in certain places, because anything can happen
at any time. But uh, yeah, details matter, they really do.
Speaker 1 (41:46):
I just went on the Dancing with the Stars tour.
I was there for a month and we it was
very much the same way. You know, there's three sets
of stairs and everyone's got a walk and people are
crossing and you've got twelve thirteen people dancing at the
same time, heels in heels by the way with fog
which makes a stage moist or half.
Speaker 2 (42:04):
You know.
Speaker 1 (42:04):
Sometimes we were at amphitheaters where it was humid outside
and now you're like, watch out, beads falling off of
costumes and people dancing barefoot. The amount of beads lodged
into bare feet while we were on tour, and those
you know, if you're not showing up for your cues
and you can't see the tape when it's dark, those
things are important. These are simple bodies and yeah, it's
(42:28):
all very important. So don't ever feel bad about being
aal and being like, I'm here taking notes very smart.
Speaker 2 (42:36):
I will share this with you. ODB was responsible for
my feature on Ghetto Superstar. Really, I only had one
song out in the universe, which was all about Me
featuring Cisco, my debut single in nineteen ninety eight. My
dad and I took a train to New York had
(42:57):
a session with Yclef Jean down the chorus and that
was that. We didn't hear anything back, you know. Yeah,
I was asked to do the chorus and it was
the shortest session I probably ever had to this day.
There were several other singers that were established that recorded
that chorus that were being considered because you know, they
(43:18):
had much bigger presence. And yeah, I was just the
new girl on the block, right right. ODB heard my
voice and said, that's the magic, that's the money. Who's
that keep that keep her? Whoever that is, I'm telling
you right now, that's her. Yeah, that's why my voice
(43:43):
was on Get a Superstar.
Speaker 1 (43:44):
Unbelievable.
Speaker 2 (43:45):
Yeah, he convinced them so great.
Speaker 1 (43:48):
And what an ear. I mean, he's right, he's absolutely right.
Speaker 2 (43:51):
Well he may or may not be.
Speaker 1 (43:52):
Oh no, I'll say, you don't have to say it,
I'll say it, He's right, but that's and that's the
way it turned out pretty great. Your music has always
included such great rap features from Mace to Jada Kiss
to ODB to jay Z on the Best of Me remix.
How did that come together with jay Z because he
was flying very, very high at that time.
Speaker 2 (44:14):
Yeah. So on the record label side and innerscope, there's
my independent company through hak Islam University Music Entertainment, and
then in marketing there's like Steve Stout Okay advertising as well.
And he had all of these relationships being that he's
from New York, yep. From Jada Kiss to jay Z,
and he would do some calling for features, et cetera.
(44:38):
There were a lot of remixes that happened around that
time too, Yep. So he and jay Z had a
relationship and he may have actually called the producers track
masters who are legends and hip hop to create the
new track for the remix as well. And the rest
is history. Geez.
Speaker 1 (44:58):
Isn't it funny? It's just like, no, I'm the right
person who knows the right people, who get the inspiration
at the right time. Yeah, and the next thing, you know,
history is has been made. Well, Hype Williams. The Hype
Williams video brought us the iconic North Carolina baby blue
(45:18):
basketball dress. Just an all timer. Tell me all about
that dress? Where did it come from? Did you design it?
Did your mom design it? Did you know how big
of a deal it was going to become? Where you
offered tar heel tickets for life? Where is it now?
Can I put it under glass?
Speaker 2 (45:37):
What?
Speaker 1 (45:37):
Tell me everything about that dress? Oh?
Speaker 2 (45:39):
My goodness. Well, the North Carolina jersey dress from the
Best of Me remix video we call it Part two
by the way, Okay, that was styled and thought of
and manifested by June Ambrose, a legendary iconic stylist, you
(46:00):
know fashionista. Yess. She was doing so many artists at
that time in hip hop and R and B that
created this whole esthetic. During that time, it was the
Mary J. Bliges of the world, a lot of artists
(46:20):
that were on bad boy fashion was a big thing
in hip hop and R and B culture during the
early nineties until I came into the equation into the
two thousands to this day, and she was a part
of that. So her iconic mind came up with the
idea of turning something just so sporty and casual for
(46:44):
the woman in a dress forum.
Speaker 1 (46:46):
Yeah, and perfect for you who grew up such a tomboy,
and I mean just yeah, just so perfect for you.
Where is it today?
Speaker 2 (46:54):
Do you have it? I do? I have renditions of it, okay, okay,
that I'll wear for live performances.
Speaker 1 (47:01):
So great, Oh so great. Your new album, Retrospect is wonderful.
It is a really evolved, unique sound. And it's been
a while since you've released an album, so why now?
What was what was it about now that spoke to you?
Speaker 2 (47:20):
Well, if I could release an album every year, it
would be now yeah, okay, So what I do is
release lots and lots of singles in between projects. And
my last one was TKO in twenty eighteen, and Pandemic happened. Yeah,
while we were actually crafting other projects and singles as
(47:43):
well as putting them into the universe. But that time,
at uncertain time in all of our lives, was the
confirmation to continue the thought of this project that started
in two thousand and three, really with the Rick James
cover on my Motoring out. Oh so this is my
(48:03):
living room in Retrospect, A lot of these sounds, especially
for the first half of the album, which is very celebratory,
picked me up moods and in party moods. That's how
my living room sounded, and that's the music that I
would craft in my playlist during the pandemic. And I
(48:25):
was instantly brought joy like the environment and my frequency,
my vibe shifted, yeah to an uncertain place, doubtful place
to joy, and I said, yeah, we have to do this.
This is the direction we're going, no if ends or
butts about it. And that's how Retrospect was finished. Because
(48:46):
the very first song on this project I cut in
twenty sixteen because I heard the music happening across the
hall while I was working on another album.
Speaker 1 (48:55):
Wow, and you went and you were like, what is that?
Speaker 2 (48:57):
What's that? Who does that belong to? Oh? No one, Okay,
give me a copy now. And I wrote the song
that night. Really yeah. Wow.
Speaker 1 (49:07):
So this has been I mean you mentioned two thousand
and three, so twenty three years in the making, but
also the first song ten years ago, Special Place in
Your Heart. Getting twenty one savage on the ASAP was
a big deal. Are you a fan of new hip hop?
Speaker 2 (49:23):
I am?
Speaker 1 (49:24):
Yeah, I kind of like it all.
Speaker 2 (49:25):
Yeah, it has its place in my life. There are
certain things I don't listen to on Sundays, uh huh. Right,
there are lots of things I do listen to that
I don't listen to on Sundays in the gym.
Speaker 1 (49:36):
Right there you go. Everything has its place.
Speaker 2 (49:38):
I love it, yes, because I need to get in
beast mode. So I love all the subgenres of R
and B, subgenres of hip hop. It's really interesting to
see how the new kids and the younger kids are
expressing themselves. Yeah. I just love honesty and we grow
as human beings. But it's not for me to talk
(49:59):
down on I like the transparency that the kids are
going for nowadays, and there's like not a care in
the world. It doesn't have to be perfect anymore, right.
I come from a specific era where everything just had
to be too perfect yep, And so there's a bit
of freedom that's stripped for honesty. Sometimes that's stripped when
(50:22):
things are overworked, yeah, or too refined. And I love
the rawness of today, even if it's not necessarily what
I can relate to. I like the rawness of the
younger generation. Yeah, Like I admire that because I'm too meticulous.
Speaker 1 (50:41):
I feel you on that. I also I am my car.
Wouldn't it be nice to be a little more. I
don't have it anyday free. I don't have it. I
cannot do it, but it is enjoyable to watch someone
else do it.
Speaker 2 (50:53):
Yeah.
Speaker 1 (50:53):
I sensed a big funk and seventies soul influence on
the album. Was that a conscious direct direction? Because the
first thing it made me think of was that it
was like hearkening back to albums your parents probably played
for you when you were a kid.
Speaker 2 (51:09):
You nailed it on the head. Yeah, I transport and
retreat to my living room where the touch and feel vinyl,
the needle to the wax, we're all experiences, the artwork
on the vinyl, the little what do they call those
plastic things for the forty fives. Yes, I don't even
(51:31):
know what they're called. But it was fascination being able
to see but also witness and then experience the music
and the artwork of all of those individuals or bands
from that time. But what happened in my living room
as a kid was just pure joy, whether it was
extended family coming over and being the center of attention,
(51:54):
singing and dancing for everyone, or just literally being in
my own world and letting the music take me wherever
it took me. But there were musicians as well that
came to rehearse with my dad for his performances still
to this day, by the way, and I use this
word so many times, and this sit down with you,
(52:17):
it was electric. Yeah, And I will never forget those experiences.
And I've always wanted to bring that to my own projects,
but also the stage because my dad is a kick
but performer too. Yeah. Yes, and so it's all of
that's it's my childhood wrapped in one project. Oh. I
(52:37):
love that.
Speaker 1 (52:38):
Listen. If Maya is willing to sit down with me
for an interview, I am going to force her to
stick around for as long as possible. So we have
a bonus episode dropping this Friday, exclusively on the teen
Beat dedicated podcast feed, where I continue this conversation with
Maya and we listen to one of your voice memos
recalling an embarrassing childhood memory that will forever main our
(53:00):
little secret, And don't forget to listen to Maya's newest album, Retrospect,
available wherever you stream music, and you can go to
Maya Maya dot com that's m yamya dot com to
learn how you can pick up physical copies, which is
a great way to support her new independent journey. Teenbeat
is an iHeart podcast produced and hosted by Danielle Fischel.
(53:23):
Executive producers Jensen Karp and Amy Sugarman, Executive in charge
of production Danielle Romo, producer and editor Tara Sudbach. The
theme song is by mar Coppus. Yes that Mark Coppus.
Follow us on Instagram at Teenbeatpod.
Brand institudes. All that's okay, becaus no one here is
Welcome back to teen Beat. I am your host, Danielle Fischel,
your guide for a weekly journey into awkward teenage years
and embarrassing childhood stories that have somehow teamed up to
create a powerhouse influence on who we are today. Every week,
(00:43):
I sit down with interesting people who've done interesting things,
in hopes of connecting in this commonality. Knowing that the
stories of our past have shaped our blueprints of today.
And since I shared my youth with millions of TV
viewers living in public from twelve to nineteen years years old,
it's time to turn the tables. I see it like this.
(01:04):
I gave you my childhood. It's time we hear yours
and guys. If I had my brothers, this podcast would
be about one thing, and one thing only, something I'm
already always talking about. No, not Boy Meets World, not
the finicky nature of the sneakers app not even my
local topanga mal. It would be about late nineties, early
(01:27):
two thousand's R and B. I could argue and convince
just about anyone willing to listen that this was peak
time for the genre, especially when it comes to strong
talented women who are still thriving in the industry. Mary
J Bli, Jaliah Brandy, Missy, Destiny's Child, s WV Alicia Keys, Ashanti, Monica, TLC,
(01:47):
Escape and Vogue, Faith Evans, Adina Howard, Kalise. The list
goes on and on, and my guest this week is
a pivotal member of this sorority. She's a triple threat who,
as a child, began her career in dance as a
child prodigy of sorts, focusing on ballet, jazz and tap dance,
a style in which she'd study under and later with,
(02:09):
Crispin Glover. But it was her voice that landed her
an Innerscope record deal in the mid to late nineties,
resulting in her double platinum self titled debut featuring collaborations
with Babyface, Diane Warren, Drew Hill, Silk the Shocker, and
Missy Elliott, and her song on the Bulwarth soundtrack Ghetto
Superstar featuring Praz and the Late Old Dirty Bastard, earned
(02:31):
her a Grammy nomination in the Best Rap Performance by
a Duo or Group category. But come On It was
her second album, also platinum, nineteen ninety nine's Fear of
Flying and the single case of the X that real
heads no is the jam come on that song and
soon after she'd be forever immortalized as part of the
(02:53):
Grammy winning Moulin Rouge possecut Lady Marmalade with Christina Aguilera,
Lil Kim Pink and Missy a track that my kids, kids,
kids will still be blasting. And don't even get me
started on how good she made a rugrat song and
she's nowhere near done. Her tenth studio album, Retrospect, was
(03:13):
just independently released, marking a new journey for the singer,
and it features Snoop Dogg, two Short and twenty one Savage,
just to name a few of the guests. But the
real standout is her now creating on her own terms
as a veteran in the game with a sound influenced
by seventies and eighties soul mixed with modern day hip
hop roots. I am honored to welcome my former twenty
(03:37):
one Hottest Stars Under twenty one partner in a nineteen
ninety nine issue of teen People. MAYA good to see you,
and it's only been four years. We're twenty five now, right.
Speaker 2 (03:51):
Yeah, we're about that exactly.
Speaker 1 (03:54):
So good to see you. This really does feel like
a reunion of a teen people.
Speaker 2 (03:58):
Shoot, my goodness.
Speaker 1 (04:00):
I remember seeing that picture for the first time and thinking,
was that was that the best picture of me they
could find? I look very much like a deer in headlights.
Speaker 2 (04:10):
I'm like, you're not the only one, because I was
thinking the exact same. You didn't like it of you either, No,
I didn't.
Speaker 1 (04:15):
I thought, I think we're cuter than this. But you know, listen,
I'm just happy to have had the honor of standing
next to you and what we had a lot of
those you know, so much fun. We have so much
to talk about. But there's really only one place I
want to start, and that's with take me There, a
song for the rug Rats movie that has no right
(04:37):
being as good as it is. Can you tell me
how that song came together?
Speaker 2 (04:42):
You know, some things you just have no clue about.
You just show up and go. But I was in
the studio with Teddy Riley creating that song, actually recording
that song, because it was actually written already when I
walked in, specifically for the sound check. I did cut
it here in La really, yes, But I was not
in the studio with Black Street or Mace.
Speaker 1 (05:04):
Okay.
Speaker 2 (05:04):
And I did, however, get to work with the iconic
producer himself, Teddy Ryle in nineteen ninety eight, which was
the very first year I hit the scene.
Speaker 1 (05:15):
So yeah, so you're like, oh, this is a great
way to enter what is going to be the entire rest.
Speaker 2 (05:21):
Of your career. Well, you're not thinking that way. You're
just kind of like going through the motions and learning
as you go in new territory. Yes, but it was awesome.
I learned that night that he was also a libra.
Oh I have a libra as well.
Speaker 1 (05:35):
Okay, and you guys connected over that.
Speaker 2 (05:38):
He works very similar to myself. It's very quiet until
it's show time.
Speaker 1 (05:43):
And then it's time to go. Yeah, that's actually one
of the things I want to talk to you about.
But I want specifically for this song. When you first
hear it and they're spelling out rug Rats, are you
like what the is this? Or do you ride away?
Speaker 2 (05:57):
Love it? So I have a baby brother, we're twelve
years apart. I already knew what rug Rats was, Okay, okay,
And that's actually when he became my fan, because yeah,
he's like I get.
Speaker 1 (06:08):
It now you're doing Rugrats music.
Speaker 2 (06:10):
Yes, I get it. Yeah, he didn't really care about
his sister before then. But I always loved Angelica the character.
So I was so ecstatic to be a part of
the soundtrack.
Speaker 1 (06:23):
So cool and the music video. I feel like an
entire generation is connected to the song and the visuals.
I'm sorry, I could literally make a whole podcast just
about take me there. Do you have any memories from
the video shoot?
Speaker 2 (06:36):
I do so. Jamie King the iconic choreographer. He's worked
with Madonna, Jenna Jackson and so on. He puts tours together.
I remember he choreographed this video, okay, and I learned
the choreography the night before, coming in from somewhere in Europe,
and the next day we were on set. It was
(06:57):
just so bick fast.
Speaker 1 (06:59):
I'm gonna need you to teach me that xylophone part.
Speaker 2 (07:02):
That was actually a freestyle.
Speaker 1 (07:04):
Yeah, that's my favorite part. So congratulations to you. No offense,
Jamie King. But your little xylophone number is something special.
Speaker 2 (07:11):
Do you remember the movie Big Yes?
Speaker 1 (07:14):
Yeah, that was what was in your home at Yeah,
your Big Moment.
Speaker 2 (07:18):
I love it.
Speaker 1 (07:19):
I mean Teddy Riley, as you mentioned, he is a
legendary producer, one of the many that you've worked with.
While I was researching, I was just counting up the
superstars you have collaborated with. Check Out this list. It
might be the best list out there. Swizz Beats, Babyface,
Missy y Cleff, Jimmy jam And, Terry Lewis, Timbaland, Rock Wilder,
(07:41):
Tricky Stewart, Rodney Jerkins, and Scott Storch. And that's truly
just a tease of your entire roster. So I'm going
to put you on the spot a little bit here.
Who blew you away the most from a producer standpoint?
Speaker 2 (07:56):
Oh my goodness. Well, Tricky Stewart is an instrumentalist. He
knows how to play instruments. Yeah, and I've watched him
on the keys. But it's also a tie between Wycliffe
because he's a guitarist, Okay, And I see it happen
in real time. I get to watch them actually create
(08:17):
from nothing, which is magic. Yeah.
Speaker 1 (08:21):
Yeah, seeing there be nothing, truly nothing, and then someone
go I have an idea and then to be able
to with their body bring it into like fruition. Yeah,
it's magical.
Speaker 2 (08:33):
Yeah. And Wycliff is also a performer, so he has
all of that experience on stage and he's so spontaneous.
He's also a comedian. He brings it to his creation
of music, and just being in the studio is electric, right,
I bet lots of good stories, backstories.
Speaker 1 (08:50):
Is there a producer out there that you haven't worked
with yet that you're still dying to work with?
Speaker 2 (08:57):
Well, he's not with us anymore, but I'd always wanted
to work with Quincy Jones, and still even though I
have a song on my very first album that Babyface produced,
I didn't actually get to meet him during that process.
So I would really like to work with Babyface. Okay,
let's manifest that for you. Yes, I love that.
Speaker 1 (09:29):
Let's talk a little bit about Maya in DC. Dad
was in a band Jump Street. So were you always
surrounded by music always?
Speaker 2 (09:40):
Since I was born? I had a baby picture, she
can share it with you. Pub I was obviously in panthers,
and my mom is teaching me how to play piano.
Her dad orchestrated for orchestras. He wrote all of the
sheet music for every instrument orchestra by hand. Composer. Oh
(10:04):
classic pianist. But yeah, there were always instruments in our house.
My dad is a singer, the leader of his band
always since he was about sixteen seventeen, and it was
an electric living room, you know, and so much rich music.
Speaker 1 (10:25):
You started dancing at a very young age, but you
also played violin and obviously you sang. It was like
you were a musical bo Jackson. How did you choose
which avenue you wanted to pursue?
Speaker 2 (10:39):
It was actually Broadway for me. Yes, So I was
going to college after high school, University of Maryland, College Park.
The goal was eventually to go to Juilliard at some
point in New York and pursue Broadway because I love
to do so many things. But the record deal happened
in the midst of my first year of college, and
(11:02):
I've been recording demos, taking the train back and forth
to Philadelphia from DC to DC, yeah, two hours. And
had to make a choice because there was investment being
put up and there was a label that was interested.
Said well, this is a shot, yeah, and I might
not get again, so let's go for it. College is
(11:24):
always there.
Speaker 1 (11:25):
Correct sees it sees that chance. Like I said, we
did a photo shoot together in the late nineties and
you are a very sweet, relatively soft spoken person. But
musically you have always commanded such a presence on stage.
You are anything but shy. There is that how you've
(11:47):
always been. Is that your libra personality?
Speaker 2 (11:51):
Yes? So my parents are polar opposite, okay, but they
are both libras and I'm the even balanced ten ten libra.
The perfect amount of my dad to survive this business
is in me. Okay, the perfect amount of my mom
to survive this business and be super creative. Okay. My
(12:15):
dad is the performer. She's the artist, but she's also
the accountant. She's sown my costumes. She's so great with organization.
My dad not so much. But he's the creator and
understands spending and investment and you know, aesthetics. Yeah, all
of these things all a perfect mix of both of
(12:37):
your parents. And you're right, you need both sides, yes,
to make it, Yes.
Speaker 1 (12:40):
In this industry.
Speaker 2 (12:41):
Yes.
Speaker 1 (12:42):
So what was a question was what were you like
as a kid? Were you?
Speaker 2 (12:47):
Well? It depends on the environment. Because I grew up
with brothers. My dad raised me a little rough around
the edges. I was a bit of a time boy.
We played tag football, tackle football, a grass stands on
the knees. I was very athletic, yeap, just kind of whatever.
Speaker 1 (13:05):
Uh huh, yeah, you were just thrown.
Speaker 2 (13:08):
In gin dirty whatever it was. I was very active.
Then there were the activities that I was placed in, thankfully,
the summer camps and all the things major rettes. But
I was very quiet. I was an observer, still am
until it was time right not to be and then
but I was loud when I was a kid. As
(13:29):
far as playtime, okay, it is concerned, it was tomboy. Okay.
Speaker 1 (13:34):
I love that you were a high school senior at
only sixteen years old and it wasn't that long after
that that you would be on TRL. So what was
high school like for you? Yeah?
Speaker 2 (13:49):
I was the quiet girl until about my junior or
senior year.
Speaker 1 (13:53):
Okay.
Speaker 2 (13:54):
I became the captain of the dance team, yes, along
with another girl name Nessa, okay, and you know we
were leaders. But I also had my very first job
in high school at fourteen as a day teacher teacher, yeah,
outside of school. So I was very disciplined, very focused
(14:15):
and driven. I did a lot of shopping. Oh and
so my identity you know, came about I got my
nose pierced illegally with a fake ID.
Speaker 1 (14:24):
Oh my sixteen, where'd you get the fake idea?
Speaker 2 (14:26):
At the mall? At the mall, one of those kiosks.
Speaker 1 (14:30):
I love them all. I had a kiosk for fake.
Speaker 2 (14:31):
Id's, well for nose piercings. Oh for nos yet I
don't know, Yes, I do know who gave me the
hook up my friends in high school. He said, I
can get you a fake ID. But yeah, I got it.
I showed my ID.
Speaker 1 (14:46):
You know what did your parents think about the nose piercing.
Speaker 2 (14:49):
Well, they thought it was fake because I'm a whimp
when it comes to needles.
Speaker 1 (14:54):
So they were like, there's no way she would do that.
And did you just let that go? Oh yeah, it's fake?
Speaker 2 (14:58):
No, I said, no, it's real. They were disappointed at first,
they said, why would you do that to your face?
Your career said it'll be fine.
Speaker 1 (15:08):
You know, I look at your now, it's like such
an iconic part of who you are.
Speaker 2 (15:13):
I guess I was a little rebellious back then, just
trying to find my own yes, identity list individualities.
Speaker 1 (15:20):
I got my belly button pierced at fifteen, and it
was still I'd still have it today if it were
up to me, but I've had it beaten out of.
Speaker 2 (15:30):
Me by I've always wanted one.
Speaker 1 (15:32):
Really.
Speaker 2 (15:32):
Yeah.
Speaker 1 (15:33):
Oh, it's so funny. It's stopping you now.
Speaker 2 (15:36):
It's never too late, never.
Speaker 1 (15:37):
Too late, never too late. On weekends, you were studying
with Crispin Glover with your own solo in a Kennedy
Center performance, and you were on BET's teen Summit. Were you,
in any way still able to live a normal teenager's life.
I know you got your nose pierced at them all
and taught dance classes, but one it really started happening
(16:01):
for you and you were performing for crowds. Were you
able to feel like you had a normal teenage life?
Speaker 2 (16:07):
Yeah? I think so. Yeah. Yeah. I was a country girl.
I rode dirt bikes and goat carts and all of
the things. So we definitely had a great life as kids. Yeah,
and teenagers. It was busy, but I loved it because
it was a bit of independency as well as seeing
a check right name on it, you know, every few weeks.
(16:30):
It was great.
Speaker 1 (16:31):
What was the first thing you splurged on and treated
yourself to?
Speaker 2 (16:35):
Mm It was always clothes and shoes. I would always
be at the mall, you know, and it was literally
an investment for my performances because I was tap dancing solo, yeah,
and becoming this the girl that I wanted to be.
Right at that time, it was around fifteen or sixteen,
(16:56):
so it still had something to do with business, huh.
Speaker 1 (16:59):
Yeah. And then I think we also got to use
it as a write off. You could buy clothes and
be like, I need this for performing now that they
don't even let you write it off anymore.
Speaker 2 (17:07):
Well, that was before the record deal, Okay, knew we
didn't have the business established that this was just me
in high school, you know, with my first job, just
thinking his business. Yeah. And the reasoning behind that is
because you know, we always had handy down clothes or
my mom would go to the Thrish store and repurpose things,
(17:28):
she would up cycle, or she would actually make our clothes,
and we hated them because they weren't like the name
brand clothes that all the cool kids were wearing, and
we got teased for everything. But when I found that independence,
I got to choose what I was going to wear.
But I was also an artist just like herself, sketching
designs and all of these things and bringing those things
(17:49):
to life. She sewed my prom dress that I designed.
Really yeah, so those are the first things that I
would spend with my own money. Now, when the advance
came for the record deal, I invested in equipment because
I've always wanted to record harmonies. I was always fascinated
(18:10):
with layering, okay, my voice and different notes, and I
would flip karaoke tapes and cassettes over and over and again,
and equality was just awful. So that's the first thing
that I did equipment.
Speaker 1 (18:25):
Investing in yourself. Again, everything you're saying, I keep hearing
that perfect mix of your dad and your mom. You know,
You're like, this is an expense, but it's an investment
in myself as well, and it will allowed me to create.
Speaker 2 (18:37):
Yeah, it was fun. It wasn't even investment to me.
I just wanted to do it.
Speaker 1 (18:41):
Yeah, yeah, like a toy, but for fun and your career.
So B T one O six in Park and TRL
were both so pivotal in your career. I don't mean
to sound like an old lady here, but I don't
think people realize how great of a time that was
to be a part of Maya could be. Doing the
(19:02):
first segment and then Korn was premiering a video immediately after.
Did you like doing those shows?
Speaker 2 (19:09):
Absolutely? There was a live audience and there's nothing like that.
You know, give and receive the exchange, the energy. Seeing
Times Square outside of the windows and the fans and
the supporters. It's electric when you're just a spectator watching
at home on the tube. But when you're there, it's
(19:32):
in the whole other world. It's awesome.
Speaker 1 (19:35):
Do you have any memorable stories from a trol Yes?
Speaker 2 (19:40):
What viral a couple of years ago? Odb Okay Prize
and I I'm not sure if why club was there, Okay,
it may have been, but we were all on the
couch being interviewed for the Ghetto Superstar record. ODB was
a very honest guy, and I think the question that
(20:02):
was asked was what would you like your legacy to
be or how would you give back to your community?
What it is? What is it that you would like
to give back? Huh he said nothing straight to the camera.
I'm just telling you what. Okay, Well, maybe that's the
honest answer here.
Speaker 1 (20:23):
Did you say anything? Did you like?
Speaker 2 (20:26):
We just all burst out laughing, all of us, the
host of the audience, everyone on that couch. Nothing. I mean,
it wasn't even nicely said nothing. That's how I said,
said it.
Speaker 1 (20:44):
Not modeled at my lab or anything.
Speaker 2 (20:47):
Just nothing.
Speaker 1 (20:56):
Oh my gosh, I love it so much. I found
a clip on line of Carson Daily's Birthday special where
he was that trl or was a birthday tl MTV?
Maybe yeah it was MGV. Yes, and you are giving
him a lap dance during the final credit. Nicky Hilton
is there, Jessica Simpson is with Nick Liche, and Sarah
(21:19):
Silverman is on Jimmy Gimmel's lap. It is so wildly
y two K Do you remember that typing at all?
Speaker 2 (21:29):
I remember clearly, and I remember all the reactions in
the faces. I don't know if they edited it to
be that way, but I mean the jaws.
Speaker 1 (21:40):
Drup jaws were on the floor.
Speaker 2 (21:44):
My love is like whoa, Yes, cocky era just very
overly sexy and cocky of a record that Missy Elliott wrote,
by the way, so of course it would be of course. Yeah.
That was I think a shocking moment for myself, but
so great. So this is not going to happen again
(22:06):
because I'm not going to be able to fit these shorts.
Speaker 1 (22:08):
Every again, enjoy it.
Speaker 2 (22:11):
Well, you can do it while you can.
Speaker 1 (22:14):
I also stumbled upon a picture from the two thousand
and one MTV Janet Jackson Tribute, which you performed at,
and the photo is you bust A Rhymes, Hank Tyres,
Stevie Wonder, and Aliah, which is quite the lineup. But
it also got me thinking about your interactions with Aliyah,
(22:35):
who would tragically die just a few months after that
photo was taken. Did you get to know her at all?
Did you have a relationship with her?
Speaker 2 (22:42):
We done a couple of different shows together. We were
just always crossing, yeah, in workplaces. And we'd done a
photo shoot in New York. There were individual photo shoots
I think they were called fanzines, Okay, yeah, time where
you do several you know, outlets at once in one place,
lots of hair magazines, et cetera. And you know, we
(23:07):
kicked it, but we never had like a very close relationship.
It was more so a work associate out of respect,
you know, very friendly at all times, cordial. Yeah. Yeah.
Speaker 1 (23:20):
So you signed to Interscope Records at nineteen, pretty quickly,
right out of high school. What is it like going
from Maryland to the very fast paced music business recording
that first album, especially because so much of your life
had been focused on dance, not necessarily becoming a pop
R and B sensation. So what was that transition like
(23:41):
from high school to interscope deal?
Speaker 2 (23:45):
Well, I was actually in the orchestra and choir, gospel choir, Okay,
So so singing was always yeah, singing was always there,
but it was more so done in like plays or
a Broadway rightay idea? Yeah, capacity, So you know, the
recording artist thing was unexpected. Yeah, and of course you know,
(24:06):
I knew that I could execute it because of the
entertainment value, and entertainer was always the goal in mind.
Some of the inspirations were Gregory Hines, who I'd seen
live when I was about ten years old on Broadway
and got to train with him and dance with him.
(24:27):
But Sammy Davis Junior, singing, acting, dancing, just personalities and
very nice, you know, very warm and welcoming spirits. So
they were always in my living room, black and white films, etc.
So I was always surrounded by music through my grandfather,
my mom, my dad, and I was always doing something
(24:52):
in choir or national anthems and talent shows. But the
goal was never recording artists until my late later teens. Yeah,
and so were your.
Speaker 1 (25:05):
Parents involved in your career still at that time, like
when you signed an innerscope, are your parents actively involved
in it?
Speaker 2 (25:13):
Yes, So it's really wild. As I was in high
school going into college, i'd recorded demos in Philly, but
prior to that, I recorded my very own first song,
original of my own and I was fifteen years old.
They invested in me to do that. That was actually
(25:35):
shopped to the independent label that was in Washington, DC
who discovered me. And my parents were my managers at
the time, and my mom had experience running my dad's
independent label called TMC Productions, where he'd recorded his own
records for years, pressed up his own vinyl, took them
to the radio station in our state, so they had
(25:57):
all of the chops and what we were doing business
in a very boutique way. But at the release of
my very first single, they got divorced.
Speaker 1 (26:09):
Wrench in the system.
Speaker 2 (26:10):
Yeah, so that didn't work out, and you know, I
found myself being managed by those that I didn't know. Okay,
they were strangers, and you know, divorces can be taxing,
and so neither one of them were kind of capable
at the time to really be engolfed. Yeah, the business
(26:31):
of maya.
Speaker 1 (26:32):
Yes, and it is all encompassing, especially at the beginning
when you're getting started and it's meetings and phone calls
and appointments and yeah, and you're going through a divorce.
Guess what, there's not a lot of time for thinking
about all.
Speaker 2 (26:44):
Yeah, but my mom has always remained my accountant and
watched the books since so.
Speaker 1 (26:49):
Great my mom was. My mom was that person for
me too, and she was meticulous about it. Yes, she
was always so worried that I'd ever have a reason
to suspect that something had been mismanaged, and so she
kept every paste ub I mean, just meticulous records of
everything in case I ever needed it. I never needed it,
(27:11):
but it is. It's we're lucky.
Speaker 2 (27:13):
There are horror stories, true horror stories. Yes, very fortunate.
Speaker 1 (27:18):
Yes, you have somehow also been able to avoid being
gossip fodder for nearly three decades. You've kept to yourself
and you've honestly you've lived a relatively private life. Let's
say you were just starting out in twenty twenty six
and social media and content creation is so important. Do
(27:41):
you think you could do it.
Speaker 2 (27:43):
I think I could do it with the faith that
I've been rooted in in any timeline, any world. I think,
of course today would be a lot tougher, but I
would I would want a mentor for myself, Okay that
has walked this business and walked the shop of an entertainer,
experience the highs, the lows, and devastations to guide me
(28:07):
and hold my hand along the way. Because it's a
different time that we're living in with oversaturation and sensory
overload and mental health awareness i'd say is at the forefront,
which is great because we didn't have those discussions back then.
But I think my parents exposed me to so much
(28:30):
for a long time. It instilled so many values, which
is why I am a huge advocate of the arts
and sports or any programs for youth so that you
can get through this thing called life, regardless of the
time or the era. But I think mentors are very important.
Speaker 1 (28:49):
Yeah, you're absolutely right. Let's get into Lady Marmalague. This
obviously is just heavy hitter central and you are all
(29:11):
so talented. Do you remember the pitch for it? And
how did you find yourself on the song?
Speaker 2 (29:17):
Yes? The managers that I had at the time, they
were in touch with the record label Interscope, and they
mentioned it without too many details. I was familiar with
the song, of course, and of course the names. I
just said, yes, of course, I'm a fan of everyone,
(29:38):
and I didn't think twice about it. And there we
were laying our backgrounds together in California one day, and
then we cut our leads separately. But I was a
fan of everyone, including the producers. Yeah. So it was
a match made in heaven and it was a lot
of fun. I'm noticing a.
Speaker 1 (29:59):
Little with you that's so important, which is that when
an opportunity that sounds exciting to you comes about, you
don't overthink it. You seize it immediately. You go, hey,
there's a record label right out of high school. This
is unexpected. Yes, and Lady Marvelot, Yes, and it's really
(30:21):
paid off for you. The trusting your instincts and trusting
your gut. Is that something that your parents have nurtured
in you? Is that something is trusting your intuition something
that's important to you.
Speaker 2 (30:33):
Yes, my parents have everything to do with that. I'd
say there was a lot of fear and intimidation or
insecurity in my childhood uncertainty okay, but the art's definitely
taught me. Teamwork, of course taught me that you just
go for it. Yeah, you might make a mistake, you
(30:53):
might fall in your face eight times in front of
the world, but there's a lesson to be learned. You
actually get to be better the next time, and you're
not alone, right, you know, So go for it? Why regret?
Why not? So I've seen the improvement, and I think
(31:14):
I've had opportunities that prove time and time again that
you know, you might suck at something first, but if
you have a little bit of resilience and perseverance and can.
Speaker 1 (31:23):
Take good.
Speaker 2 (31:26):
The criticism a lot the way, yeah you might just
get good at it or be great one day. Just
hang in there. Yeah, so you all.
Speaker 1 (31:33):
Laid some of your tracks together. You did the independent
the solos separately, Yes, but Lady Marvel, you're all in
the same room. Did it just feel special immediately? I
find it hard to believe that it didn't sound like
a Grammy winner from just the very first get go.
Speaker 2 (31:48):
Well, I wasn't even thinking Grammy. I was honestly thinking,
oh this is for a film, How cool? Soundtracks. Oh,
this video is going to be amazing. Gas movie is
a little bit different than music money, and I'm so
excited for that. So I wasn't really thinking Grammy because
I didn't even know at the time that sound songs
(32:10):
on soundtracks could get be dominated for Grammys, you know, Yeah,
I was still new.
Speaker 1 (32:18):
Yeah, yeah, so yeah, that's so crazy that then being
nominated for Grammy isn't eve Yeah, which makes sense. You're
thinking a movie, movie, money video. Grammy's like the last
thing on your mind. I had mentioned your class of
R and B singers from the late nineties early two thousands,
and it is stacked with talent who impressed you. Was
there anyone that you were like a big fan of
(32:40):
from your peer group?
Speaker 2 (32:43):
Of course, I have to think about it from my
pear girl. Oh yeah, Usher, m yeah, I'd work with
Usher for the Michael Jackson thirtieth anniversary tribute. Yep, okay,
And you're just very focused. He's also a libra, such
(33:06):
a special place in your life. Yeah. My production partner
for this new album is a libra. Snoop is a libra.
There are a lot of folks twenty one savages a libra. Yeah,
Lira's an I work so well together, lots of creative energy. Yeah,
but yeah, who think about Yes, Usher is a great one.
(33:30):
So Usher, Yeah, I thought he was very focused driven.
He was so young when he stepped into this business,
probably about fourteen, yeah, maybe even younger when he recorded
his first album and growing up in front of the world. Yeah,
but of course cardio dancing and singing are two different
types of breath work, and he mastered that so young.
(33:53):
And to see him in rehearsals, but also see him
perform at Esson Square Garden with no fear, oh like yay,
like where this? Yeah, I was highly impressed. Michael Jackson
was in the room really joying our rehearsals. Whitney Houston
was there, Oh my gosh, Timid and yes, you're just
(34:14):
having it all. So I was so impressed with free energy.
Speaker 1 (34:19):
So do you think when you perform, because no one
would ever think you're nervous watching you perform. Do you
are you putting on a character in order to be
able to do it? Are you nervous inside?
Speaker 2 (34:30):
I think we all are a bit nervous because so
many things can go wrong. Huh. And when it's in
front of an arena crowd, something that's actually being taped
or filmed or live. I get so nervous inside when
something is airing live because there's no room for mistakes.
(34:52):
Gotta do it with millions watching Dancing with the Stars.
Was that every single week for me? And I'm a dan.
Speaker 1 (35:00):
I have absolutely no idea how you did not win
Dancing with the Stars. Can we can we just for
a moment talk about how you're the best dancer to
have ever been on Dancing with the Stars. I'm saying
it right now.
Speaker 2 (35:13):
So you can win in scores and points, which I did,
but that doesn't matter. It's about are you being voted for.
Your fan base has to chime in. If people think
you're safe because you have high scores, oh you might
technically be a good dancer, That's not what that show
is about. It's about, Okay, do the judges think, so,
(35:35):
did you kneel every component of technique and this hand
and this finger placement or whatever it is that they
judge timing an embodiment for that specific dance style, which
I have no clue of because you're literally learning a
new style of dance every single week. Not my forte
(35:57):
or anyone's for that matter. But it's about all of
those things, including the votes at the end of the day,
which really counts.
Speaker 1 (36:04):
Are the thing at the end of the day, that's
the end all. Did you have a favorite dance from
Dancing with the Stars? Is there anything when you look
back on your time you think that's my number one?
I'm the most proud of that.
Speaker 2 (36:18):
Yes, there was a very difficult dance on Dancing with
the Stars that I'm most proud of because first by
seeing it, I didn't think I could do it. It's
so technical and it's actually so brutal because your partner
and you are kicking each other most of the time
(36:40):
until you exactly my legs were black blue purple from bruising,
and I loved it. But when I saw the performance,
and like, I literally worked over time to get it
right because it was so difficult, so difficult. Looking back
(37:06):
at it, I was so impressed.
Speaker 1 (37:08):
Yeah, you're like, I can't believe that's me.
Speaker 2 (37:10):
In learning it in just one week and being lifted
in the air. Yes, yeah, it was a lot.
Speaker 1 (37:18):
Argentine Tango was my favorite too. Absolutely loved it, Yes,
absolutely loved it. Same like I remember watching videos of
it and being like I, I'm not going to be
able to do this, and the lifts and and I
also huge bruise on my hip from a couple of
the you know lifts where you get swung around and
you're just smacking your hip into each other. It's it's
(37:40):
it's brutal, but it's my favorite one, my favorite performance.
I did everything about it, loved it.
Speaker 2 (37:46):
So much, so I have so much strength in it too. Yeah.
Speaker 1 (37:50):
Absolutely, yep, you come away from that experience real ripped.
Speaker 2 (38:06):
You.
Speaker 1 (38:06):
Last year performed on some dates with Brandy and Monica,
and I have to think that was a blast. I
can't believe I missed it. As someone who is also
heavily associated with nostalgia myself, do you enjoy seeing these
crowds who have grown up with you coming out to
support you and sing along to every word with you.
Speaker 2 (38:25):
Yes, it's so special to be amongst your families, literally
the peers, peers, your peers. You know, we speak the
same language, and we've had lives that have been lived
since we were teenagers. And the music that speaks to us,
whether it would be core memories for some or where
(38:49):
we are in our lives because we're all still making
music that resonates with our timeline now and the world
has changed so much and we're still here holding each
other down. And so I loved it. I loved being
a spectator, just listening to all the nostalgic songwriting compositions,
the great music with bridges and modulations and wonderful lyrics.
(39:12):
My dad and I sat front of house at one
of the shows. I can't remember the city. I think
it was actually Baltimore, which is, you know, close to
where we're from, and he held my hand. When Brandy
started singing have you Ever, I'm like, oh, the power
of music, the power of music and lyrics. So that
(39:33):
was so special for me, and it being from my
generation because parents and grandparents kind of talked down on
the generation shows under them about the music that we're
making and it doesn't sound like real music anymore, you know.
So for him to resonate with something from my age,
Bracket was really great and an emotional song of that.
Speaker 1 (39:56):
Yeah, that's a beautiful.
Speaker 2 (39:58):
Yeah.
Speaker 1 (39:59):
I want to talk a little bit about Ghetto Superstar.
It's an infamous rumor that ODB was on the song
because he was going door to door at the recording
studio trying to force his way into songs. Is that true?
Speaker 2 (40:13):
I've never heard that.
Speaker 1 (40:13):
Okay, so then I'm going to check out that is
not true.
Speaker 2 (40:17):
I don't know, I've never heard that.
Speaker 1 (40:18):
Really.
Speaker 2 (40:19):
It could be because it was very spontaneous.
Speaker 1 (40:22):
Yeah, okay, all right, so not unsurprising for him to
knock on the door and be like, I'm here, what
can I do?
Speaker 2 (40:30):
I actually believe that, really, I do believe that.
Speaker 1 (40:32):
Oh that is so funny. Do you have any fun
favorite experiences with him other than him saying nothing? He
almost burned himself on Pyro performing at the nineteen ninety
eight MTV VMAs. That must have been traumatizing.
Speaker 2 (40:54):
I'm not sure if Pross pulled him back. I think so, yeah, yeah,
And I'm not sure if we rehearsed it at all
real I can't remember or if he was there, yeah,
in rehearsals, but that could have been a disaster. I mean, yes,
thankfully nothing happened. My gosh, ques matter, which is why
(41:15):
I'm so detailed oriented that it's very anal, But things
like that matter, to know exactly what part of the
song and going over it and over every time, so
every person on that stage understands, you know, where they
need to be, markers on the stage. I'm literally there
making sure we have a long strip of tape of
where every prop goes, cutting them, placing them where, you know,
(41:38):
having the dancers in certain places, because anything can happen
at any time. But uh, yeah, details matter, they really do.
Speaker 1 (41:46):
I just went on the Dancing with the Stars tour.
I was there for a month and we it was
very much the same way. You know, there's three sets
of stairs and everyone's got a walk and people are
crossing and you've got twelve thirteen people dancing at the
same time, heels in heels by the way with fog
which makes a stage moist or half.
Speaker 2 (42:04):
You know.
Speaker 1 (42:04):
Sometimes we were at amphitheaters where it was humid outside
and now you're like, watch out, beads falling off of
costumes and people dancing barefoot. The amount of beads lodged
into bare feet while we were on tour, and those
you know, if you're not showing up for your cues
and you can't see the tape when it's dark, those
things are important. These are simple bodies and yeah, it's
(42:28):
all very important. So don't ever feel bad about being
aal and being like, I'm here taking notes very smart.
Speaker 2 (42:36):
I will share this with you. ODB was responsible for
my feature on Ghetto Superstar. Really, I only had one
song out in the universe, which was all about Me
featuring Cisco, my debut single in nineteen ninety eight. My
dad and I took a train to New York had
(42:57):
a session with Yclef Jean down the chorus and that
was that. We didn't hear anything back, you know. Yeah,
I was asked to do the chorus and it was
the shortest session I probably ever had to this day.
There were several other singers that were established that recorded
that chorus that were being considered because you know, they
(43:18):
had much bigger presence. And yeah, I was just the
new girl on the block, right right. ODB heard my
voice and said, that's the magic, that's the money. Who's
that keep that keep her? Whoever that is, I'm telling
you right now, that's her. Yeah, that's why my voice
(43:43):
was on Get a Superstar.
Speaker 1 (43:44):
Unbelievable.
Speaker 2 (43:45):
Yeah, he convinced them so great.
Speaker 1 (43:48):
And what an ear. I mean, he's right, he's absolutely right.
Speaker 2 (43:51):
Well he may or may not be.
Speaker 1 (43:52):
Oh no, I'll say, you don't have to say it,
I'll say it, He's right, but that's and that's the
way it turned out pretty great. Your music has always
included such great rap features from Mace to Jada Kiss
to ODB to jay Z on the Best of Me remix.
How did that come together with jay Z because he
was flying very, very high at that time.
Speaker 2 (44:14):
Yeah. So on the record label side and innerscope, there's
my independent company through hak Islam University Music Entertainment, and
then in marketing there's like Steve Stout Okay advertising as well.
And he had all of these relationships being that he's
from New York, yep. From Jada Kiss to jay Z,
and he would do some calling for features, et cetera.
(44:38):
There were a lot of remixes that happened around that
time too, Yep. So he and jay Z had a
relationship and he may have actually called the producers track
masters who are legends and hip hop to create the
new track for the remix as well. And the rest
is history. Geez.
Speaker 1 (44:58):
Isn't it funny? It's just like, no, I'm the right
person who knows the right people, who get the inspiration
at the right time. Yeah, and the next thing, you know,
history is has been made. Well, Hype Williams. The Hype
Williams video brought us the iconic North Carolina baby blue
(45:18):
basketball dress. Just an all timer. Tell me all about
that dress? Where did it come from? Did you design it?
Did your mom design it? Did you know how big
of a deal it was going to become? Where you
offered tar heel tickets for life? Where is it now?
Can I put it under glass?
Speaker 2 (45:37):
What?
Speaker 1 (45:37):
Tell me everything about that dress? Oh?
Speaker 2 (45:39):
My goodness. Well, the North Carolina jersey dress from the
Best of Me remix video we call it Part two
by the way, Okay, that was styled and thought of
and manifested by June Ambrose, a legendary iconic stylist, you
(46:00):
know fashionista. Yess. She was doing so many artists at
that time in hip hop and R and B that
created this whole esthetic. During that time, it was the
Mary J. Bliges of the world, a lot of artists
(46:20):
that were on bad boy fashion was a big thing
in hip hop and R and B culture during the
early nineties until I came into the equation into the
two thousands to this day, and she was a part
of that. So her iconic mind came up with the
idea of turning something just so sporty and casual for
(46:44):
the woman in a dress forum.
Speaker 1 (46:46):
Yeah, and perfect for you who grew up such a tomboy,
and I mean just yeah, just so perfect for you.
Where is it today?
Speaker 2 (46:54):
Do you have it? I do? I have renditions of it, okay, okay,
that I'll wear for live performances.
Speaker 1 (47:01):
So great, Oh so great. Your new album, Retrospect is wonderful.
It is a really evolved, unique sound. And it's been
a while since you've released an album, so why now?
What was what was it about now that spoke to you?
Speaker 2 (47:20):
Well, if I could release an album every year, it
would be now yeah, okay, So what I do is
release lots and lots of singles in between projects. And
my last one was TKO in twenty eighteen, and Pandemic happened. Yeah,
while we were actually crafting other projects and singles as
(47:43):
well as putting them into the universe. But that time,
at uncertain time in all of our lives, was the
confirmation to continue the thought of this project that started
in two thousand and three, really with the Rick James
cover on my Motoring out. Oh so this is my
(48:03):
living room in Retrospect, A lot of these sounds, especially
for the first half of the album, which is very celebratory,
picked me up moods and in party moods. That's how
my living room sounded, and that's the music that I
would craft in my playlist during the pandemic. And I
(48:25):
was instantly brought joy like the environment and my frequency,
my vibe shifted, yeah to an uncertain place, doubtful place
to joy, and I said, yeah, we have to do this.
This is the direction we're going, no if ends or
butts about it. And that's how Retrospect was finished. Because
(48:46):
the very first song on this project I cut in
twenty sixteen because I heard the music happening across the
hall while I was working on another album.
Speaker 1 (48:55):
Wow, and you went and you were like, what is that?
Speaker 2 (48:57):
What's that? Who does that belong to? Oh? No one, Okay,
give me a copy now. And I wrote the song
that night. Really yeah. Wow.
Speaker 1 (49:07):
So this has been I mean you mentioned two thousand
and three, so twenty three years in the making, but
also the first song ten years ago, Special Place in
Your Heart. Getting twenty one savage on the ASAP was
a big deal. Are you a fan of new hip hop?
Speaker 2 (49:23):
I am?
Speaker 1 (49:24):
Yeah, I kind of like it all.
Speaker 2 (49:25):
Yeah, it has its place in my life. There are
certain things I don't listen to on Sundays, uh huh. Right,
there are lots of things I do listen to that
I don't listen to on Sundays in the gym.
Speaker 1 (49:36):
Right there you go. Everything has its place.
Speaker 2 (49:38):
I love it, yes, because I need to get in
beast mode. So I love all the subgenres of R
and B, subgenres of hip hop. It's really interesting to
see how the new kids and the younger kids are
expressing themselves. Yeah. I just love honesty and we grow
as human beings. But it's not for me to talk
(49:59):
down on I like the transparency that the kids are
going for nowadays, and there's like not a care in
the world. It doesn't have to be perfect anymore, right.
I come from a specific era where everything just had
to be too perfect yep, And so there's a bit
of freedom that's stripped for honesty. Sometimes that's stripped when
(50:22):
things are overworked, yeah, or too refined. And I love
the rawness of today, even if it's not necessarily what
I can relate to. I like the rawness of the
younger generation. Yeah, Like I admire that because I'm too meticulous.
Speaker 1 (50:41):
I feel you on that. I also I am my car.
Wouldn't it be nice to be a little more. I
don't have it anyday free. I don't have it. I
cannot do it, but it is enjoyable to watch someone
else do it.
Speaker 2 (50:53):
Yeah.
Speaker 1 (50:53):
I sensed a big funk and seventies soul influence on
the album. Was that a conscious direct direction? Because the
first thing it made me think of was that it
was like hearkening back to albums your parents probably played
for you when you were a kid.
Speaker 2 (51:09):
You nailed it on the head. Yeah, I transport and
retreat to my living room where the touch and feel vinyl,
the needle to the wax, we're all experiences, the artwork
on the vinyl, the little what do they call those
plastic things for the forty fives. Yes, I don't even
(51:31):
know what they're called. But it was fascination being able
to see but also witness and then experience the music
and the artwork of all of those individuals or bands
from that time. But what happened in my living room
as a kid was just pure joy, whether it was
extended family coming over and being the center of attention,
(51:54):
singing and dancing for everyone, or just literally being in
my own world and letting the music take me wherever
it took me. But there were musicians as well that
came to rehearse with my dad for his performances still
to this day, by the way, and I use this
word so many times, and this sit down with you,
(52:17):
it was electric. Yeah, And I will never forget those experiences.
And I've always wanted to bring that to my own projects,
but also the stage because my dad is a kick
but performer too. Yeah. Yes, and so it's all of
that's it's my childhood wrapped in one project. Oh. I
(52:37):
love that.
Speaker 1 (52:38):
Listen. If Maya is willing to sit down with me
for an interview, I am going to force her to
stick around for as long as possible. So we have
a bonus episode dropping this Friday, exclusively on the teen
Beat dedicated podcast feed, where I continue this conversation with
Maya and we listen to one of your voice memos
recalling an embarrassing childhood memory that will forever main our
(53:00):
little secret, And don't forget to listen to Maya's newest album, Retrospect,
available wherever you stream music, and you can go to
Maya Maya dot com that's m yamya dot com to
learn how you can pick up physical copies, which is
a great way to support her new independent journey. Teenbeat
is an iHeart podcast produced and hosted by Danielle Fischel.
(53:23):
Executive producers Jensen Karp and Amy Sugarman, Executive in charge
of production Danielle Romo, producer and editor Tara Sudbach. The
theme song is by mar Coppus. Yes that Mark Coppus.
Follow us on Instagram at Teenbeatpod.
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