September 4, 2025 • 56 mins
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What does it really mean to honor your body’s wisdom in a high-pressure career?
Broadway star Aisha Jackson (The Great Gatsby, Frozen, Waitress) takes us behind the curtain to reveal the delicate balance between artistic excellence and personal wellbeing. Fresh from celebrating the one-year anniversary of her vocal surgery, Aisha shares her practice of “constant check-ins” — a mindful way of gauging her physical, mental, and vocal capacity each day. She also introduces the concept of “vocal cash” — the limited energy reserves performers must budget through demanding eight-show weeks.
Our conversation explores how reframing limits as choices creates a powerful shift — one that preserves her voice, expands her artistry, and sustains her joy. Aisha speaks candidly about representation, mentorship, and her commitment to creating space for others to shine. From navigating grief to celebrating triumphs, she reveals how staying grounded in her deeper purpose allows her to transcend the pressures of performance.
Whether you’re a performer, creative professional, or navigating your own high-demand path, Aisha’s wisdom offers a blueprint for sustainable excellence — and a reminder that when we honor our capacity, reconnect to our why, and share our gifts with joy, we show up more authentically in every moment.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Lisa Hopkins (00:01):
This is the Stop Time Podcast.
I'm your host, lisa Hopkins,and I'm here to engage you in
thought-provoking, motivationalconversations around practicing
the art of living in the moment.
I'm a certified life coach andI'm excited to dig deep and
offer insights into embracingwho we are and where we are at.
My next guest is someone whoselight is as undeniable as her
(00:28):
talent, and I've only just begunspeaking with her.
So that is true.
She is a powerhouse performerand a radiant storyteller, a
Georgia native who's traveledthe world sharing her voice and
heart.
She is currently lighting upBroadway as Daisy in the Great
Gatsby.
You may have seen her in theNotebook, or Waitress Beautiful,
(00:51):
the Carole King Musical,paradise Square, or Frozen,
where she made history as thefirst Black woman to play Anna
on Broadway A very, very specialmoment.
From the stage of New York CityCenter to the sound stages of
Dear Evan Hansen and Tick TickBoom.
She brings a unique joy andpresence to everything she
(01:12):
touches.
She's sung across the globewith Disney Princess, the
Concert, voiced a character on ahit Wondery Kids podcast, and
continues to explore new ways toshare gifts, and by the time
that this is published in thenext few weeks, she's probably
done a gazillion other things.
This girl's on fire.
I'm so glad that she's taken amoment to be here and to be in
(01:32):
the moment with me.
Welcome, aisha Jackson.
Aisha Jackson (01:36):
Yes, that's so beautiful.
Thank you Wow.
Lisa Hopkins (01:40):
Oh, I mean it.
I'm just so thrilled to welcomeyou to the show.
Thank you, happy to be here.
Yeah, no, really, thank you.
I know you're very busy and Iappreciate you.
Aisha Jackson (01:50):
Just a little, yeah, but I'm very happy to be
here, always happy to talk andshare and spend time in
community with others.
Lisa Hopkins (02:00):
Talk to me about what the rhythm.
I'd love to check in and seewhat the rhythm of your life is
like right now, in this moment.
Aisha Jackson (02:09):
It is tuning into my body and my voice and my
mind, checking in to make surethat they are in a place that
they are capable to do what isset out before them for the day.
Even today, I'm not feeling mybest today and I was supposed to
(02:32):
do a photo shoot for the showand I called my agent.
I was like, hey, today's notthe day.
I don't think that it is that,and I've already talked to my
stage manager today to be like,hey, I'm just checking in a
little early.
My body, my voice don't feelthe best.
We may not need to be in thetheater today, and so it's just.
I think your body has its ownrhythm and doing anything eight
(02:56):
times a week can be exhausting,and so I find myself constantly
checking in with myself.
I also, in the past, have dealtwith vocal injuries from
overusage.
I'm actually next week Icelebrate a year, the year
(03:18):
anniversary of me having myvocal surgery, and yeah, and so
I just especially with that andlike healing from that.
I'm so in tune with my voiceand my body and when it's
telling me no, I'm like, oh okay, cool, is this a no, we need to
take a power nap and then we'llbe ready to go.
Is this a no?
(03:38):
You need more food and we needto warm up, and the warmup needs
to be more strenuous to makesure our body is ready.
Or is this a no?
I am out today.
So you know there are differentlevels of no, and so I find
myself, just, you know, checkingin with myself constantly.
I think we are athletes and sowe have to check in with our
(04:01):
body, with our voice, with ourmind, with you know, just
everything to see.
Are you ready to bring yourfull self to work today, to do
what you need to do?
And then in life, you know,finding balance, a work-life
balance, with an eight show weekand only having one day off, is
difficult, and there aremoments where I just have to sit
(04:26):
with myself and go yeah, you'retapped out.
So what do you need to do todayto replenish?
What do we need to do today tomake sure that we'll be good for
the rest of the week?
And, in my opinion, I alwayslean towards listening to your
body before it gets to the pointof sheer exhaustion, because
(04:47):
then you're tapping out for likea week.
You know, as opposed to takethe day or, on your off day,
make sure you are not speakingat all to anyone and you sit
down, you know.
So there are different thingsthat I have to plan throughout
the week, with interviews, withpress, with extracurricular
activities, with just talking onthe phone to my sister.
(05:11):
Everything takes a certainamount of energy, and my speech
pathologist and I we call itvocal cash.
It's like how much vocal cashare you spending today?
How much is in the bank?
How much do we have left?
Do we have something on reserve?
Do we need to?
You know, and so I'm, yes, it'sjust a constant check-in
because you're, my rhythmchanges every day based on what
(05:31):
I'm eating, how much I'msleeping, what activities I have
on the docket for the day.
So, yeah, I would say it's justa constant check-in with self.
Lisa Hopkins (05:40):
Yeah, you're talking about the influencers,
right.
You know we talk about howyou're a high performer not just
a performer, but someone who isused to doing things really
well and has worked to get to acertain point, and you know what
it looks like when you're yourbest.
And then you understand whatthe detractors are, or at least
you learn.
Certainly you have understoodthis and it's important, right?
(06:04):
We've got the spiritual and themental and the environmental
and the emotional, the physicaland the spiritual.
These are all influencers,right, that affect us and our
ability to pull out our best.
And then, at the end of the day, there's our body that just
says you know, this is black andwhite, literally.
Aisha Jackson (06:23):
Yeah, the body's like yeah, no, white.
Literally, this is what's goingon.
Yeah, no, no, no, we don't haveanything else in the tank, babe
, so I don't know where you'repulling from.
Lisa Hopkins (06:31):
Exactly exactly.
Yeah for sure.
That's amazing.
How were you able to developthat?
Aisha Jackson (06:35):
I think it's a continuing lesson because you
know, as you say, being aperformer, you build a certain
level of stamina and strengththat I think sometimes can be
blinding when your body is likehey, hey, hey, hey, no, no, no,
no, no, and you're like, oh, no,but you know we do this or
we've done this.
Or you know and it's like, yeah, but that doesn't mean we can
(06:58):
do this today.
Um and and for me, I have like,I'm very stringent and like.
I have a version A of my show,I have a version B, I might give
you a version C, but when weget in the D, e, f, g, I'm not
there, I'm not like and I don't.
And that's just me, and I thinkeveryone's different.
I think it's a personal choice.
(07:19):
There are some people who arelike oh, my voice is not in it
today, but I'm going to come.
Oh my, my ankle is sprained butI'm going to come.
(07:41):
Oh my.
And if it's an injury you'vedealt with and you know how your
body responds, it voice as much.
There are some people that cancome to work and maybe their
ankle is a little swollen, butthey're not walking on their,
they're not, they don't havechoreography, that's crazy, or
they're not wearing three inchheels, like you know.
So you have to.
You know it's a personal choicethat I think that you make
based on what is required of youthat day.
Personal choice that I thinkthat you make based on what is
(08:02):
required of you that day.
But for me, yeah, it'sdefinitely a muscle that I have
had to work out throughout theyears, and then, in this
industry, it is the show must goon.
I kind of hate that phrasebecause it's like at what cost?
And oftentimes, sorry, itdoesn't cost the powers that be
(08:27):
much.
It costs the bodies that are onthe stage that are putting
themselves through that.
And so I am that body, and itis my responsibility, first and
foremost, to take care of Aisha,not Daisy, not Middle Alley,
not Snow White, not Anna.
Yes, that is part of myresponsibility, but my very
first responsibility is to takecare of my vessel, and I also
(08:50):
want to continue doing this forlike as long as I can, and so I
have to make decisions that willallow me to do so.
And so, pushing my voice beyondits limits not smart.
Pushing my body beyond itslimit not smart.
I had pseudocysts on my vocalcords for eight years and
(09:12):
learning how to navigate thatand figuring out okay, I had to
go through speech pathology andthat helped, and then it didn't,
and then the pseudocysts becamevery temperamental and then I
had all this vocal anxietyrising up above it and I was
like, oh, okay, we've gotten tothe point where we need to make
a choice.
(09:32):
And so, like, what's the choiceyou're going to make?
And then you make that choiceand you learn another level of
discipline with the vocal restand the exercises and the
lessons that we're rebuilding.
And then, going into thenotebook, I had to, you know, I
was like, okay, I have a certainamount of shows that I'm
comfortable doing when I firststart, because I'm coming fresh
(09:52):
from the operating room.
So, like, let's make sure thatI'm saying yes to this contract.
I got the yes, I got the askfor the notebook four weeks
after my surgery.
So I was doing my first voicelesson post-op and the full
healing time is six to eightweeks.
And so they called me and theyoffered it and I was excited and
(10:16):
I said yes.
But I was also like, and thisis the date that I will be ready
to go in, because I have togive myself my full healing time
.
This is what I'll be able tooffer you once we start shows,
because I have to rebuildstamina.
This is what, and so it's justlike.
(10:38):
I think going through thatexperience as well has informed
me of limits.
And then there's certainchapters in your life where your
limits decrease or increase,and so it's just, yeah, I think
it's just a constant exercise oflistening and of paying
attention, of having discernment, and you know.
And then there are the dayswhere I don't feel like doing
(10:58):
the show, but I'm fully capableof it, you know.
And so then you also have toclock what that feels like.
Okay, you're tired, because youdid seven shows already this
week.
This is the final show.
Do your warmup?
Do you have the range that youneed to do the show today?
Okay, do your physical warmup?
Is your body in a place whereit can do the show today?
(11:21):
Okay, so then, when I checkthose off, I'm like, oh yeah,
you're good to go.
You're just tired.
So, like you can do this, yougot enough gas in the tank,
let's go ahead, let's do thislive show and then let's have
our day off, you know.
So it's just, I think it's justa game of a constant check-in
in my experience.
Lisa Hopkins (11:39):
You're talking about context, right, and we are
diverse.
I always talk about thiscontext, right, and we are
diverse.
I always talk about this, but Ithink it's so important.
I'm talking about diversity ofself, diversity of energy, and
there is this expectation forthe people that hire us, and
even more so from ourselves,that, because we can do that, we
should and we must.
Aisha Jackson (12:03):
And just because we can and we have the ability
to do so, it doesn't mean thatwe should.
It doesn't mean that it will bebetter off for us in the end.
And yes, this week, sure, I cando eight shows a week and then
next week maybe I can't becauseI didn't get enough rest on this
day or because I had press onthis day and then I had to like,
(12:25):
even with like scheduling press, I try to schedule it on the
day after the off day if I'mgoing to be singing, so that I
know that I've had a full offday of rest.
But then I have to figure outmy vocal cache for Thursday
because we have two shows.
So then on Wednesday I'm doingmultiple takes of this highly
emotional and vocal intense songand I film that.
(12:49):
And then I come and do two anda half hours at night and then
I'm coming in the next morning.
The recovery time in betweenthat evening and matinee is slim
.
So then I'm figuring out okay,what vocal cash or energy do you
have for the matinee?
What do you need to do inbetween the shows to recover, to
make sure you can do theevening show healthily, like
(13:11):
it's all?
Yes, it's such a like.
It's a constant, oh my goodness.
I keep saying it's a constantcheck-in, but that's what it is
it's like.
Just because you have thecapability to do it doesn't mean
you should, and I am of themindset that we should not have
eight shows a week.
Lisa Hopkins (13:30):
There you go.
Well, here's the thing you know.
It's interesting because youalso mentioned limits and I
would put forth these aren'tyour limits, what you have is
choice.
Like what if you thought oflimits as choices?
Because if you're at choice,then you're choosing.
That you know it's not thislinear.
(13:51):
You know of a, of a place to,to begin Right.
So, yes, with your check-ins100%, but I would encourage you.
Aisha Jackson (14:10):
sorry, I'm coaching, I'm not no, I'm here
for it, but, but it's like.
Lisa Hopkins (14:15):
I would encourage you not to use the word limits,
because these are choices andand, and you know if you come
from a place of choice.
Only you know.
Only you know when you canreally be all in.
Yeah, and you can sometimesmake a conscious choice, and
(14:36):
that's okay too that I realizedthat I've done all my check ins
and I'm not 100%, but I'm okaywith that, because tonight I'm
honoring my value of sharing orof representing or of whatever
it is, and maybe that helps, Ithink.
I think I don't know.
Tell me what you think aboutthat.
I'm going to just stop and letyou respond to that.
Aisha Jackson (14:54):
No, I think that's a, I think that's a shift
of perspective.
I invite it, I welcome it and Iunderstand what it is that
you're saying, because even inthat you're like you're either
choosing to, to value what yourcapacity is at the current
moment, or you're choosing, youknow, you make a choice of do I
(15:18):
feel well enough to go throughwith it or do I?
Am I choosing to, to take rest,go through with it, or do I?
Am I choosing to, to take rest?
Yeah, yeah, I, yeah, that's I.
I invite myself into that roomof choices.
It's a different way to thinkabout it.
I've not ever thought of it inthat way.
(15:38):
I have always used that, thevocabulary of like, of even
capacity, of like, what is yourcapacity today and what is your
limit.
And I've even been having arecent conversation of feeling
as though, uh, with thedifferent responsibilities I've
been given, um, and in my talkswith god, that I feel like my
capacity is being um, enhanced,enhanced and expanding, and so
(16:07):
that idea of choice, theperspective of choice, is also a
beautiful thing to add into themix there.
Lisa Hopkins (16:13):
I love that.
It's funny because you know,and it's funny that you use the
word although it's not funny atall, is it?
Because there are nocoincidences.
But I have a model called theEnergetic capacitor and you're
talking about capacity, isn'tthat interesting?
It is really about where you'reat energetically when you're
making a choice.
So it's not about it's notabout decision making.
(16:35):
It's not about am I doing thisshow, am I not doing the show?
It's about what's the?
You know what's the energeticchoice that I'm at, like there's
six of them.
Right that I can't, I can't dothis, right, that's a choice,
what I call an energetic choice,as opposed to a message in your
head, right and when you're atI, you know when you're, when
(16:56):
you're saying I can't obviouslyright what happens, or I have to
right Characterized by force,or I should, is I get to one of
them?
It's the final one, which Icalled choice, with gratitude
100%.
Aisha Jackson (17:10):
Yeah, that's, that's wonderful.
I love that because it'sactually, um, in choice of
gratitude.
It's something that I use toshift my perspective when I find
that my energy is leaningtowards negativity or leaning
towards a complaint of like Ihave to, I have to, I have to,
(17:31):
and it's like, oh, actually, Iget to get to do this, I get to
do, I even, I get to make thechoice to, to check in with my
energy and see where I am.
Lisa Hopkins (17:42):
I get to yeah, and that has nothing to do with am
I going to do it or am I goingto not do it?
Just by saying I get to choose,you're going to already have
you know, access a lot moreenergy Doesn't mean again,
doesn't mean you have to use itin that direction, in the same
way, the, the inner, theenergetic choice of I can't.
Aisha Jackson (18:02):
As soon as we say I can't, our entire being is
like oh, okay, and that'ssomething too vocally for me.
Throughout the years I'm big onwords of affirmation as well,
and especially for my voice.
I found it throughout myjourney much more impactful for
(18:22):
me to affirm my voice than thannitpick on what it is and what
it feels like I am incapable of,or what people have told me I
can or cannot do, or yeah, yeah,the I can't.
It's something.
It's, it's very powerful.
And and this, the performing isso mental, well, 100%, game,
(18:44):
it's a mental game.
And this, the performing is somental, well, 100%, it's a game.
It's a mental game.
We have to have a certain levelof belief that we are capable,
that we possess a certain levelof talent and preparation or
whatever discipline, all thethings.
It's such a mental game.
And the second, that we startto become doubtful, worrisome,
anxious, all that our body takesthat on.
Lisa Hopkins (19:07):
Yep, yep, and you're going to love what's in
between.
I can't, I have to, and I getto.
You know what's in between andwhat the tipping point is.
I should.
Now you know what I call Ishould.
I call it I could, with shame,oh, so, so you lose the shame
(19:31):
and guess where you're standing.
You're standing in theenergetic choice of I could do
this.
Aisha Jackson (19:38):
Yeah, because I should.
Whenever we're saying it, it'slike, well, I should have, or it
is, it does have a tinge ofyeah, Of guilt on it, or shame.
Lisa Hopkins (19:48):
Yeah, 100%, I should do it, cause I said I was
going to do it.
I should do it Cause that'swhat you're supposed to do.
I should have right.
But as soon as you lose theshame, then you realize, okay, I
could do that.
So then you feel more ownershipDoesn't mean you're going to,
you know, and again, it's not adecision-making thing, it's
where you're coming fromenergetically.
(20:08):
I could do that.
You're standing in yourcapability, and then I could do
that.
You're standing in yourcapability, and then you go.
Not only can I do that, I wantto do that, which is the next
one.
And when you want yeah, thenyou.
Then you're in your values,yeah, I want to because I want
to.
You're in your why.
And then, when you're doing it,guess what I get to yeah,
that's beautiful, I love that.
I love that too.
I love sharing it with you,thanks for sharing what is your
(20:32):
definition of living in themoment?
Aisha Jackson (20:35):
Ooh, yeah, that's a good question.
I think my answer is just beingpresent.
Sometimes my mind can jump tothe future.
It can even in performing.
You know, when we're performing,I challenge myself.
I'm like listen to what'scoming out of their mouth right
(20:55):
now, because you know anxiety.
Or oh, I haven't done the showin a while.
Or, oh, what's next?
Did I practice this enough?
And I have to go shut up, bequiet in their mind.
You've done this, you'recapable.
How about we check in with theperson who is speaking right now
?
Let's just listen to whatthey're saying and then allow
(21:15):
our bodies in the moment torespond how it will respond.
And you know, in life and onstage, I try to encourage myself
to be present, to look around,to take in the nature around me,
to take in the people around me, to take in the words that are
being spoken, to enjoy the musicthat I'm choosing, to take in
the nature around me, to take inthe people around me, to take
(21:36):
in the words that are beingspoken, to enjoy the music that
I'm choosing to play in themoment.
And yeah, to me, yeah, it justmeans being present and not
trying to hurry the moment, yeah, not trying to think about what
comes after this.
No, what are we doing right now?
How am I feeling right now, inthis moment?
(21:57):
Who is right in front of methat I can love on or
communicate with, or connectwith?
Lisa Hopkins (22:04):
Yeah, yeah, that's beautiful.
I love what you said about.
You know it happens evensometimes when you're performing
and you know bottom line isthat's ego, that's fear, right,
it's ego.
Aisha Jackson (22:16):
Yeah, we start to go and I'm like, oh, what's
next?
What's next?
Lisa Hopkins (22:19):
It's like stop, stop stop, stop thinking about
yourself and start thinkingabout yeah, no, for sure, what's
?
Aisha Jackson (22:23):
right now.
Who are you talking to?
Lisa Hopkins (22:26):
No for sure, it's a.
It's a great reminder becausealso it leads to even though
it's scary, it leads toperformances that are beyond
what you could control or expect.
Aisha Jackson (22:40):
Yeah, and then you start to explore and you
find new things.
Lisa Hopkins (22:44):
Exactly.
Aisha Jackson (22:45):
And you're like, oh, that was, I didn't know,
that was there, Cool.
And then and it's givingyourself permission to not be a
robot and try to pump out theexact same show every night.
We're different people day today.
We're going to make differentchoices in your life every day.
Like you know, it gives mecourage to be like oh, we can
(23:07):
try something new, because howare we reacting in this moment?
Not necessarily like how do wepractice this?
It needs to be like this everytime.
And the audience is different,the energy is different.
You might be acting with adifferent actress because
somebody is out or actor, solike, yeah, I just encourage
myself to sit in that sit in themoment be present.
Lisa Hopkins (23:31):
Talk to me about the pressures of performing and
of, because I get what you'resaying and it's really you know,
we get it intellectually right.
It makes so much sense whatwe're talking about.
But when push comes to shove,there's also always going to be
an element of.
There's an audience and there'san audience, right, I mean.
Aisha Jackson (23:54):
There are people watching.
Lisa Hopkins (23:55):
There's 1700 people watching me right now
correct, and you know there's,I'm sure, all sorts of weight on
your shoulders, right to towell, I know there is, and and
on talk to me about that so manylevels, right, oh yeah, there's
so many levels.
Aisha Jackson (24:14):
It's an act of faith.
I think the line in the show isanything worth having or
anything worth.
I'm messing it up, but it's anact of faith.
And performing is anxietyinducing, like it's a.
It's a judgmental space and we,we, we hope that you, you judge
(24:37):
us positively.
We hope that you enjoy it, wehope, but, but it's a judgmental
space, like they.
Just they released B-rollperformances of mine and Ryan's
last week and a lot of theresponse was positive.
But you know there's always afew.
And look, it's also like youhave a right to your opinion.
(24:58):
You might not like my voice,you might not like the choices
that I'm making.
I, as a human and as a performer, have to know that not all
every person in this theater isnot going to walk out of this
theater loving what I just did,and that's just fact.
Like it's not.
It's not being down on myself,it's not.
I can give the best performanceI've ever given in my life.
(25:19):
Cross all the T's, dot all theI's, make new choices, be in the
moment.
And somebody could walk out andbe like, yeah, I mean, it was
good, I guess.
Or they could be like I hatedit, like it doesn't.
But we as performers, you justhave to ready yourself.
Like that's a part of the deal,like you kind of have to free
yourself from that, Like that'snot why I'm doing it.
(25:41):
I'm doing it because I desire tomake an impact.
I'm doing it because I have hada prayer my entire life to use
my gifts and my talents tominister to others, to inspire
others, to break down barriers,to open doors for those coming
behind me.
That's why I'm doing it.
I'm doing it for the littlegirl who came to see me in
(26:02):
Frozen and said to her mom mommy, she looks like me when I came
out on stage.
I'm doing it because I have fundoing this.
I'm doing it because it bringsme joy to use my gifts.
It brings me joy to use mygifts doing musical theater.
It brings me joy to use mygifts doing whatever gig it is
that I said yes to.
So like I'm doing it because Ienjoy telling these stories and
(26:24):
bringing these characters tolife, because I enjoy having
community with these otherperformers on stage and the crew
and the orchestra, and like I'mdoing it because I enjoy the
energy we receive from theaudience and how it feeds into
my performance and how, how,what I'm doing on stage could
somewhat possibly impact therest of your day.
(26:47):
Or how you see this story, orhow you see Black women, or how
you see like I, you see, likeI'm doing it for that, like you
know, and so I just have youhave to remind yourself like
it's, it's a bigger picture, youknow?
Um, but, yes, but, but at the,the foundation of performing, it
(27:08):
can be quite anxiety inducingand I have to remind myself of
the why.
Um, I'm a woman of faith.
I pray before my performances,before every performance, and
that brings me comfort andsolace.
I am of the mindset that I havea purpose and a calling to do
what I am doing, and so I standin that, and that grounds me to
(27:30):
flick away the fear, the doubt,the anxiety.
And then sometimes I do theshow with fear and with anxiety
and with doubt, and then I provemyself wrong, and then I go hey
, you actually are very capableof this, you're wonderful at it.
Some days you might not have100, but your 100 could be
(27:56):
somebody else's 75, or your 200could be somebody else's 300.
Like you know, it's not it.
You just have to come with whatyou have and offer it and then
walk away from it and then comeback and do it all again, like
(28:24):
when I was in college.
One of our guest teachers cameand she said don't take your
last audition into your next one.
And she was saying that youknow whether it was a positive
or negative experience.
When you walk into the room thenext time it's a blank slate.
You're starting over.
And the way that I at that ageit helped me.
Because if, say, I sing a songin one audition and it tanks and
(28:46):
then I take that same song intothe next audition, don't take
that memory of it.
You can.
You can take the lessons youlearned from it.
Right, and try and try yourbest to to have this be a
different experience.
But if I walk in going, oh, thelast time I sang this it sucked
, that's not going to help me.
That mindset is not going to.
(29:07):
It's not going to be a breedingground for success or happiness
going to be a breeding groundfor success or happiness, and so
, but in the same way, say I goin and now I fly and I have the
best audition ever.
When I go into my next audition, I also don't need to take oh,
the last time I did it was fine,so I don't need to practice.
Oh, the last time I did it was.
(29:28):
There were variables that daythat do not exist today.
So, like it's a new day, it's ablank slate, and I think I take
that concept into myperformances as well.
Today I'm coming in with what Ihave today, with the energy
that I have today, with theaudience that we have today, and
we're going to see what happens.
It's a new, it's a new, it's anew day, it's a new dawn, it's a
(29:50):
new light.
New day, it's a new dawn, it'sa new light.
I'm feeling good.
It would take miss nina on stagewith us, absolutely, yeah, and
I give myself permission and,and I do have a mindset I I am a
bit of a perfectionist and sothere are times that I make
mistakes and and I I know that Imade that mistake and then the
next day I say, hey, let's tryto fix that mistake, and
(30:14):
hopefully we can, and we go outthere, we try it was better.
It can continue to evolve, wecan continue to enhance the
moment.
Or just, that was horribletoday and I got to release that
too.
I have to release that in themoment, like if I'm on stage and
I crack, or if I'm on stage andI deliver a line in a way that
(30:35):
I in my brain are like, oh, thatwasn't the greatest, then I
have to immediately release thatso that I can do the next line,
so that I can sing the nextsong of release, whether whether
it was whether it was a,whether you deem it a great
performance or your worst one,because we have to come in in
(30:58):
five minutes and do the nextscene, or I have to come in
tomorrow and do it all overagain.
Yeah, it's a healthy balance forme of like critiquing um of
another, you know, checking in.
How was that?
How did that feel?
What can we do better last time?
What did we do great this time?
Um, do we need to?
(31:19):
Is this something that occursevery day in the show?
If so, then that's your bodytelling you we need to change
something.
Now I need to go to management,and now I need to talk to my MD
, and now I need to speak to thechoreographer, and now I need
to figure out oh hey, my body'sresponding to this like this.
I've tried these differentthings.
Maybe we need to change thatfor me in this role.
(31:41):
So all those things.
That's a very long answer.
Lisa Hopkins (31:45):
No, it's a great answer, and there's so much in
there, right?
I mean, I always say thatnobody plays to lose, yeah.
Aisha Jackson (31:55):
Ever.
We all want to win.
We all want to win.
We all have a bad performance.
Lisa Hopkins (31:59):
You didn't want to have that bad performance.
You didn't go try to have thatbad performance.
You did your very best and your100% that day was your 100%
that day Correct and it changesevery day.
You have to do the best withwhat you have in that moment and
in that day, correct, and itchanges every day.
Aisha Jackson (32:13):
You have to do the best with what you have in
that moment and in that day 100%.
Lisa Hopkins (32:18):
You got to meet yourself where you're at like,
literally, and not as acompromise, but again as a
choice and an understanding andall your check-ins that you're
talking about.
That's exactly, you know.
It's a success formula, really,because it's understanding that
there's not just one way to doanything.
You know Correct.
Aisha Jackson (32:38):
And understanding where you are.
There's some days, there'scertain lines that I like to
yell off stage when I'm callingfor the maid, and there's some
days where I'm going for it, I'mlike, oh girl, bridget need to
be closer today, she need to beright there.
Like you know, I can't callthat far today.
(32:58):
Or there are moments that Ihave built into the show because
you know, I love an opt upwhere I opt up, and there's some
days where I need to opt down,and it doesn't mean that the
song loses its power or thatthat moment is not as impactful.
You show up where you are andyou give it what you get.
Lisa Hopkins (33:20):
There, it is Right , there it is.
So I want to ask you I couldtalk to you all day.
Aisha Jackson (33:29):
I appreciate.
I just want to take the time tosay I appreciate the space that
you've built today in this roomand and just through these
conversations.
Lisa Hopkins (33:39):
Oh, thank you so much.
I received no.
Thank you.
It's the joy of my life talkingto people.
I can tell it is.
It absolutely is.
I'm so interested in humans andmy creative people, of course,
yeah, thank you, I appreciatethat.
Hey, what dream do you havethat maybe you haven't put out
in the future yet?
Aisha Jackson (34:04):
Well, I have a mentorship program that I have
been slowly building up that Idesire to put out into the world
.
I must say, I'm a little timidto do it and I'm still trying to
figure out the like ins andouts.
But my tiny baby steps havebeen having mentees, one-on-one
of mine, and so I have a handfulof my babies that I help on
(34:31):
their journey, my babies that Ihelp on their journey, and um,
but I desire to expand it tohave more resources.
I think representation is soimportant, and I think sometimes
we need to see someone wholooks like us or is from where
we are, from doing the thingthat we desire to do to to make
it seem tangible or a possible.
(34:52):
And so my mentorship program isalong those lines of just
having Black people specifically, but also people of color.
And then there are some I'llbring on my white mentors that
I've talked to, because they'relike well, yeah, this industry
doesn't have a lot of color andwe want to bring more people of
(35:14):
color in, and so, like, I wantto be involved so that I can
bring more people of color in aswell.
And so it's like yeah, so, yeah, I have a, I have this dream of
a mentorship program just toshow kids in high school,
college as they're makingchoices about careers.
(35:35):
I want them to see the vastopportunities that they have,
and not just in performing arts.
It'll start there, but I have afriend who was like a
communications director at theWhite House.
I have a friend who's a lawyer,but she also has her own
company called Herbrella, andit's a satin lined um rain hat
(35:58):
and then she now has a satinline rain coat and like all
these different things.
And so I just want um.
I just want kids to know likethey have so much opportunity
and and my chocolate drops Iwant them to know that there's a
place for them everywhere, butespecially in the arts.
So that's a dream of mine tobring that to life.
Lisa Hopkins (36:21):
That's beautiful and I love that you say
everywhere and even places wherethey might not have imagined,
because you're opening upCorrect.
Aisha Jackson (36:29):
That, yeah, right .
And so I want them to be ableto come and see, oh, she does
what, oh, they do this, oh, hedoes that.
Huh, what does that entail?
And then they can have aconversation and be like, oh,
that's actually a hobby of mine,or or a characteristic that I
find that I have, or likesomething I want to develop and,
(36:50):
and you know, and catching itat a younger age, is also
helpful because you know youjust have a little bit longer
time.
But at any age to see.
Oh, you started doing this whenyou were 30.
I have a friend she made herBroadway debut in her 50s.
Lisa Hopkins (37:06):
And so like.
Aisha Jackson (37:06):
I want her on there Totally and so.
And then it opens thedemographic of age as well, so I
love it, I love it.
Lisa Hopkins (37:15):
I love it.
It's leadership at its highest,really, isn't it?
That's beautiful, I love that.
Yeah, yeah, yeah, yeah.
And also just like normalizing.
You know, when you meet allthese different eclectic people
that do things you know atdifferent points in their life,
it also can unleash, maybe,something they'd been thinking
of that they thought was crazy.
But the more they see that'sdifferent, the more they can go.
(37:36):
Well, I have a crazy idea, andthey can put it out in the world
.
Aisha Jackson (37:39):
Yeah, yeah, creating an environment where
they feel comfortable to say Ihave this idea.
It's like okay, well, what isit?
It's probably great and it'sunique to you because you're
supposed to do it.
And then what resources do youneed?
And I think that's the thingtoo Like we have ideas, we have
visions and then we lack theresources.
(38:00):
On the phone together, you'relike Lisa, I'm like Lisa.
You wanna see my Tony, lisa,the mentorship program is going
(38:24):
so well.
We're in year.
I don't know yet I go.
Lisa, this album that Ireleased did you have a chance
to listen to it?
Did you like it?
What are your thoughts?
Also, I started a productioncompany to produce concerts for
(38:45):
myself and for my community, andwe are built on the pillars of
community accessibility andrepresentation, and so I've had
the joy and pleasure ofproducing quite a few concerts
over the last couple of years,and so I want to be able to
invite you to our annual gala.
I want to be able to invite youto the let's see the seventh or
(39:11):
eighth year of Black Excellenceon Broadway, which is the Black
History Month concert that I doeach year, and we give our
flowers to our Black Broadwayluminaries who have paved the
way for us.
We give them to them,figuratively and literally.
We invite them to come into thespace, love it, and I choose
(39:32):
current Broadway performers tohonor them, you know, and we
invite them into the spacebecause I'm like give people
their flowers while they'realive, yeah, hello.
And you know, and these, thesebeautiful performers have come
through and paved the way andopened up the door for me to
exist.
So, yeah, hopefully I get toinvite you to the, the, the full
(39:55):
production of Black ExcellenceNice.
Lisa Hopkins (39:58):
I'm going to be busy.
I'm going to be busy five yearsfrom now, seeing all your stuff
.
Yes, you gotta come, you gottacome oh my God, what about zoom
out like 20 years, 20 years?
You're looking back.
What can you imagine?
You're looking back.
Can you imagine?
Aisha Jackson (40:13):
Wow, hopefully.
You know I have some kittiesrunning around.
Oh, nice and my husband, youknow we nice and together and
solid and in love and having funand traveling.
(40:33):
I've gotten the opportunity totravel a lot and perform, which
is amazing.
And growing up, it was always aprayer of mine to use my gifts
across the world, and so seeinghow that prayer has been
answered by being able to doDisney Princess the concert in
Asia and do symphonies in Canadaand like all these different
things, and so I just hope thatthere are more opportunities to
(40:55):
travel, have fun, explore butalso, you know, share my art
worldwide, love it.
You know Broadway's not the end, all be all.
It's pretty great.
But you know, I'd love to have acouple of films under my belt.
I enjoy doing voiceovers, sohaving some more voiceover
opportunities and, yeah, tv filmis not something I've I've like
(41:18):
stuck my toe in just a littlebit, but I'd like to walk
through that door fully andhopefully direct at some point.
So, yeah, we got a lot ofproducer, director, mentor,
mother, mother, wife, auntie I'malready auntie.
Oh, my goodness, my nephew willbe 22.
What, wow, in 20 years he's alittle two-year-old, just a
(41:44):
little.
Can you imagine 22?
That's wild.
Oh, my goodness, I'll be seeingmy nephew graduate from college
, yeah.
Lisa Hopkins (41:56):
What do you think?
I mean, I think she'd beextraordinarily proud.
But what do you think?
Young you know, real youngAisha would be most proud of
right now if she knew where youare.
Aisha Jackson (42:11):
Oh, my goodness, You're going to make me cry.
Yeah, and yeah, I think shewould be overjoyed with the way
that I pushed through doubt andfear and grief.
When I was in high school, Ilost my brother, and so I like
(42:33):
to think he's in heaven lookingover me and has blessed my path.
But, yeah, young Aisha would beproud of pushing through that.
That loss happened right beforeI went to college, and so it
could have altered a lot ofdifferent things.
Um, you know, everythinghappens the way it happens, and
(42:54):
I was able to continue throughgrief, to continue performing,
you know, but there's a world inwhich that could have bopped me
out, um, or at least for acertain amount of time.
Um, but yeah, I think, I thinkyoung Aisha would be very proud.
I've had different um peoplekind of shit on my voice at
(43:18):
different times in life, and soI think, overcoming that and
being like no, I have a gift,and you might not understand my
tone or my rasp or lack ofclarity to you, but this is what
God has given me and it's myresponsibility to fine tune it
and to take care of it and tocontinue to grow it and to
(43:39):
continue to share it, and so Ithink she'd be proud that I've
continued to do that, and to doso with humility and
thoughtfulness and concern forothers, and that I've continued
to advocate for myself andothers and continue to grow.
Yeah, that's what it's allabout continuing to evolve and
(44:02):
fine-tune, and you know?
Yeah.
Lisa Hopkins (44:07):
Yeah, that's beautiful.
Thank you for sharing that.
Yes, thanks for asking,absolutely.
How do you want to beremembered?
Aisha Jackson (44:17):
Ooh, oh my gosh.
I want to be remembered asmaking space for others to shine
bright, and especially forblack women in this industry.
Yeah, for making space for forthem to be all that they are on
and off stage and to be to beall that they are on and off
(44:41):
stage and to be protected.
I work with equity, I'm on thecouncil and you know a part of
my statement there was like Iwant us to have protections in
our contracts about our texturedhair, and there's certain
things that, as a Black woman,even something as simple as like
(45:02):
choosing a tight color, can beoverwhelming.
Having someone to prep yourhair, having someone on the wig
team specifically knowing how todeal with the type of hair that
grows out of my head is notalways there.
And so, yeah, I want to be forfor being the change that I wish
(45:24):
to see.
You gotta be crying over heretoday.
Lisa Hopkins (45:30):
I know, you know it's, it's um.
Thank you for your honesty andopenness, really, yeah thank you
for making space no, it's, it'sreally beautiful.
Okay, we're gonna do we'llchange it up a little bit here
we're gonna do the rapid fire.
I'm gonna say okay, I'm gonnasay what makes you and you can
(45:56):
just say whatever comes intoyour head okay.
Let's do it.
What makes you hungry?
Aisha Jackson (46:05):
Oh, man, like for like in life, or like food
wherever, wherever your headgoes.
What makes me hungry, doing ashow for two and a half hours?
Lisa Hopkins (46:17):
Oh my gosh, yeah, fair.
Hey, what do you eat after theshow?
Like, what do you?
Is that when you?
Aisha Jackson (46:22):
what do you eat?
Um, I have a deli on the cornerand they have this um, uh, this
Greek salad that I get with aside of fries and chicken.
Uh, I like burgers.
I like chicken wings.
I'm from Atlanta.
We have the best chicken wings.
Um, so I'll come home and giveme a nice little 10 piece lemon
pepper.
(46:42):
Sometimes I have a proteinsmoothie.
Sometimes I just have, like asnack, apple and peanut butter,
cucumbers and hummus, a pickle,jalapeno chips.
But yeah, I'm definitely a fanof coming home and devouring
something, but some days, ifI've done well and eaten enough
calories throughout the day, atthe end of the night I just come
home and I'm ready to go tosleep.
Lisa Hopkins (47:04):
Yeah, fair.
But you know that adrenalinethat you feel for hours after
the performance is gone.
Aisha Jackson (47:10):
Money, yes, my ass, be up till 2, 3 o'clock in
the morning.
It's so hard.
Sometimes I'm like Aisha, go tobed and then I have like my
brain is so focused and, likeyou know, the streets are quiet
and so when I get home, and it'slike 12 o'clock, one o'clock in
the morning, I'm up sendingemails or checking stuff or
(47:31):
doing like admin work for loveand light like.
But I also enjoy readingcomments from the fans.
Oh, that's nice, um, and sowhen they, when they post things
on instagram, you knowinstagram is like it'll, it'll
delete in 24 hours.
So if I don't look at it, Imiss.
I miss it sometimes.
But I love the the that fanstake the time to like, write me
(47:54):
and tell me how the showimpacted them and tell me how
they were inspired or moved orhad fun or hated Daisy.
But they're like you know Ilove you, but Daisy, I was like,
yeah, she's a complex girl,she's not everybody's favorite,
but I get it.
Lisa Hopkins (48:12):
Oh my gosh, I love that.
That was not rapid at all.
That was awesome.
It never is, by the way, itnever is.
Aisha Jackson (48:18):
We went on a tangent Okay.
Lisa Hopkins (48:21):
I love me a tangent, so that's no problem.
Okay, what makes you sad?
Aisha Jackson (48:29):
Seeing unhoused people in the city.
Lisa Hopkins (48:32):
What makes you?
Aisha Jackson (48:33):
inspired Meeting young people at the stage door,
meeting young Black women at thestage door who are excited that
daisy is black and like geekout and scream there are these
lovely chocolate drops.
They were studying at alvinailey the summer intensive.
They came to see the show andthen I'm we invited them to come
(48:54):
back to meet the dance ensembleafter the show the next day,
and then they invited me totheir showcase performance.
So I got to go, uh, supportthem in their showcase
performance.
And then they invited me totheir showcase performance.
So I got to go support them intheir showcase performance.
And then I invited them to comeback to the theater because I
redecorated my dressing room soit was different from the first
time they saw it.
And so then they came back withtheir friends from Alvin Ailey
(49:15):
and with their mom and like soyeah, that inspires me, and
being able to see the impact inreal time, totally it inspires
me to keep going.
That's the real answer.
Lisa Hopkins (49:26):
Yeah, I love that, though.
We got a nice glimpse of thattoo.
That was really awesome.
Yeah, Okay, what makes youlaugh?
Aisha Jackson (49:35):
My nephew.
He's a goofball.
Lisa Hopkins (49:40):
Yes, I love that.
And what makes you angry?
Aisha Jackson (49:49):
I won't get too deep Injustice.
Lisa Hopkins (49:51):
Yeah, fair, what makes you angry, kind of in your
day-to-day life, that isn't abig thing.
Aisha Jackson (49:59):
People walking next to me in the streets of New
York.
Lisa Hopkins (50:04):
I guess the question would be right what
irritates you?
That's what irritates you, yeah.
Aisha Jackson (50:08):
Like the lack of spatial awareness on the train,
irritates me.
Lisa Hopkins (50:16):
Fair, oh my gosh.
And finally, what makes yougrateful?
Aisha Jackson (50:24):
Sunshine Beach, oh my gosh.
And finally, what makes yougrateful?
Sunshine beach, bodies of water, my family being able to share
my gift, singing, breathing.
Lisa Hopkins (50:37):
Yeah, you know you .
I mean you do have a great gift, obviously, of singing, but if
I never had heard you sing, Iwould still be telling you you
have such a gift Just as a humanyour energy, your light, it's
beautiful.
Thank you it truly is Thank you.
Aisha Jackson (50:56):
It's one of the many gifts God has blessed me
with.
I'm grateful for it.
Lisa Hopkins (51:00):
Well, you're using it, so you're honoring.
You know, whatever you did, youwould bring that to it, and
that's pretty cool.
You know, sometimes I ask myguests what would you do if you
didn't sing?
But I'm not even worried aboutyou, Okay.
Aisha Jackson (51:13):
So right, You're like yeah, teach mentor.
Lisa Hopkins (51:17):
I'm like, yeah, there's a copious list of things
that yeah.
Finally, I'm going to ask youwhat are the top three things
that have happened so far today.
Aisha Jackson (51:26):
Today.
Lisa Hopkins (51:28):
Yeah.
Aisha Jackson (51:28):
Talking to you, honestly, Speaking with you and
having this space to share.
Yeah, today I did not wake upfeeling my best.
So you honoring where I am, youhaving grace and patience with
my delay this morning, notmaking me feel guilty about it,
(51:54):
and creating this space to speakopenly and freely and honestly
and be my genuine self.
You know I'm going to be that,but you know, having someone on
the other side that is receivingof it makes a difference.
So, yes, talking to you, I didmy hair this morning my curls.
(52:18):
They came out pretty good.
I need to get my hair colored,but they came out great.
They are gorgeous, thank you,and what else?
It hasn't happened yet, butit's about to happen.
I'm about to take the rest ofthis stuff to my storage unit
and my apartment is going to beclear and open, and that will be
(52:40):
a beautiful part of today open,and that will be a beautiful
part of today.
Lisa Hopkins (52:47):
I love that.
And then?
So, what are you most lookingforward to?
Well, today, so that's one ofthem, and then also in the
future.
Aisha Jackson (52:53):
In the future.
I'm looking forward to, I'mlooking forward to I have so
many answers.
I'm looking forward tocontinuing to build community
through Love and LightProductions.
I'm looking forward tocontinuing to evolve as a human,
(53:22):
as an aunt, as a friend, as asister, as a wife and a mother.
Um, and I'm looking forward tothe many ways that I don't even
know yet of how I'm going toshare my art oh, I love that.
Lisa Hopkins (53:36):
Yeah, that's cool.
What's one thing, if anything,that surprised you about today,
with our interaction today?
Because you live a life, likeall my guests, where you're
always talking to people aboutwhat you're doing or about I'm
just curious.
You know you came in also youprobably had a lot of things
that that threatened to get inthe way of you showing up here.
Aisha Jackson (53:57):
Yes so.
Lisa Hopkins (53:57):
I'm curious to know yeah, what, what, if
anything, surprised you aboutthis past hour together?
Aisha Jackson (54:07):
That I leaned into joy, despite the things
that were trying to stop me fromcoming here today.
I consider myself to be ajoyful person and I didn't feel
very joyful before I got on thephone with you, but I think that
(54:27):
you experienced some joy for metoday throughout, and it
surprised me how emotional I gotwith you, asking me about
younger Aisha and the impactthat I desire to make, because
it brought up a lot of thingstoday, yeah, but I'm happy that
(54:49):
I honored those feelings andallowed them to flow.
I'm happy that I chose to showup instead of canceling.
I'm happy that you made spacefor us to communicate today and
accepted me where I was.
I'm happy that I acceptedmyself where I was and continued
(55:12):
to.
I made the choice to be presentand made the choice to speak
with you and share with youtoday.
To speak with you and sharewith you today, and made the
choice to lean into thepercentage of joy that I have at
this moment.
Lisa Hopkins (55:29):
Absolutely.
Oh my gosh.
Well, I cannot thank you enoughfor joining me.
Truly, it's been such a joy.
Aisha Jackson (55:36):
It's been a pleasure speaking with you.
Thanks for having me.
Lisa Hopkins (55:38):
Yes, I'm Lisa Hopkins.
Thanks for listening.
Stay safe and healthy, everyone, and remember to live in the
moment.
In music, stop time is thatbeautiful moment where the band
is suspended in rhythmic unison,supporting the soloist to
express their individuality.
In the moment.
I encourage you to take thattime and create your own rhythm
(56:00):
Until next time.
Create your own rhythm Untilnext time.
I'm Lisa Hopkins.
Thanks for listening.
This is the Stop Time Podcast.
I'm your host, lisa Hopkins,and I'm here to engage you in
thought-provoking, motivationalconversations around practicing
the art of living in the moment.
I'm a certified life coach andI'm excited to dig deep and
offer insights into embracingwho we are and where we are at.
My next guest is someone whoselight is as undeniable as her
(00:28):
talent, and I've only just begunspeaking with her.
So that is true.
She is a powerhouse performerand a radiant storyteller, a
Georgia native who's traveledthe world sharing her voice and
heart.
She is currently lighting upBroadway as Daisy in the Great
Gatsby.
You may have seen her in theNotebook, or Waitress Beautiful,
(00:51):
the Carole King Musical,paradise Square, or Frozen,
where she made history as thefirst Black woman to play Anna
on Broadway A very, very specialmoment.
From the stage of New York CityCenter to the sound stages of
Dear Evan Hansen and Tick TickBoom.
She brings a unique joy andpresence to everything she
(01:12):
touches.
She's sung across the globewith Disney Princess, the
Concert, voiced a character on ahit Wondery Kids podcast, and
continues to explore new ways toshare gifts, and by the time
that this is published in thenext few weeks, she's probably
done a gazillion other things.
This girl's on fire.
I'm so glad that she's taken amoment to be here and to be in
(01:32):
the moment with me.
Welcome, aisha Jackson.
Aisha Jackson (01:36):
Yes, that's so beautiful.
Thank you Wow.
Lisa Hopkins (01:40):
Oh, I mean it.
I'm just so thrilled to welcomeyou to the show.
Thank you, happy to be here.
Yeah, no, really, thank you.
I know you're very busy and Iappreciate you.
Aisha Jackson (01:50):
Just a little, yeah, but I'm very happy to be
here, always happy to talk andshare and spend time in
community with others.
Lisa Hopkins (02:00):
Talk to me about what the rhythm.
I'd love to check in and seewhat the rhythm of your life is
like right now, in this moment.
Aisha Jackson (02:09):
It is tuning into my body and my voice and my
mind, checking in to make surethat they are in a place that
they are capable to do what isset out before them for the day.
Even today, I'm not feeling mybest today and I was supposed to
(02:32):
do a photo shoot for the showand I called my agent.
I was like, hey, today's notthe day.
I don't think that it is that,and I've already talked to my
stage manager today to be like,hey, I'm just checking in a
little early.
My body, my voice don't feelthe best.
We may not need to be in thetheater today, and so it's just.
I think your body has its ownrhythm and doing anything eight
(02:56):
times a week can be exhausting,and so I find myself constantly
checking in with myself.
I also, in the past, have dealtwith vocal injuries from
overusage.
I'm actually next week Icelebrate a year, the year
(03:18):
anniversary of me having myvocal surgery, and yeah, and so
I just especially with that andlike healing from that.
I'm so in tune with my voiceand my body and when it's
telling me no, I'm like, oh okay, cool, is this a no, we need to
take a power nap and then we'llbe ready to go.
Is this a no?
(03:38):
You need more food and we needto warm up, and the warmup needs
to be more strenuous to makesure our body is ready.
Or is this a no?
I am out today.
So you know there are differentlevels of no, and so I find
myself, just, you know, checkingin with myself constantly.
I think we are athletes and sowe have to check in with our
(04:01):
body, with our voice, with ourmind, with you know, just
everything to see.
Are you ready to bring yourfull self to work today, to do
what you need to do?
And then in life, you know,finding balance, a work-life
balance, with an eight show weekand only having one day off, is
difficult, and there aremoments where I just have to sit
(04:26):
with myself and go yeah, you'retapped out.
So what do you need to do todayto replenish?
What do we need to do today tomake sure that we'll be good for
the rest of the week?
And, in my opinion, I alwayslean towards listening to your
body before it gets to the pointof sheer exhaustion, because
(04:47):
then you're tapping out for likea week.
You know, as opposed to takethe day or, on your off day,
make sure you are not speakingat all to anyone and you sit
down, you know.
So there are different thingsthat I have to plan throughout
the week, with interviews, withpress, with extracurricular
activities, with just talking onthe phone to my sister.
(05:11):
Everything takes a certainamount of energy, and my speech
pathologist and I we call itvocal cash.
It's like how much vocal cashare you spending today?
How much is in the bank?
How much do we have left?
Do we have something on reserve?
Do we need to?
You know, and so I'm, yes, it'sjust a constant check-in
because you're, my rhythmchanges every day based on what
(05:31):
I'm eating, how much I'msleeping, what activities I have
on the docket for the day.
So, yeah, I would say it's justa constant check-in with self.
Lisa Hopkins (05:40):
Yeah, you're talking about the influencers,
right.
You know we talk about howyou're a high performer not just
a performer, but someone who isused to doing things really
well and has worked to get to acertain point, and you know what
it looks like when you're yourbest.
And then you understand whatthe detractors are, or at least
you learn.
Certainly you have understoodthis and it's important, right?
(06:04):
We've got the spiritual and themental and the environmental
and the emotional, the physicaland the spiritual.
These are all influencers,right, that affect us and our
ability to pull out our best.
And then, at the end of the day, there's our body that just
says you know, this is black andwhite, literally.
Aisha Jackson (06:23):
Yeah, the body's like yeah, no, white.
Literally, this is what's goingon.
Yeah, no, no, no, we don't haveanything else in the tank, babe
, so I don't know where you'repulling from.
Lisa Hopkins (06:31):
Exactly exactly.
Yeah for sure.
That's amazing.
How were you able to developthat?
Aisha Jackson (06:35):
I think it's a continuing lesson because you
know, as you say, being aperformer, you build a certain
level of stamina and strengththat I think sometimes can be
blinding when your body is likehey, hey, hey, hey, no, no, no,
no, no, and you're like, oh, no,but you know we do this or
we've done this.
Or you know and it's like, yeah, but that doesn't mean we can
(06:58):
do this today.
Um and and for me, I have like,I'm very stringent and like.
I have a version A of my show,I have a version B, I might give
you a version C, but when weget in the D, e, f, g, I'm not
there, I'm not like and I don't.
And that's just me, and I thinkeveryone's different.
I think it's a personal choice.
(07:19):
There are some people who arelike oh, my voice is not in it
today, but I'm going to come.
Oh my, my ankle is sprained butI'm going to come.
(07:41):
Oh my.
And if it's an injury you'vedealt with and you know how your
body responds, it voice as much.
There are some people that cancome to work and maybe their
ankle is a little swollen, butthey're not walking on their,
they're not, they don't havechoreography, that's crazy, or
they're not wearing three inchheels, like you know.
So you have to.
You know it's a personal choicethat I think that you make
based on what is required of youthat day.
Personal choice that I thinkthat you make based on what is
(08:02):
required of you that day.
But for me, yeah, it'sdefinitely a muscle that I have
had to work out throughout theyears, and then, in this
industry, it is the show must goon.
I kind of hate that phrasebecause it's like at what cost?
And oftentimes, sorry, itdoesn't cost the powers that be
(08:27):
much.
It costs the bodies that are onthe stage that are putting
themselves through that.
And so I am that body, and itis my responsibility, first and
foremost, to take care of Aisha,not Daisy, not Middle Alley,
not Snow White, not Anna.
Yes, that is part of myresponsibility, but my very
first responsibility is to takecare of my vessel, and I also
(08:50):
want to continue doing this forlike as long as I can, and so I
have to make decisions that willallow me to do so.
And so, pushing my voice beyondits limits not smart.
Pushing my body beyond itslimit not smart.
I had pseudocysts on my vocalcords for eight years and
(09:12):
learning how to navigate thatand figuring out okay, I had to
go through speech pathology andthat helped, and then it didn't,
and then the pseudocysts becamevery temperamental and then I
had all this vocal anxietyrising up above it and I was
like, oh, okay, we've gotten tothe point where we need to make
a choice.
(09:32):
And so, like, what's the choiceyou're going to make?
And then you make that choiceand you learn another level of
discipline with the vocal restand the exercises and the
lessons that we're rebuilding.
And then, going into thenotebook, I had to, you know, I
was like, okay, I have a certainamount of shows that I'm
comfortable doing when I firststart, because I'm coming fresh
(09:52):
from the operating room.
So, like, let's make sure thatI'm saying yes to this contract.
I got the yes, I got the askfor the notebook four weeks
after my surgery.
So I was doing my first voicelesson post-op and the full
healing time is six to eightweeks.
And so they called me and theyoffered it and I was excited and
(10:16):
I said yes.
But I was also like, and thisis the date that I will be ready
to go in, because I have togive myself my full healing time
.
This is what I'll be able tooffer you once we start shows,
because I have to rebuildstamina.
This is what, and so it's justlike.
(10:38):
I think going through thatexperience as well has informed
me of limits.
And then there's certainchapters in your life where your
limits decrease or increase,and so it's just, yeah, I think
it's just a constant exercise oflistening and of paying
attention, of having discernment, and you know.
And then there are the dayswhere I don't feel like doing
(10:58):
the show, but I'm fully capableof it, you know.
And so then you also have toclock what that feels like.
Okay, you're tired, because youdid seven shows already this
week.
This is the final show.
Do your warmup?
Do you have the range that youneed to do the show today?
Okay, do your physical warmup?
Is your body in a place whereit can do the show today?
(11:21):
Okay, so then, when I checkthose off, I'm like, oh yeah,
you're good to go.
You're just tired.
So, like you can do this, yougot enough gas in the tank,
let's go ahead, let's do thislive show and then let's have
our day off, you know.
So it's just, I think it's justa game of a constant check-in
in my experience.
Lisa Hopkins (11:39):
You're talking about context, right, and we are
diverse.
I always talk about thiscontext, right, and we are
diverse.
I always talk about this, but Ithink it's so important.
I'm talking about diversity ofself, diversity of energy, and
there is this expectation forthe people that hire us, and
even more so from ourselves,that, because we can do that, we
should and we must.
Aisha Jackson (12:03):
And just because we can and we have the ability
to do so, it doesn't mean thatwe should.
It doesn't mean that it will bebetter off for us in the end.
And yes, this week, sure, I cando eight shows a week and then
next week maybe I can't becauseI didn't get enough rest on this
day or because I had press onthis day and then I had to like,
(12:25):
even with like scheduling press, I try to schedule it on the
day after the off day if I'mgoing to be singing, so that I
know that I've had a full offday of rest.
But then I have to figure outmy vocal cache for Thursday
because we have two shows.
So then on Wednesday I'm doingmultiple takes of this highly
emotional and vocal intense songand I film that.
(12:49):
And then I come and do two anda half hours at night and then
I'm coming in the next morning.
The recovery time in betweenthat evening and matinee is slim
.
So then I'm figuring out okay,what vocal cash or energy do you
have for the matinee?
What do you need to do inbetween the shows to recover, to
make sure you can do theevening show healthily, like
(13:11):
it's all?
Yes, it's such a like.
It's a constant, oh my goodness.
I keep saying it's a constantcheck-in, but that's what it is
it's like.
Just because you have thecapability to do it doesn't mean
you should, and I am of themindset that we should not have
eight shows a week.
Lisa Hopkins (13:30):
There you go.
Well, here's the thing you know.
It's interesting because youalso mentioned limits and I
would put forth these aren'tyour limits, what you have is
choice.
Like what if you thought oflimits as choices?
Because if you're at choice,then you're choosing.
That you know it's not thislinear.
(13:51):
You know of a, of a place to,to begin Right.
So, yes, with your check-ins100%, but I would encourage you.
Aisha Jackson (14:10):
sorry, I'm coaching, I'm not no, I'm here
for it, but, but it's like.
Lisa Hopkins (14:15):
I would encourage you not to use the word limits,
because these are choices andand, and you know if you come
from a place of choice.
Only you know.
Only you know when you canreally be all in.
Yeah, and you can sometimesmake a conscious choice, and
(14:36):
that's okay too that I realizedthat I've done all my check ins
and I'm not 100%, but I'm okaywith that, because tonight I'm
honoring my value of sharing orof representing or of whatever
it is, and maybe that helps, Ithink.
I think I don't know.
Tell me what you think aboutthat.
I'm going to just stop and letyou respond to that.
Aisha Jackson (14:54):
No, I think that's a, I think that's a shift
of perspective.
I invite it, I welcome it and Iunderstand what it is that
you're saying, because even inthat you're like you're either
choosing to, to value what yourcapacity is at the current
moment, or you're choosing, youknow, you make a choice of do I
(15:18):
feel well enough to go throughwith it or do I?
Am I choosing to, to take rest,go through with it, or do I?
Am I choosing to, to take rest?
Yeah, yeah, I, yeah, that's I.
I invite myself into that roomof choices.
It's a different way to thinkabout it.
I've not ever thought of it inthat way.
(15:38):
I have always used that, thevocabulary of like, of even
capacity, of like, what is yourcapacity today and what is your
limit.
And I've even been having arecent conversation of feeling
as though, uh, with thedifferent responsibilities I've
been given, um, and in my talkswith god, that I feel like my
capacity is being um, enhanced,enhanced and expanding, and so
(16:07):
that idea of choice, theperspective of choice, is also a
beautiful thing to add into themix there.
Lisa Hopkins (16:13):
I love that.
It's funny because you know,and it's funny that you use the
word although it's not funny atall, is it?
Because there are nocoincidences.
But I have a model called theEnergetic capacitor and you're
talking about capacity, isn'tthat interesting?
It is really about where you'reat energetically when you're
making a choice.
So it's not about it's notabout decision making.
(16:35):
It's not about am I doing thisshow, am I not doing the show?
It's about what's the?
You know what's the energeticchoice that I'm at, like there's
six of them.
Right that I can't, I can't dothis, right, that's a choice,
what I call an energetic choice,as opposed to a message in your
head, right and when you're atI, you know when you're, when
(16:56):
you're saying I can't obviouslyright what happens, or I have to
right Characterized by force,or I should, is I get to one of
them?
It's the final one, which Icalled choice, with gratitude
100%.
Aisha Jackson (17:10):
Yeah, that's, that's wonderful.
I love that because it'sactually, um, in choice of
gratitude.
It's something that I use toshift my perspective when I find
that my energy is leaningtowards negativity or leaning
towards a complaint of like Ihave to, I have to, I have to,
(17:31):
and it's like, oh, actually, Iget to get to do this, I get to
do, I even, I get to make thechoice to, to check in with my
energy and see where I am.
Lisa Hopkins (17:42):
I get to yeah, and that has nothing to do with am
I going to do it or am I goingto not do it?
Just by saying I get to choose,you're going to already have
you know, access a lot moreenergy Doesn't mean again,
doesn't mean you have to use itin that direction, in the same
way, the, the inner, theenergetic choice of I can't.
Aisha Jackson (18:02):
As soon as we say I can't, our entire being is
like oh, okay, and that'ssomething too vocally for me.
Throughout the years I'm big onwords of affirmation as well,
and especially for my voice.
I found it throughout myjourney much more impactful for
(18:22):
me to affirm my voice than thannitpick on what it is and what
it feels like I am incapable of,or what people have told me I
can or cannot do, or yeah, yeah,the I can't.
It's something.
It's, it's very powerful.
And and this, the performing isso mental, well, 100%, game,
(18:44):
it's a mental game.
And this, the performing is somental, well, 100%, it's a game.
It's a mental game.
We have to have a certain levelof belief that we are capable,
that we possess a certain levelof talent and preparation or
whatever discipline, all thethings.
It's such a mental game.
And the second, that we startto become doubtful, worrisome,
anxious, all that our body takesthat on.
Lisa Hopkins (19:07):
Yep, yep, and you're going to love what's in
between.
I can't, I have to, and I getto.
You know what's in between andwhat the tipping point is.
I should.
Now you know what I call Ishould.
I call it I could, with shame,oh, so, so you lose the shame
(19:31):
and guess where you're standing.
You're standing in theenergetic choice of I could do
this.
Aisha Jackson (19:38):
Yeah, because I should.
Whenever we're saying it, it'slike, well, I should have, or it
is, it does have a tinge ofyeah, Of guilt on it, or shame.
Lisa Hopkins (19:48):
Yeah, 100%, I should do it, cause I said I was
going to do it.
I should do it Cause that'swhat you're supposed to do.
I should have right.
But as soon as you lose theshame, then you realize, okay, I
could do that.
So then you feel more ownershipDoesn't mean you're going to,
you know, and again, it's not adecision-making thing, it's
where you're coming fromenergetically.
(20:08):
I could do that.
You're standing in yourcapability, and then I could do
that.
You're standing in yourcapability, and then you go.
Not only can I do that, I wantto do that, which is the next
one.
And when you want yeah, thenyou.
Then you're in your values,yeah, I want to because I want
to.
You're in your why.
And then, when you're doing it,guess what I get to yeah,
that's beautiful, I love that.
I love that too.
I love sharing it with you,thanks for sharing what is your
(20:32):
definition of living in themoment?
Aisha Jackson (20:35):
Ooh, yeah, that's a good question.
I think my answer is just beingpresent.
Sometimes my mind can jump tothe future.
It can even in performing.
You know, when we're performing,I challenge myself.
I'm like listen to what'scoming out of their mouth right
(20:55):
now, because you know anxiety.
Or oh, I haven't done the showin a while.
Or, oh, what's next?
Did I practice this enough?
And I have to go shut up, bequiet in their mind.
You've done this, you'recapable.
How about we check in with theperson who is speaking right now
?
Let's just listen to whatthey're saying and then allow
(21:15):
our bodies in the moment torespond how it will respond.
And you know, in life and onstage, I try to encourage myself
to be present, to look around,to take in the nature around me,
to take in the people around me, to take in the words that are
being spoken, to enjoy the musicthat I'm choosing, to take in
the nature around me, to take inthe people around me, to take
(21:36):
in the words that are beingspoken, to enjoy the music that
I'm choosing to play in themoment.
And yeah, to me, yeah, it justmeans being present and not
trying to hurry the moment, yeah, not trying to think about what
comes after this.
No, what are we doing right now?
How am I feeling right now, inthis moment?
(21:57):
Who is right in front of methat I can love on or
communicate with, or connectwith?
Lisa Hopkins (22:04):
Yeah, yeah, that's beautiful.
I love what you said about.
You know it happens evensometimes when you're performing
and you know bottom line isthat's ego, that's fear, right,
it's ego.
Aisha Jackson (22:16):
Yeah, we start to go and I'm like, oh, what's
next?
What's next?
Lisa Hopkins (22:19):
It's like stop, stop stop, stop thinking about
yourself and start thinkingabout yeah, no, for sure, what's
?
Aisha Jackson (22:23):
right now.
Who are you talking to?
Lisa Hopkins (22:26):
No for sure, it's a.
It's a great reminder becausealso it leads to even though
it's scary, it leads toperformances that are beyond
what you could control or expect.
Aisha Jackson (22:40):
Yeah, and then you start to explore and you
find new things.
Lisa Hopkins (22:44):
Exactly.
Aisha Jackson (22:45):
And you're like, oh, that was, I didn't know,
that was there, Cool.
And then and it's givingyourself permission to not be a
robot and try to pump out theexact same show every night.
We're different people day today.
We're going to make differentchoices in your life every day.
Like you know, it gives mecourage to be like oh, we can
(23:07):
try something new, because howare we reacting in this moment?
Not necessarily like how do wepractice this?
It needs to be like this everytime.
And the audience is different,the energy is different.
You might be acting with adifferent actress because
somebody is out or actor, solike, yeah, I just encourage
myself to sit in that sit in themoment be present.
Lisa Hopkins (23:31):
Talk to me about the pressures of performing and
of, because I get what you'resaying and it's really you know,
we get it intellectually right.
It makes so much sense whatwe're talking about.
But when push comes to shove,there's also always going to be
an element of.
There's an audience and there'san audience, right, I mean.
Aisha Jackson (23:54):
There are people watching.
Lisa Hopkins (23:55):
There's 1700 people watching me right now
correct, and you know there's,I'm sure, all sorts of weight on
your shoulders, right to towell, I know there is, and and
on talk to me about that so manylevels, right, oh yeah, there's
so many levels.
Aisha Jackson (24:14):
It's an act of faith.
I think the line in the show isanything worth having or
anything worth.
I'm messing it up, but it's anact of faith.
And performing is anxietyinducing, like it's a.
It's a judgmental space and we,we, we hope that you, you judge
(24:37):
us positively.
We hope that you enjoy it, wehope, but, but it's a judgmental
space, like they.
Just they released B-rollperformances of mine and Ryan's
last week and a lot of theresponse was positive.
But you know there's always afew.
And look, it's also like youhave a right to your opinion.
(24:58):
You might not like my voice,you might not like the choices
that I'm making.
I, as a human and as a performer, have to know that not all
every person in this theater isnot going to walk out of this
theater loving what I just did,and that's just fact.
Like it's not.
It's not being down on myself,it's not.
I can give the best performanceI've ever given in my life.
(25:19):
Cross all the T's, dot all theI's, make new choices, be in the
moment.
And somebody could walk out andbe like, yeah, I mean, it was
good, I guess.
Or they could be like I hatedit, like it doesn't.
But we as performers, you justhave to ready yourself.
Like that's a part of the deal,like you kind of have to free
yourself from that, Like that'snot why I'm doing it.
(25:41):
I'm doing it because I desire tomake an impact.
I'm doing it because I have hada prayer my entire life to use
my gifts and my talents tominister to others, to inspire
others, to break down barriers,to open doors for those coming
behind me.
That's why I'm doing it.
I'm doing it for the littlegirl who came to see me in
(26:02):
Frozen and said to her mom mommy, she looks like me when I came
out on stage.
I'm doing it because I have fundoing this.
I'm doing it because it bringsme joy to use my gifts.
It brings me joy to use mygifts doing musical theater.
It brings me joy to use mygifts doing whatever gig it is
that I said yes to.
So like I'm doing it because Ienjoy telling these stories and
(26:24):
bringing these characters tolife, because I enjoy having
community with these otherperformers on stage and the crew
and the orchestra, and like I'mdoing it because I enjoy the
energy we receive from theaudience and how it feeds into
my performance and how, how,what I'm doing on stage could
somewhat possibly impact therest of your day.
(26:47):
Or how you see this story, orhow you see Black women, or how
you see like I, you see, likeI'm doing it for that, like you
know, and so I just have youhave to remind yourself like
it's, it's a bigger picture, youknow?
Um, but, yes, but, but at the,the foundation of performing, it
(27:08):
can be quite anxiety inducingand I have to remind myself of
the why.
Um, I'm a woman of faith.
I pray before my performances,before every performance, and
that brings me comfort andsolace.
I am of the mindset that I havea purpose and a calling to do
what I am doing, and so I standin that, and that grounds me to
(27:30):
flick away the fear, the doubt,the anxiety.
And then sometimes I do theshow with fear and with anxiety
and with doubt, and then I provemyself wrong, and then I go hey
, you actually are very capableof this, you're wonderful at it.
Some days you might not have100, but your 100 could be
(27:56):
somebody else's 75, or your 200could be somebody else's 300.
Like you know, it's not it.
You just have to come with whatyou have and offer it and then
walk away from it and then comeback and do it all again, like
(28:24):
when I was in college.
One of our guest teachers cameand she said don't take your
last audition into your next one.
And she was saying that youknow whether it was a positive
or negative experience.
When you walk into the room thenext time it's a blank slate.
You're starting over.
And the way that I at that ageit helped me.
Because if, say, I sing a songin one audition and it tanks and
(28:46):
then I take that same song intothe next audition, don't take
that memory of it.
You can.
You can take the lessons youlearned from it.
Right, and try and try yourbest to to have this be a
different experience.
But if I walk in going, oh, thelast time I sang this it sucked
, that's not going to help me.
That mindset is not going to.
(29:07):
It's not going to be a breedingground for success or happiness
going to be a breeding groundfor success or happiness, and so
, but in the same way, say I goin and now I fly and I have the
best audition ever.
When I go into my next audition, I also don't need to take oh,
the last time I did it was fine,so I don't need to practice.
Oh, the last time I did it was.
(29:28):
There were variables that daythat do not exist today.
So, like it's a new day, it's ablank slate, and I think I take
that concept into myperformances as well.
Today I'm coming in with what Ihave today, with the energy
that I have today, with theaudience that we have today, and
we're going to see what happens.
It's a new, it's a new, it's anew day, it's a new dawn, it's a
(29:50):
new light.
New day, it's a new dawn, it'sa new light.
I'm feeling good.
It would take miss nina on stagewith us, absolutely, yeah, and
I give myself permission and,and I do have a mindset I I am a
bit of a perfectionist and sothere are times that I make
mistakes and and I I know that Imade that mistake and then the
next day I say, hey, let's tryto fix that mistake, and
(30:14):
hopefully we can, and we go outthere, we try it was better.
It can continue to evolve, wecan continue to enhance the
moment.
Or just, that was horribletoday and I got to release that
too.
I have to release that in themoment, like if I'm on stage and
I crack, or if I'm on stage andI deliver a line in a way that
(30:35):
I in my brain are like, oh, thatwasn't the greatest, then I
have to immediately release thatso that I can do the next line,
so that I can sing the nextsong of release, whether whether
it was whether it was a,whether you deem it a great
performance or your worst one,because we have to come in in
(30:58):
five minutes and do the nextscene, or I have to come in
tomorrow and do it all overagain.
Yeah, it's a healthy balance forme of like critiquing um of
another, you know, checking in.
How was that?
How did that feel?
What can we do better last time?
What did we do great this time?
Um, do we need to?
(31:19):
Is this something that occursevery day in the show?
If so, then that's your bodytelling you we need to change
something.
Now I need to go to management,and now I need to talk to my MD
, and now I need to speak to thechoreographer, and now I need
to figure out oh hey, my body'sresponding to this like this.
I've tried these differentthings.
Maybe we need to change thatfor me in this role.
(31:41):
So all those things.
That's a very long answer.
Lisa Hopkins (31:45):
No, it's a great answer, and there's so much in
there, right?
I mean, I always say thatnobody plays to lose, yeah.
Aisha Jackson (31:55):
Ever.
We all want to win.
We all want to win.
We all have a bad performance.
Lisa Hopkins (31:59):
You didn't want to have that bad performance.
You didn't go try to have thatbad performance.
You did your very best and your100% that day was your 100%
that day Correct and it changesevery day.
You have to do the best withwhat you have in that moment and
in that day, correct, and itchanges every day.
Aisha Jackson (32:13):
You have to do the best with what you have in
that moment and in that day 100%.
Lisa Hopkins (32:18):
You got to meet yourself where you're at like,
literally, and not as acompromise, but again as a
choice and an understanding andall your check-ins that you're
talking about.
That's exactly, you know.
It's a success formula, really,because it's understanding that
there's not just one way to doanything.
You know Correct.
Aisha Jackson (32:38):
And understanding where you are.
There's some days, there'scertain lines that I like to
yell off stage when I'm callingfor the maid, and there's some
days where I'm going for it, I'mlike, oh girl, bridget need to
be closer today, she need to beright there.
Like you know, I can't callthat far today.
(32:58):
Or there are moments that Ihave built into the show because
you know, I love an opt upwhere I opt up, and there's some
days where I need to opt down,and it doesn't mean that the
song loses its power or thatthat moment is not as impactful.
You show up where you are andyou give it what you get.
Lisa Hopkins (33:20):
There, it is Right , there it is.
So I want to ask you I couldtalk to you all day.
Aisha Jackson (33:29):
I appreciate.
I just want to take the time tosay I appreciate the space that
you've built today in this roomand and just through these
conversations.
Lisa Hopkins (33:39):
Oh, thank you so much.
I received no.
Thank you.
It's the joy of my life talkingto people.
I can tell it is.
It absolutely is.
I'm so interested in humans andmy creative people, of course,
yeah, thank you, I appreciatethat.
Hey, what dream do you havethat maybe you haven't put out
in the future yet?
Aisha Jackson (34:04):
Well, I have a mentorship program that I have
been slowly building up that Idesire to put out into the world
.
I must say, I'm a little timidto do it and I'm still trying to
figure out the like ins andouts.
But my tiny baby steps havebeen having mentees, one-on-one
of mine, and so I have a handfulof my babies that I help on
(34:31):
their journey, my babies that Ihelp on their journey, and um,
but I desire to expand it tohave more resources.
I think representation is soimportant, and I think sometimes
we need to see someone wholooks like us or is from where
we are, from doing the thingthat we desire to do to to make
it seem tangible or a possible.
(34:52):
And so my mentorship program isalong those lines of just
having Black people specifically, but also people of color.
And then there are some I'llbring on my white mentors that
I've talked to, because they'relike well, yeah, this industry
doesn't have a lot of color andwe want to bring more people of
(35:14):
color in, and so, like, I wantto be involved so that I can
bring more people of color in aswell.
And so it's like yeah, so, yeah, I have a, I have this dream of
a mentorship program just toshow kids in high school,
college as they're makingchoices about careers.
(35:35):
I want them to see the vastopportunities that they have,
and not just in performing arts.
It'll start there, but I have afriend who was like a
communications director at theWhite House.
I have a friend who's a lawyer,but she also has her own
company called Herbrella, andit's a satin lined um rain hat
(35:58):
and then she now has a satinline rain coat and like all
these different things.
And so I just want um.
I just want kids to know likethey have so much opportunity
and and my chocolate drops Iwant them to know that there's a
place for them everywhere, butespecially in the arts.
So that's a dream of mine tobring that to life.
Lisa Hopkins (36:21):
That's beautiful and I love that you say
everywhere and even places wherethey might not have imagined,
because you're opening upCorrect.
Aisha Jackson (36:29):
That, yeah, right .
And so I want them to be ableto come and see, oh, she does
what, oh, they do this, oh, hedoes that.
Huh, what does that entail?
And then they can have aconversation and be like, oh,
that's actually a hobby of mine,or or a characteristic that I
find that I have, or likesomething I want to develop and,
(36:50):
and you know, and catching itat a younger age, is also
helpful because you know youjust have a little bit longer
time.
But at any age to see.
Oh, you started doing this whenyou were 30.
I have a friend she made herBroadway debut in her 50s.
Lisa Hopkins (37:06):
And so like.
Aisha Jackson (37:06):
I want her on there Totally and so.
And then it opens thedemographic of age as well, so I
love it, I love it.
Lisa Hopkins (37:15):
I love it.
It's leadership at its highest,really, isn't it?
That's beautiful, I love that.
Yeah, yeah, yeah, yeah.
And also just like normalizing.
You know, when you meet allthese different eclectic people
that do things you know atdifferent points in their life,
it also can unleash, maybe,something they'd been thinking
of that they thought was crazy.
But the more they see that'sdifferent, the more they can go.
(37:36):
Well, I have a crazy idea, andthey can put it out in the world
.
Aisha Jackson (37:39):
Yeah, yeah, creating an environment where
they feel comfortable to say Ihave this idea.
It's like okay, well, what isit?
It's probably great and it'sunique to you because you're
supposed to do it.
And then what resources do youneed?
And I think that's the thingtoo Like we have ideas, we have
visions and then we lack theresources.
(38:00):
On the phone together, you'relike Lisa, I'm like Lisa.
You wanna see my Tony, lisa,the mentorship program is going
(38:24):
so well.
We're in year.
I don't know yet I go.
Lisa, this album that Ireleased did you have a chance
to listen to it?
Did you like it?
What are your thoughts?
Also, I started a productioncompany to produce concerts for
(38:45):
myself and for my community, andwe are built on the pillars of
community accessibility andrepresentation, and so I've had
the joy and pleasure ofproducing quite a few concerts
over the last couple of years,and so I want to be able to
invite you to our annual gala.
I want to be able to invite youto the let's see the seventh or
(39:11):
eighth year of Black Excellenceon Broadway, which is the Black
History Month concert that I doeach year, and we give our
flowers to our Black Broadwayluminaries who have paved the
way for us.
We give them to them,figuratively and literally.
We invite them to come into thespace, love it, and I choose
(39:32):
current Broadway performers tohonor them, you know, and we
invite them into the spacebecause I'm like give people
their flowers while they'realive, yeah, hello.
And you know, and these, thesebeautiful performers have come
through and paved the way andopened up the door for me to
exist.
So, yeah, hopefully I get toinvite you to the, the, the full
(39:55):
production of Black ExcellenceNice.
Lisa Hopkins (39:58):
I'm going to be busy.
I'm going to be busy five yearsfrom now, seeing all your stuff
.
Yes, you gotta come, you gottacome oh my God, what about zoom
out like 20 years, 20 years?
You're looking back.
What can you imagine?
You're looking back.
Can you imagine?
Aisha Jackson (40:13):
Wow, hopefully.
You know I have some kittiesrunning around.
Oh, nice and my husband, youknow we nice and together and
solid and in love and having funand traveling.
(40:33):
I've gotten the opportunity totravel a lot and perform, which
is amazing.
And growing up, it was always aprayer of mine to use my gifts
across the world, and so seeinghow that prayer has been
answered by being able to doDisney Princess the concert in
Asia and do symphonies in Canadaand like all these different
things, and so I just hope thatthere are more opportunities to
(40:55):
travel, have fun, explore butalso, you know, share my art
worldwide, love it.
You know Broadway's not the end, all be all.
It's pretty great.
But you know, I'd love to have acouple of films under my belt.
I enjoy doing voiceovers, sohaving some more voiceover
opportunities and, yeah, tv filmis not something I've I've like
(41:18):
stuck my toe in just a littlebit, but I'd like to walk
through that door fully andhopefully direct at some point.
So, yeah, we got a lot ofproducer, director, mentor,
mother, mother, wife, auntie I'malready auntie.
Oh, my goodness, my nephew willbe 22.
What, wow, in 20 years he's alittle two-year-old, just a
(41:44):
little.
Can you imagine 22?
That's wild.
Oh, my goodness, I'll be seeingmy nephew graduate from college
, yeah.
Lisa Hopkins (41:56):
What do you think?
I mean, I think she'd beextraordinarily proud.
But what do you think?
Young you know, real youngAisha would be most proud of
right now if she knew where youare.
Aisha Jackson (42:11):
Oh, my goodness, You're going to make me cry.
Yeah, and yeah, I think shewould be overjoyed with the way
that I pushed through doubt andfear and grief.
When I was in high school, Ilost my brother, and so I like
(42:33):
to think he's in heaven lookingover me and has blessed my path.
But, yeah, young Aisha would beproud of pushing through that.
That loss happened right beforeI went to college, and so it
could have altered a lot ofdifferent things.
Um, you know, everythinghappens the way it happens, and
(42:54):
I was able to continue throughgrief, to continue performing,
you know, but there's a world inwhich that could have bopped me
out, um, or at least for acertain amount of time.
Um, but yeah, I think, I thinkyoung Aisha would be very proud.
I've had different um peoplekind of shit on my voice at
(43:18):
different times in life, and soI think, overcoming that and
being like no, I have a gift,and you might not understand my
tone or my rasp or lack ofclarity to you, but this is what
God has given me and it's myresponsibility to fine tune it
and to take care of it and tocontinue to grow it and to
(43:39):
continue to share it, and so Ithink she'd be proud that I've
continued to do that, and to doso with humility and
thoughtfulness and concern forothers, and that I've continued
to advocate for myself andothers and continue to grow.
Yeah, that's what it's allabout continuing to evolve and
(44:02):
fine-tune, and you know?
Yeah.
Lisa Hopkins (44:07):
Yeah, that's beautiful.
Thank you for sharing that.
Yes, thanks for asking,absolutely.
How do you want to beremembered?
Aisha Jackson (44:17):
Ooh, oh my gosh.
I want to be remembered asmaking space for others to shine
bright, and especially forblack women in this industry.
Yeah, for making space for forthem to be all that they are on
and off stage and to be to beall that they are on and off
(44:41):
stage and to be protected.
I work with equity, I'm on thecouncil and you know a part of
my statement there was like Iwant us to have protections in
our contracts about our texturedhair, and there's certain
things that, as a Black woman,even something as simple as like
(45:02):
choosing a tight color, can beoverwhelming.
Having someone to prep yourhair, having someone on the wig
team specifically knowing how todeal with the type of hair that
grows out of my head is notalways there.
And so, yeah, I want to be forfor being the change that I wish
(45:24):
to see.
You gotta be crying over heretoday.
Lisa Hopkins (45:30):
I know, you know it's, it's um.
Thank you for your honesty andopenness, really, yeah thank you
for making space no, it's, it'sreally beautiful.
Okay, we're gonna do we'llchange it up a little bit here
we're gonna do the rapid fire.
I'm gonna say okay, I'm gonnasay what makes you and you can
(45:56):
just say whatever comes intoyour head okay.
Let's do it.
What makes you hungry?
Aisha Jackson (46:05):
Oh, man, like for like in life, or like food
wherever, wherever your headgoes.
What makes me hungry, doing ashow for two and a half hours?
Lisa Hopkins (46:17):
Oh my gosh, yeah, fair.
Hey, what do you eat after theshow?
Like, what do you?
Is that when you?
Aisha Jackson (46:22):
what do you eat?
Um, I have a deli on the cornerand they have this um, uh, this
Greek salad that I get with aside of fries and chicken.
Uh, I like burgers.
I like chicken wings.
I'm from Atlanta.
We have the best chicken wings.
Um, so I'll come home and giveme a nice little 10 piece lemon
pepper.
(46:42):
Sometimes I have a proteinsmoothie.
Sometimes I just have, like asnack, apple and peanut butter,
cucumbers and hummus, a pickle,jalapeno chips.
But yeah, I'm definitely a fanof coming home and devouring
something, but some days, ifI've done well and eaten enough
calories throughout the day, atthe end of the night I just come
home and I'm ready to go tosleep.
Lisa Hopkins (47:04):
Yeah, fair.
But you know that adrenalinethat you feel for hours after
the performance is gone.
Aisha Jackson (47:10):
Money, yes, my ass, be up till 2, 3 o'clock in
the morning.
It's so hard.
Sometimes I'm like Aisha, go tobed and then I have like my
brain is so focused and, likeyou know, the streets are quiet
and so when I get home, and it'slike 12 o'clock, one o'clock in
the morning, I'm up sendingemails or checking stuff or
(47:31):
doing like admin work for loveand light like.
But I also enjoy readingcomments from the fans.
Oh, that's nice, um, and sowhen they, when they post things
on instagram, you knowinstagram is like it'll, it'll
delete in 24 hours.
So if I don't look at it, Imiss.
I miss it sometimes.
But I love the the that fanstake the time to like, write me
(47:54):
and tell me how the showimpacted them and tell me how
they were inspired or moved orhad fun or hated Daisy.
But they're like you know Ilove you, but Daisy, I was like,
yeah, she's a complex girl,she's not everybody's favorite,
but I get it.
Lisa Hopkins (48:12):
Oh my gosh, I love that.
That was not rapid at all.
That was awesome.
It never is, by the way, itnever is.
Aisha Jackson (48:18):
We went on a tangent Okay.
Lisa Hopkins (48:21):
I love me a tangent, so that's no problem.
Okay, what makes you sad?
Aisha Jackson (48:29):
Seeing unhoused people in the city.
Lisa Hopkins (48:32):
What makes you?
Aisha Jackson (48:33):
inspired Meeting young people at the stage door,
meeting young Black women at thestage door who are excited that
daisy is black and like geekout and scream there are these
lovely chocolate drops.
They were studying at alvinailey the summer intensive.
They came to see the show andthen I'm we invited them to come
(48:54):
back to meet the dance ensembleafter the show the next day,
and then they invited me totheir showcase performance.
So I got to go, uh, supportthem in their showcase
performance.
And then they invited me totheir showcase performance.
So I got to go support them intheir showcase performance.
And then I invited them to comeback to the theater because I
redecorated my dressing room soit was different from the first
time they saw it.
And so then they came back withtheir friends from Alvin Ailey
(49:15):
and with their mom and like soyeah, that inspires me, and
being able to see the impact inreal time, totally it inspires
me to keep going.
That's the real answer.
Lisa Hopkins (49:26):
Yeah, I love that, though.
We got a nice glimpse of thattoo.
That was really awesome.
Yeah, Okay, what makes youlaugh?
Aisha Jackson (49:35):
My nephew.
He's a goofball.
Lisa Hopkins (49:40):
Yes, I love that.
And what makes you angry?
Aisha Jackson (49:49):
I won't get too deep Injustice.
Lisa Hopkins (49:51):
Yeah, fair, what makes you angry, kind of in your
day-to-day life, that isn't abig thing.
Aisha Jackson (49:59):
People walking next to me in the streets of New
York.
Lisa Hopkins (50:04):
I guess the question would be right what
irritates you?
That's what irritates you, yeah.
Aisha Jackson (50:08):
Like the lack of spatial awareness on the train,
irritates me.
Lisa Hopkins (50:16):
Fair, oh my gosh.
And finally, what makes yougrateful?
Aisha Jackson (50:24):
Sunshine Beach, oh my gosh.
And finally, what makes yougrateful?
Sunshine beach, bodies of water, my family being able to share
my gift, singing, breathing.
Lisa Hopkins (50:37):
Yeah, you know you .
I mean you do have a great gift, obviously, of singing, but if
I never had heard you sing, Iwould still be telling you you
have such a gift Just as a humanyour energy, your light, it's
beautiful.
Thank you it truly is Thank you.
Aisha Jackson (50:56):
It's one of the many gifts God has blessed me
with.
I'm grateful for it.
Lisa Hopkins (51:00):
Well, you're using it, so you're honoring.
You know, whatever you did, youwould bring that to it, and
that's pretty cool.
You know, sometimes I ask myguests what would you do if you
didn't sing?
But I'm not even worried aboutyou, Okay.
Aisha Jackson (51:13):
So right, You're like yeah, teach mentor.
Lisa Hopkins (51:17):
I'm like, yeah, there's a copious list of things
that yeah.
Finally, I'm going to ask youwhat are the top three things
that have happened so far today.
Aisha Jackson (51:26):
Today.
Lisa Hopkins (51:28):
Yeah.
Aisha Jackson (51:28):
Talking to you, honestly, Speaking with you and
having this space to share.
Yeah, today I did not wake upfeeling my best.
So you honoring where I am, youhaving grace and patience with
my delay this morning, notmaking me feel guilty about it,
(51:54):
and creating this space to speakopenly and freely and honestly
and be my genuine self.
You know I'm going to be that,but you know, having someone on
the other side that is receivingof it makes a difference.
So, yes, talking to you, I didmy hair this morning my curls.
(52:18):
They came out pretty good.
I need to get my hair colored,but they came out great.
They are gorgeous, thank you,and what else?
It hasn't happened yet, butit's about to happen.
I'm about to take the rest ofthis stuff to my storage unit
and my apartment is going to beclear and open, and that will be
(52:40):
a beautiful part of today open,and that will be a beautiful
part of today.
Lisa Hopkins (52:47):
I love that.
And then?
So, what are you most lookingforward to?
Well, today, so that's one ofthem, and then also in the
future.
Aisha Jackson (52:53):
In the future.
I'm looking forward to, I'mlooking forward to I have so
many answers.
I'm looking forward tocontinuing to build community
through Love and LightProductions.
I'm looking forward tocontinuing to evolve as a human,
(53:22):
as an aunt, as a friend, as asister, as a wife and a mother.
Um, and I'm looking forward tothe many ways that I don't even
know yet of how I'm going toshare my art oh, I love that.
Lisa Hopkins (53:36):
Yeah, that's cool.
What's one thing, if anything,that surprised you about today,
with our interaction today?
Because you live a life, likeall my guests, where you're
always talking to people aboutwhat you're doing or about I'm
just curious.
You know you came in also youprobably had a lot of things
that that threatened to get inthe way of you showing up here.
Aisha Jackson (53:57):
Yes so.
Lisa Hopkins (53:57):
I'm curious to know yeah, what, what, if
anything, surprised you aboutthis past hour together?
Aisha Jackson (54:07):
That I leaned into joy, despite the things
that were trying to stop me fromcoming here today.
I consider myself to be ajoyful person and I didn't feel
very joyful before I got on thephone with you, but I think that
(54:27):
you experienced some joy for metoday throughout, and it
surprised me how emotional I gotwith you, asking me about
younger Aisha and the impactthat I desire to make, because
it brought up a lot of thingstoday, yeah, but I'm happy that
(54:49):
I honored those feelings andallowed them to flow.
I'm happy that I chose to showup instead of canceling.
I'm happy that you made spacefor us to communicate today and
accepted me where I was.
I'm happy that I acceptedmyself where I was and continued
(55:12):
to.
I made the choice to be presentand made the choice to speak
with you and share with youtoday.
To speak with you and sharewith you today, and made the
choice to lean into thepercentage of joy that I have at
this moment.
Lisa Hopkins (55:29):
Absolutely.
Oh my gosh.
Well, I cannot thank you enoughfor joining me.
Truly, it's been such a joy.
Aisha Jackson (55:36):
It's been a pleasure speaking with you.
Thanks for having me.
Lisa Hopkins (55:38):
Yes, I'm Lisa Hopkins.
Thanks for listening.
Stay safe and healthy, everyone, and remember to live in the
moment.
In music, stop time is thatbeautiful moment where the band
is suspended in rhythmic unison,supporting the soloist to
express their individuality.
In the moment.
I encourage you to take thattime and create your own rhythm
(56:00):
Until next time.
Create your own rhythm Untilnext time.
I'm Lisa Hopkins.
Thanks for listening.
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