August 19, 2024 • 45 mins
What if the notion of 'only one woman can be on top' in the music industry is nothing more than a myth perpetuated by the media? Joining me in this episode to dissect this is executive producer Kerry-Ann and Shawn from Reggae Talk Podcast. We challenge this stereotype and shine alight on the remarkable diversity of female talent across genres. We dissect how media narratives fuel rivalries like Rihanna vs. Beyonce and Nicki Minaj vs. Cardi B, questioning whether these stories serve to engage audiences or simply reflect societal biases. Together, we explore how social media has amplified these tensions and the broader impact on the careers of female artists.
We'll also take a deep dive into the generational divide within the music industry, focusing on the unique pressures faced by female artists. From the fan-driven rivalries seen between the likes of Nicki Minaj and Cardi B to the enduring respect male artists like Jay-Z command over the years, we unpack how these dynamics play out differently for women. Shawn offers insights from the world of dancehall, drawing parallels to how artists like Spice and Shenseea navigate the competitive landscape. We reflect on the challenges posed by generational shifts and their influence on fan loyalty and musical relevance.
In our final segment, we tackle the broader challenges women face in male-dominated genres such as dancehall and hip-hop. Kerry-Ann provides an eye-opening perspective on how female artists often find their creative growth stunted by industry limitations, unlike their male counterparts who enjoy greater freedom. We stress the importance of embracing diversity and resolving conflicts privately to foster a culture that celebrates, rather than pits, female talent against one another.
Style & Vibes: Website | Newsletter | Youtube | Twitter | Instagram | Facebook
Produced by Breadfruit Media
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Who runs the world?
Girls, of course.
Welcome to the Style and Vibespodcast with me, makayla.
I'll be giving you the insidescoop on music, fashion, culture
and more from Caribbeancelebrities and tastemakers
across the globe pushing ourculture with authenticity and,
of course, style and vibes.
Hello everyone, and welcome tothe Style and Vibes podcast,
(00:25):
episode 12.
This is your host, makayla, andtoday we are diving into the
idea that, when it comes tomusic, there seems to be the
notion that only one woman canbe on top.
Does it feel that way for youguys?
Is it just me?
I feel like we kind of see thisall the time, me.
(00:46):
I feel like we kind of see thisall the time.
We see, you know, memes andeven, you know, have
conversations with our friendsaround the idea of Rihanna
versus Beyonce, nicki Minajversus Cardi B, spice versus
Shansia, and it goes on and onacross multiple industries.
I mean not even respective tojust music, but across multiple
industries as well.
I think you know there are somany talented women who make
(01:08):
music, yet we find ourselveskind of fussing over maybe one,
two or maybe just a handful.
The notion that only one womancan run things is crazy to me,
because there are so manydifferent talented women across
all different genres and men cankind of compete without being
pitted against one another,unless it's like a direct, you
(01:30):
know, lyrical beef or they havepersonal feuds.
But I kind of feel like when itcomes to women we have to pick
a side for whatever reason.
So you know, there's the ideaof you know having friendly
competition misunderstandingsand of course, there's the idea
of you know having friendlycompetition misunderstandings
and, of course, relationshipsthat just go wrong.
That kind of creates thiscompetition and somewhat makes
(01:51):
it personal.
You know, the fans kind of seeit via social media or they read
about it in magazines as well,as you know see the artist's
behavior, how the media kind ofplays into it.
The music industry really has,you know, people behind the
scenes that kind of have theseconversations behind closed
doors and just circumstances andpopularity.
(02:13):
All of these things really playa role in the idea of what
happens when women becomepopular in the music game.
So it's not just me today Inthis episode.
I really wanted to get a feelfor some other people's opinions
.
I think it's really importantto get the opinions of others
when trying to talk about atopic like this one.
(02:35):
And while it's not a roundtable, I'm speaking with our
executive producer, carrie, whodefinitely has an opinion, even
even from a fan perspective andjust being able to kind of
understand the music business aswell as you know her place as a
fan kind of shares her opinionwith us as well as Sean of
(02:56):
Reggae Talk Podcast, kind ofgiving that male perspective.
And you know we're all kind ofdissecting why we feel that you
know there can only be or is itthat we're kind of thinking into
it too much?
So we're really dissecting theidea and sharing our opinions
with you guys.
Before we get into myconversations with Carrie and
(03:19):
Sean, I just really wanted tokind of share, even from from a
media perspective, working andbeing in journalism and
podcasting, and just being ableto share the opinions of the
masses I think the media kind ofstruggles with.
Are we sharing what the peoplewant to hear?
Are we asking the questionsthat the people want to hear or
(03:41):
are we merely reflecting whatthe people are really talking
about?
So it's kind of like thatchicken and the egg conversation
, but I think it does have wehave a certain level of due
diligence to kind of evaluate.
Is this a conversation that youwant to continue having?
Are we jumping on the bandwagonfor hits on our websites?
(04:03):
On the bandwagon for hits onour websites, are we really, you
know, developing engagingconversations when it comes to
women in music and even in othergenres?
And I think it's kind ofsomething that we as media
personnel kind of have to thinkabout when we're writing pieces
and even just you know, it mighteven just start off as a joke,
but I think things we've seenthings escalate rather quickly
(04:28):
and I always say, you know, alot of times issues can be
resolved offline and you know,if a conversation is had between
two people, then they can kindof, you know, resolve whatever
personal issues that they have.
Now, if it's completely allabout the music and you're
leaving it on wax, then that'sdifferent.
But when it comes to, like youknow, deep rooted personal
(04:50):
issues, I think those should beaddressed without the public's
eye and ears.
But a lot of, I think, a lot oftimes what happens is it kind
of just spirals out of control,especially with social media.
You know, social media hasallowed for artists as well as
fans to share their own publicopinions on themselves, on each
(05:11):
other, on what's happening inthe news, and I think it opens
up the door to kind of morescrutiny than ever before.
So, while I think competition ishealthy to kind of, you know,
it sharpens, you know, theskills of others.
When you compete in a way thatis not mean spirited, I think we
(05:33):
kind of understand thesentiment behind.
You know, when people are kindof going at each other and it's
personal and going at each otherand it's just lyrical, and
sometimes the lines definitelyget blurred and sometimes it
ends up, you know, resolvingitself.
And I don't think that weshould try to do away with
competition.
I think it's great for women tojust be able to compete, but
(05:57):
it's also, like you know,there's more than just one or
two who should be highlighted,and not necessarily that you
need the competition in order tobe highlighted.
I think doing great workoutside of the antics should
speak for itself, andunfortunately that's not always
the case.
So the people that you seeconstantly are the people who
(06:19):
are kind of stirring the pot alittle bit, and sometimes it's a
good thing stirring the pot alittle bit, and sometimes it's a
good thing, and sometimes it'sjust not as beneficial to the
culture or to each other.
It just kind of seems like it'sout of place in a way, but I
think that there is such aplethora of talent across
(06:39):
multiple genres.
You know you can have so manydifferent people contributing
and playing in the same fieldand being successful in their
own right.
Everyone is a queen, everyoneis a king of their own kingdom
and in their own lane.
So I don't think that it shouldbe such a big deal for us to
(07:00):
recognize just one or two or afew, because I hear men who
completely sound the same overand over.
So you know I can't tell thedifference between a few people
that I hear that are men, butyou know they seem to
continuously get the shine overyou know women as well.
(07:20):
For every you know 20 men thatyou hear in the music industry,
you might hear one or two women.
So I think it's also up to usto kind of really be better at
highlighting those women who aredoing great things in music and
in their respective genres inorder to kind of push, you know,
a bigger plethora of women tothe top.
(07:42):
Plethora of women to the top.
And then what happens whenthere are more women and it's a
little bit more equally yoked, Iguess you could say in terms of
talent pool.
Then you'll kind of start tosee all of the different bodies
of work and you know people willbe talking about more than just
one or two.
So today we have a very specialguest.
(08:04):
He is on another podcast calledReggae Talk and it's him going
in depth about all thesedifferent topics, with reggae
and dancehall specifically.
Welcome to the Stylin' Vibesfamily, sean.
Speaker 2 (08:20):
Hey, I'm on.
I'm on Give thanks.
Thank you for having me.
Speaker 1 (08:24):
So this is going to be an interesting conversation
because I know you have a lot tosay.
You always have something tosay and it's all good things.
So, you know, I think you kindof being in the music industry
and understanding, as not onlyyou know someone who does media,
but also someone who just is afan of music in general and not
(08:46):
just dance along with reggae Ithink it's a great conversation
for us to have, especially withrecent events that have been
happening surrounding women inmusic, and it's not particular
to just dance along with reggae,but it's definitely very
prevalent but just the idea thatthere can only be one woman you
(09:06):
know, no pun intended on top.
So the idea that you know itseems like, especially like
surrounding Nicki Minaj andCardi B, like you know, it
always feels like you have topick and choose.
So what is kind of yourperspective in terms of why you
(09:26):
think that is from a musicindustry standpoint?
Speaker 2 (09:30):
I mean I think there's there's.
Everyone has their own lane.
You know what I mean.
Everybody has their own laneand there's food for everybody,
especially with hip hop.
Hip hop is a massive, massivemarket.
There's food for everybody.
But I think this whole one womanstuff is it's's not really,
it's not really the artist perse, but the fans.
I think it's the fans who arewho really egg this thing on.
(09:52):
You know, you get what I'msaying.
But uh, I mean the artist, forexample, nick nicky minaj.
Nicky minaj, I mean, she's beenaround for a long time.
It's like in the workplace whenyou have, when you have a senior
employee who's been you.
It's like in the workplace whenyou have a senior employee
who's been on the job for Xamount of years and they have X
amount of time invested, andthen you have the young buck
(10:13):
fresh out of college.
They get a little insecure.
You get what I'm saying.
The fans remember over time thegenerations kind of turn over.
The fans who were rocking withyou 10 years ago maybe they're
not rocking with you again, andit's really the young bucks.
It's really the young bucks.
So I always say that music it'sall about relevancy and time,
(10:37):
especially hip-hop, hip-hop.
A lot of it is disposable music, just like dancehall, and the
fans change.
We did an episode called thegeneration gap, basically
whatever that was, that was uhpopping to you years ago, or our
parents.
It's not popping to me.
My tastes are different.
Speaker 1 (10:56):
You get what I'm saying yeah, just like you know
the change in another 10, 15years, same thing.
Speaker 2 (11:02):
I get it yeah man, yeah one.
So I think it's a generationalgap thing.
For example, nicki Minaj isabout she's up, she's
approaching 35 or she's about 35years old.
So meanwhile Cardi B is 10years or junior.
So there's no way Cardi B fansand Nicki Minaj fans have the
same pace and music.
(11:23):
It's Cardi B friends many ofthem are teenagers Nicki Minaj
fans they grew same taste inmusic.
If Cardi B fans many of themare teenagers Nicki Minaj fans,
they grew up.
You get what I'm saying.
Again, it boils down to thegeneration.
The generation has turned over.
It's a social media era now.
Social media is all about theyouth, the youth and what Nicki
(11:43):
Minaj called her people, theBarbies and what Cardi B called
her people.
Speaker 1 (11:49):
Was it Bardi Gang or Cardi Gang?
Something like that?
Cardi Gang.
Speaker 2 (11:53):
Cardi Gang.
I'm pretty sure, cardi Gang,they're not no 35 year olds,
cardi Gang.
They're a bunch of kids, andkids are mainly the ones who are
on the forums.
Kids are mainly the ones whoare on the forums.
Kids are mainly the ones whoare on the blog.
You get what I'm saying?
Yeah, I think very the oneamplified this, this whole
notion, because if you listen,if you listen to, like, uh, the
(12:14):
breakfast club, every secondthey make references to social
media, you know.
So that's kind of like theheartbeat, that's kind of like
the pulse of the culture and andit's a youth movement.
Speaker 1 (12:26):
So do you think that the artists play into it?
I feel like female artists playinto it too much and it kind of
gets more personal than it doescompetitive.
Speaker 2 (12:37):
I think they play into it, but I think they feed
into the fans more.
You know, like, for example, Imean on the dance hall side,
them says bias of the queen,right now she's, she's the one
that's, you know, the new, newage queen of a dancer.
Some people say and I know youhave um young book, what shensia
(12:57):
, shensia, do our thing rightnow.
I think at one point, at onepoint they had like a little
friction or something like thatI think they're friends now.
Speaker 1 (13:06):
Yeah, a lot of it has .
Speaker 2 (13:07):
Again it goes back to the social media.
You know people feed into it,people you know, comments here,
comments there.
Spies read it.
And spies please say yeah, yeah, yeah, like you shake, you
throwing shade and things.
You get what I'm saying.
Then there was a little thingwith jada Jada Kingston as the
next upcoming artist and ChenTia said you get what I'm saying
(13:27):
?
Yeah, I think.
Again, I think it has to dowith the fans more than anything
, man.
They instigate the social media, they instigate a lot of things
and people feed into it.
That's just my take on thewhole dynamic.
Speaker 1 (13:42):
But I kind of feel like it doesn't happen as much
with men per se, like they do doit and they do go at each other
.
I mean, if you have Kanye'slevel of emotional attachment to
ego, yes.
It happens a lot more frequently, but I feel like for women it's
almost like you have to fighteven harder to get that respect
(14:06):
and keep it.
And you know, once you are nolonger, you know popular, it
doesn't necessarily mean thatyou no longer have it, because I
mean, if you think about it,jay-z is no longer popular.
Speaker 2 (14:20):
I agree with you.
Speaker 1 (14:22):
Musically he's no longer popular as he's popular
to us, because that's our eraand we're always going to have
that love and affinity for him,but the Young Bucks aren't.
They recognize him more as hisbusiness savvy and being you
know Beyonce's husband than youknow knowing his catalog than
you know knowing andunderstanding his catalog, but
(14:44):
he still has managed to keep hisrespect musically no-transcript
.
You know, as women grow in thespace, they tend to want to
compete with the youngergeneration rather than say you
(15:05):
know, it's your time, I'm goingto do what I'm doing here and I
embrace you doing what you'redoing over there.
You know what I mean.
I think Lauren Hill might beone of the few that kind of just
like she sees everybody andit's kind of like it's love,
it's all.
Like I don't, I don't see Eve,you know either.
You few that kind of just likeshe sees everybody and it's kind
of like it's love, it's alllike I don't.
I don't see eve, you knoweither.
You know kind of really playinginto that cattiness either.
(15:25):
And you know people like youknow from dance.
You know marianne chagan, likelater size, so she's not even
associating herself.
So it's almost like you knowthe leadership.
So even though, like, the fanskind of of have a say in a sense
, I kind of feel like the womenhave a certain level of
responsibility to grow in thereBecause, remember, you're not
(15:47):
Spice, not young Spice, I meanshe's young.
But she was popular you know,years ago, like Faito Vaman
wasn't yesterday, like FaitoVaman wasn't yesterday.
So you know she has she, youknow she does, I think she
deserves that, that title ofqueen, because she she's
probably one of the only dancehall artists that are traveling
(16:10):
at that level and can, you know,bill and pack and you know have
have that sort of stagepresence.
But you know, song wise, shehas a good, a solid catalog and
she still hasn't reached herpeak.
I would say um, or she hasn'treached where she think she
would like to go.
I think she still has more thatshe wants to do, but she's not
(16:33):
22 like shancia yeah man, yeahman.
Speaker 2 (16:36):
But I mean, if you're going to say Spice, you say you
think Spice is queen and thenyou say her catalog is solid.
I mean a queen catalog can't besolid.
You got to be great.
You know what I mean.
But I mean that's a wholenother conversation with the
queen and all that stuff,because I mean I think Spice is
the queen at the moment.
You know, the queen is relativeto your generation, you know
(16:58):
some people with even some ofthe young kids still say related
saw as the queen, even eventhough when, ladies, I was at
the pinnacle of her career butat the same time ladies really
had no competition.
I mean she had, she hadcompetition.
I mean, yeah, can't name, can'tname some, some, some artists
from aside from tanya stevens.
Speaker 1 (17:17):
But tanya stevens to me isn't even she's uh on in
like a whole king.
She have our own kingdom, uh,you know, that means she can
queen, uh something else.
Speaker 2 (17:28):
But you see, the thing with lady saw, lady saw,
you can lighten her to like avibe scott till, because lady
saw was the queen, the queen ofslutness and raunchiness yeah,
if your vibe.
Scott came and and came with theword play and he came with the
imagery and alluttness andraunchiness.
You feel what I'm saying?
Scott came with the wordplayand he came with the imagery and
all that stuff and he kind ofpainted a picture that was
different from what we were usedto.
That was Lady Saw.
She said things differently.
I mean, when I was a youth,lady Saw, music was banned in
(17:50):
the house.
Speaker 1 (17:51):
It was prohibited.
You get what I'm saying so.
Speaker 2 (17:54):
She was an icon for that.
You know, slackness and allkind of thing.
That's kind of what made herinto the queen of the dance hall
.
And then as her career kind ofprogressed, she kind of widened
her catalog and you know, andbecame much more dynamic, as
opposed to a Spice whose catalogis not really as much.
As you know, it's not reallydiversified.
(18:15):
You get what I'm saying.
So that's why Spice is thequeen of the moment, because she
has it going on.
I'm really happy for her.
She'll do her thing.
But musically I want to hearmore from Spice.
I want her to perform at thosehigh-profile elite events in
Jamaica and don't get backlashfrom singing her songs that
(18:39):
people know.
You get what I'm saying.
Speaker 1 (18:41):
Yeah, that's true.
That's true, I agree with that,that's definitely true.
So, in terms of like, and evenin our conversation, I kind of
feel like we're picking namesout of a hat isn't a plethora of
artists that you know, we deemtalented, you know to, to kind
(19:03):
of go toe-to-toe, but thatthat's not necessarily the case
for you.
That might be, I think, veryspecific to, to maybe dancehall
and and even reggae, but even inother genres, like I feel like
there's other dope artists thatare really doing you know
amazing things that just aren'tbeing recognized because of like
(19:26):
they have.
They live in their own worldand I think social media has
allowed you know artists tocreate their own fan base
because, I mean, we don't evendiscover music the same.
We discover you know musicthrough playlists and you know
word of mouth and sharing.
Like you know, we don't listento radio to hear new music
anymore.
(19:47):
At least I don't know um I mean,I think it allows me right.
So you don't, you know, it'snot the same.
So I feel like there's evenmore talent that's out there,
but I kind of feel like we seethe same ones over and over and
over again, do you feel?
(20:08):
That that's more of a mediakind of thing and we kind of
have a due diligence to kind ofshine light on others in the
space doing great work.
Speaker 2 (20:19):
Absolutely.
I mean there are tons oftalented artists out there, but
I mean you know how it is.
I mean I can only speak formyself and I don't depend on DJs
and all these radio people tofeed music for me.
I mean to feed music to me.
You know, I go out and I seekmusic because I love young
talent and I love to share youngtalent.
If you go on reggae musicforever, I mean you see what I'm
(20:41):
about you get what?
I'm saying, but I think, I think, I mean I think the model kind
of shifted the common fan, ifyou do.
I think I did a little uhsurvey one time and I was asking
people how they consume musicor how they find, find out about
new music and many of them saysocial media, their timeline.
So people are kind of shiftingfrom depending on djs and
depending on the radio to givethem new music and they're
(21:03):
consuming it in different ways,primarily the um, social media
so final thought what, whatwould you like to see more of
from women in the music industry?
I want to see more womenembracing each other, more women
celebrating each other, morewomen.
So I'm celebrating each other,you know.
I mean, for example, nick.
I mean I gotta go back to NickiMinaj, because a lot of people
(21:24):
say Nicki Minaj is bitterbecause Cardi B is a new chick
on the get on the block orwhatever, whatever, and I just
want to see women breaking otherwomen lack of a better word.
I want to see Nicki with some,with some upcoming artists under
her label you know, it's likeoh, bonte, bonte, boss, enough
artists.
You know the dance island thingI want to see.
(21:44):
I want to see nikki doing thesame.
As opposed to everything beingall about nikki, I gotta use
nikki minaj because you knowthis is really.
You know that's really whateverybody's talking about
nowadays the whole party beatstuff.
So just women celebrating women, and you know oneness I like it
.
Speaker 1 (22:01):
Thank you so much for being on the podcast.
Please share your instagramwebsite.
All of that.
The podcast um what you gotcoming up next.
Speaker 2 (22:11):
All of that good stuff all right, you can follow
me on instagram at reggae musicforever, just like how you spell
it.
And you can check out ourpodcast at reggae talk just like
how you spell it.
And you can check out ourpodcast at reggae talk just like
how you spell it.
And uh, we just released a newepisode, episode six.
That's our most recent episodeand that's titled uh, dancehall
versus reggae beef.
You know, the dancehall artistsversus the reggae artists.
Reggae artists feel dancehallartists are singing foolishness
(22:34):
and the dancehall artiststhey're not really too.
It's like a little you get whatI'm saying, and then the reggae
roots fans who don't reallycheck for dancehall artist in
Ari too.
It's like a little you get whatI'm saying, and then the Reggae
Roots fans who don't reallycheck for dancehall.
So it's something to check out.
It's definitely created alittle, a little stirred up.
Speaker 1 (22:46):
Stirred up the pot as usual, but I like it.
I like it.
Thank you so much.
We're going to have you backbecause we got lots more to talk
about.
So we have a very good friendof the show and executive
producer, carrie ann reed brown,but today she's sharing her fan
(23:07):
perspective on the show.
Yeah, we are talking about theidea in music and it's not just
specific to car genres, reggae,dancehall but across a lot of
genres, the idea of only onewoman being at the top.
So the topic kind of reallyspawned out of some of the the
(23:34):
chatter around women in themusic industry and how, you know
, one wants to be queen and youknow, if you think about
dancehall, you know spice kindof came into.
You know her own queendom, asyou know, lady saw was kind of
exiting.
But even before lady saw, youknow, there were others before
(23:54):
her.
You have, you know, patra andyou have lady g and you have,
you know, like Sister Nancy andall of those people and for
whatever reason, I think becausethere aren't as many women on
there at that level, therealways seems to be the idea that
there can only be one woman ata time.
(24:16):
So as a fan who kind of isseeing some of this or
experiencing it through music.
What are your thoughts aroundthat notion?
Speaker 3 (24:28):
Well, it's interesting that either now
we're more, as the saying is,more woke and more aware of it,
but it's really been existingfor a long time, right, if you
think about it, because when you, when you, when you thought of
Patra, you weren't, I can'tremember.
I mean, lady Saul was there,but Patra was kind of delivering
(24:51):
something different, and so inthat way, I feel like two women
can coexist.
But if it's a male dominatedindustry, it's almost like only
one, only one woman DJ artistcan be at the top, even if you
have varying styles, and it'sit's, like you know, to the
(25:11):
detriment of the other artists.
That brings variety, right.
So if you are, if you want tomake it in dance hall, right,
right.
So if you are, if you want tomake it in dance hall, right.
And you, you, you say okay,lady g exit, lady saw comes in,
and you know it's typical indance hall that everybody copy
the name, right.
So you had capleton, simpletonand all these, bantan, buju, you
(25:32):
know, mega bantan, whatever,and lady, you know, lady g still
there, but Lady Saw rises tothe queen of dancehall that she
is, and then you have Spice.
So what happens?
It doesn't allow a lot for thewomen to be creative and
(25:52):
diversify or even grow.
And I mean we saw some growthfrom Lady Saw, where she started
out really racha and you knowthat's kind of the staple or the
way you identify Lady Saw, butI'm sure she wanted to to create
different songs.
So, like you know, like let melove you with my heels on was
kind of a different type of song, but it was just like, yeah,
(26:14):
I'm a like it, right.
So it's almost it's not only aone woman thing, but boxing that
one woman or women in aparticular category, the way
they come out and don't allowthem to evolve, right.
So men are, you see, how youknow?
Or if they evolve, they evolveout, right.
(26:34):
So before Lady Saw went fromdance hall to gospel, there was
Chevelle Franklin, right, andChevelle Franklin is popular
with Beanie man, dancehall Queen.
She was the female voice onthat song and then she just
transitioned and she startedsinging gospel.
So you look at that, buju wasallowed and even Capleton was
(26:56):
allowed to go from slap danceall to more conscious dance all.
And we I don't see the womengetting that same creative
liberties to, um, to grow anddiversify or experiment.
It's almost the minute they getto that point it's almost like
all right, they get put on ashelf and it's next for the next
slap, and I mean nothing'swrong with it, but it's like
(27:19):
hyper-sexualized dance hall umartists as a woman.
Speaker 1 (27:24):
Do you think that the competition, that it kind of
breeds a certain level ofcompetition, right, and that's
always kind of been you know thebravado of, you know music like
dance hall and hip hop and tosome extent of music like
dancehall and hip-hop and tosome extent even pop culture,
because everyone wants to bethat one on the top but does it
(27:46):
breed a certain level ofcreative competitiveness or does
it seem to get catty?
Speaker 3 (27:55):
Um, you know, I've, you know, in doing my own
podcast.
You know this one guy yeah, youknow this one guy said there's
no competition, right.
And if we go back to Chimamanda, you know she was like
competition is not necessarily abad thing, right.
For women, it's conditioned tobe a negative thing.
For men, it's conditioned to bewhat you're supposed to do, be
(28:20):
a negative thing.
For men, it's conditioned to bewhat you're supposed to do.
And when you compete in terms ofthe quality and the style and
let's go back and think ofcyphers and rap battles and
clash right, you are competingto see who is the best lyricist,
right?
So I think that is good in someway.
But I think, inherent in theway women are socialized, it
(28:42):
always ends up going towardsbeing a catty way, and then it's
stoked by other people who havethat mindset that the dislike
is not on a professional level.
I love basketball, so you couldwatch on basketball like LeBron
and somebody they having wordson the court, but like when they
(29:04):
, when they off the court, it'sjust like all right, fine,
whatever, some of them really dogot beef, but it's like on the
court they're very competitiveand it's like so you know, that
doesn't.
A lot of times women aren'tafforded that level of
competition a lot of times womenaren't afforded that level of
competition.
Speaker 1 (29:19):
So as a fan, kind of observing some of this and I
think we kind of you know, wesee the memes, we see you know
who's the top five, you knowwho's this, who's that, and
quite often it's somewhat spunby either the fans and or the
media.
Do you feel like you know theartists kind of get swept up
(29:40):
into?
Speaker 3 (29:41):
you know what the people on social media and the
media are saying, versusfocusing on their craft, or is
it kind of it just comes withthe territory and as a fan, you
kind of enjoy it it it comeswith the territory, and even the
biggest of superstars to thelowliest of podcasters or you
(30:03):
know, just as an everyday personyou know I was I don't remember
what I was watching the otherday and they say ego is dressed
up, insecurities right.
So, like different people will,in a is a so so, so, so so.
So it's just, it just comespart of it and it depends on
what you want to hear, or notnecessarily what you want to
hear, but it really depends onwho's around you.
And you know some of the thingsyou will take personal because
(30:26):
we are humans at the end of theday.
And you know there's ego butthere's like deep-seated, like
emotions.
Like yo, I thought we were cool, you know I was trying to build
sisterhood.
So you know some fans like thatnever really took care for it,
it was just a matter ofpreference.
So when it was bounty andbeanie, you know I would never
say napoleon or bounty tune.
(30:47):
You know beanie man, I wouldnever say that.
It was just like I liked morebeanie songs than I liked bounty
songs when it was tupac.
But it wasn't like I didn'tlike one or the other, I liked a
particular style, but therewere songs of the other that I
liked and that is kind of whatpeople should focus on, right,
there is the way how I do apodcast or how I do something or
(31:10):
I cook my mac and cheese isdifferent from how somebody else
do it.
It's not necessarily better,it's just different.
And it's embracing thosedifferences.
Because no mega China figure,all business and philosophical,
but essentially you know, asartists you're commodities,
right, and if it's yourcommodities, you're like you
have a one mega artist come out.
(31:32):
What makes one singer differentfrom the other?
It's their differences, nottheir similarities.
And you know, from a businessperspective, you know you, you
have to highlight yourdifferences in order to stand
out as opposed to how muchyou're the same.
So if we embrace the differencesand say, well, you know this,
this, this female dancer artistsare, this artist is not like
(31:55):
this one, then you'd be like,yeah, you know that that's a for
them thing and I'm good uponthat, me good upon this, you
know, type thing.
But, um, again, with the fans,they get caught up in whatever
the fans want to do and andwhatever makes money.
You know whoever is behind thescenes, you know shot calling,
you know you're kind of at themercy of that and it's a numbers
(32:16):
game and, as much as we don'tlike it, sometimes you get
caught up in the mercy of thatand it's a numbers game and, as
much as we don't like it,sometimes you get caught up in
the number of likes, number ofplays and all of them something.
There they play a role becauseyou know it directly affect the
food we have to eat.
Speaker 1 (32:30):
No, that makes sense.
But in terms of like, as youknow, as you're listening to,
you know new music, or evengoing back, even the idea of how
(33:02):
much women are played, theratio is completely skewed in
certain genres.
You know, I'm constantlyhearing Cardi B and Nicki Minaj
when there are a plethora ofother women, whereas you can
hear a TI, a Kendrick Lamar, adesigner you know what I mean
like they're all different intheir own right but they kind of
live within the same space ofthe same genre.
But it's almost like, okay, wehave 20 songs that we have to.
You know, we want to fill upthis program in with 25.
(33:23):
Only two or three belong to towomen, and it's not necessarily
gauged based on pop, certainlevels of popularity, but um,
also like who who's actually?
You know, I kind of feel likethere's something somewhat
coerced around the rivalrywithin women of course it is.
Speaker 3 (33:46):
There's a level where it's kind of orchestrated and
you know, then there's also,before it's even orchestrated,
you, you fall victim to thisheavy rotation and you, you know
radios need to make money, allof these things.
So you play what's popular.
And, if you know, I do myselflike a variety of music, like if
(34:07):
me here, if I keep hearing thesame song, but as I switched
radio stations or and for themost part that's part of the
reason why I hardly listen tolike radio, I want to be able to
select my own songs and certainsongs like I can connect to on
my own.
But you're right, you knowheavy rotation, you're subjected
to that.
Like when I was introduced tothat, when I first came here, I
was like what is that?
(34:28):
And no, it's everywhere.
Right, you don't get a variety.
You just kind of play this onesong on repeat, on repeat, until
you're kind of tired, like I'vehad it so much that I just
never want to hear the songanymore.
And oftentimes it is who, atwhichever label or whatever, is
pushing it, you know.
So there there are so manyhands in the pot driving that
(34:52):
and in a way you know we aregetting force fed what they feel
like we should get, as opposedto you know what we feel like yo
, I want good song.
This me like it right.
And and this is not new,because when you go back and
think to the days I made it ofcassette, yes, we used to get
cassette um and cd right.
You, you had a whole cd withwhat 12, 15, 20 song and of on
(35:16):
some of those CDs, with theexception of some artists where
a lot of their songs were playedon radio and hit the charts,
you probably heard three of thesongs on an album on radio.
The rest of it you just had toknow on your own and it was just
like yo, I love that song.
And sometimes people are likewhich album was that?
Because it's not played, soit's it's.
(35:37):
The question then comes like,as artists, how else can you
introduce your art, youraudience, to music that radio
may not play in heavy rotation,but as an artist you will
gravitate towards a certain songso like the bigger problem is
the, the industry, and when, andI think part of it is realizing
that, okay, the industry iswhat feeds me.
(35:58):
But I also have to be mindfulnot to get caught up in that
cycle of how the industry canpit me against someone else when
you know sometimes it'scollaboration.
But even then, right, let's goback to rap.
So you had Salt-N-Pepa, you hadMC, like you had a whole bunch
of them around the same time.
So kind of felt like you know,at some point there was variety.
(36:21):
Granted me can't quote me aquote upon one and compared to
the man, but still there were.
There was a variety, becausethey were, their rap was a
different style or their topicwas a different style, their
dress was just different.
There was just a cleardifference with MC like Queen
Latifah, salt-n-pepa, um, moniLove, or you know Yo-Yo.
(36:45):
You know there was justdifferent styles.
And it's kind of the same thingwith dancehall.
When you look at, you knoweverybody was what's her name?
Again, our name is like at thetip of my tongue, everybody's
like she's a you know she'sunderrated um, tanya stevens,
but she, she just kind of had adifferent style.
Um, and it's embracing thosedifferences.
(37:05):
That kind of help the music andthe genre.
Because if you feel like ifyou're only pushing out one type
of dancehall or one kind ofreggae music or however we want
categorize it, then people aregoing to be like that's not for
me, whereas you know you have.
You look at the women in reggaemusic and its sub-genres all
together.
Speaker 1 (37:25):
You're like we need the diversity from the women, we
need women's perspectives doyou feel like you kind of
touched on the early, well, thelate 80s, early 90s in hip-hop
where you had, like QueenLatifah, mc Lyte, salt-n-pepa,
like I felt like there was acertain sense of camaraderie
amongst among them and they,whereas you know you fast
(37:50):
forward to, you know a littleKim Foxy Brown, they immediately
became rivals, like veryshortly after you know, both of
their careers launched.
So you know, even Eve was kindof in her own lane and you know,
lady of, like everyone kind offelt separate.
So they had, you know, the biglabels of the time.
(38:11):
They had one woman at asrepresenting as their first lady
of that particular label whichsomewhat, I think, kind of
contributed to to the notionthat there can only be one,
because it's not like there wasa roster of women under one belt
(38:31):
who all kind of collectivelybrought something to the table.
And it was the same with, likeyou know, with jay ruckers and
you know olivia was signedbefore alicia keys and they did
nothing with olivia and you knowalicia keys became the
cornerstone artist for the label.
Like it, it happens in, you knowr&b, it happens all over.
(38:56):
So what, what is it?
What do you think it is?
You know that either the, the,the level of intent.
Speaker 3 (39:06):
Like you, can't put all your eggs in one basket, but
I'm gonna have an answer I knowthe question you didn't ask,
but I'm gonna have an answer Ican't understand why I don't
understand the thought processwhere I could focus only on one
woman artist at a time and focuson busing her, whereas they
have a whole roster of men andthem are released differently.
(39:26):
You know, literally theapproach that we're saying can
apply to women.
You know they are doing it withmen and they were like we can
only groom one woman at a time,and I'm curious, right.
So even though Style and VibesCaribbean, I mean, I'm curious,
I get it.
The Supremes were like at thetime, if you go back to Motown,
(39:49):
the Supremes were like you knowthe bigger group, but they had a
ton of other groups on thelabel.
They just did different thingsand so it's almost like I don't
know, as we I may not understandwhy it just because here's the
thing, as I get older, I don'tfall out of love with reggae.
(40:10):
It's just that I I can't jumpup and down in a dance the way I
did when I was younger and Ineed to have the artist to meet
me at the maturity that I am andthat doesn't exist because it's
almost like they don't allowthat to happen and that's kind
of weird.
As business people within theindustry, you got to say well,
(40:32):
you got to touch everybody,which is why all these reggae
will never die.
Because guess what happened Me?
Reached starting age.
Mega drawback for the tunes I'mappearing to listen to, because
, which is why all these reggaewill never die.
Because guess what happened me?
Reach certain age.
Mega drawback for the tunes I'mappearance listen to because I
feel like that's what resonateswith me, because they're they're
not keeping or playing themusic that me feel like.
All right, I'm a woman of acertain age.
When I walk out, you know, whenI meet you, a true yeah and
(40:56):
that's how I'm gonna say so.
It's almost like where's thatmusic for the others.
You know, man, I'll meet you ata true yeah, and I saw me and
say so it's almost like where'sthat music for the others.
You know that other.
You know when you're, you knowthe mature level, you know.
You see R and B has it.
You know when you're boo whocry, you break.
You know, and they have.
(41:20):
You know.
Everything that's happening isto the detriment of the woman as
an artist and as a creativebeing and a person that has
emotions of every spectrum.
Um, but men have no, men haveno reason as to why they just
groom one artist at a time, andwe've seen the story over again
with Whitney, with Mariah Carey.
They've moved somebody else outthe way to make space for them
specifically and I can't tellwhy.
(41:43):
I mean, I'm sure I've watchedmany documentaries.
That kind of gives anexplanation, but those
reasonings don't make sense tome.
I hear what the reason they'resaying it just logically doesn't
make sense to me as to why.
Speaker 1 (41:56):
Last thought what would you like to see in terms
of progression for women in themusic industry, as far as what
it would look like in the futureor feel like?
What are you looking for?
Speaker 3 (42:12):
Yeah, just kind of embrace the different styles.
I mean just embrace thesubtlety of you know, like just
how you're different, as opposedto you being the same and
owning that difference andknowing that you know.
Again, it depends on theirpersonal goals and I can't tell
them what their personal goalsare right.
(42:33):
But if it's making music andmaking money, sometimes it's not
going to be a stadium selloutbut that music does connect with
somebody and it's just kind offinding who that artist is.
And I mean I've heard the storyover and over again where the
women are making the music whatthe record label put out.
Or the record label will say,oh, this is what's popular,
(42:55):
that's, and they're just likethat's not me.
Will say, oh, this is what'spopular, make that, and they're
just like that's, that's not me.
So it's it's kind of figuringout how to, to to make that
music that appeals to youraudience because the the record
label can't like it.
But if your audience don't likeit, guess what money not gonna
make because you're not gonnalisten to it.
(43:16):
So just, um, I think it'saudience in mind.
Trust me, audience in mind iskind of where it's at, because
when you, when you connect withyour audience.
I'm gonna play your music, evenif you don't play a part of it,
and I'm gonna play the music.
How many like cree summer?
And we know what they thoughtabout her.
Again, that's our cree summer,from a different world.
(43:37):
She, she had an album.
It wasn't a commercial successbut I love that album.
It was just like she had somenice songs on there.
She had a song on there withLenny Kravitz.
I was like yes, but it wasn't.
I never heard it on radio.
I buck up.
I buck up and listen, like itMe hear some real things because
(43:58):
of that.
So it's because when the famegone and you get to a certain
age, you have to say where yougonna look back upon the body of
work you have are.
You know the fame you had at apoint and people said, boy, she
could have.
I really liked her.
She did sound good, but me doeswish she did sing some.
You know better songs, deepersongs, but then all of that is
(44:19):
still relative.
So I just have to say just makegood music and focus on the
audience, because that's whatdictates longevity If your music
can surpass the time that youmade it for Very true.
Speaker 1 (44:36):
Thank you so much for sharing your fan opinion with
me today.
Carrie Ann Reed Brown, thankyou for having me.
Thank you guys so much fortuning in.
I know this was a hard topic tokind of talk about and I know
that there's so much that wehaven't even talked about.
So I really want to get youropinions.
(44:57):
Please share with your friends,share this podcast with your
fellow girlfriends anddefinitely comment, share your
opinion, share your thought.
We should definitely have around two.
If you have any thoughts aroundthis topic and you want to kind
of keep the conversation going,I'm more than happy to do
another podcast to kind offollow up on it.
(45:17):
Until next time, thank you guys, so much for listening and make
sure you guys leave me a review, if you can, in iTunes, so that
you know we can continue forrank the ting.
Until next time, leave it to me.
Peeps.
Thanks for listening to thelatest episode of the Style and
Vibes podcast.
If you like what you hear and Iknow you do share it with your
friends and family podcast.
(45:38):
If you like what you hear and Iknow you do share it with your
friends and family if you wantmore, make sure you visit
stylingvibescom and follow us onour social channels, twitter
and instagram, at styling vibes.
Until next time, lea tummypeeps.
Who runs the world?
Girls, of course.
Welcome to the Style and Vibespodcast with me, makayla.
I'll be giving you the insidescoop on music, fashion, culture
and more from Caribbeancelebrities and tastemakers
across the globe pushing ourculture with authenticity and,
of course, style and vibes.
Hello everyone, and welcome tothe Style and Vibes podcast,
(00:25):
episode 12.
This is your host, makayla, andtoday we are diving into the
idea that, when it comes tomusic, there seems to be the
notion that only one woman canbe on top.
Does it feel that way for youguys?
Is it just me?
I feel like we kind of see thisall the time, me.
(00:46):
I feel like we kind of see thisall the time.
We see, you know, memes andeven, you know, have
conversations with our friendsaround the idea of Rihanna
versus Beyonce, nicki Minajversus Cardi B, spice versus
Shansia, and it goes on and onacross multiple industries.
I mean not even respective tojust music, but across multiple
industries as well.
I think you know there are somany talented women who make
(01:08):
music, yet we find ourselveskind of fussing over maybe one,
two or maybe just a handful.
The notion that only one womancan run things is crazy to me,
because there are so manydifferent talented women across
all different genres and men cankind of compete without being
pitted against one another,unless it's like a direct, you
(01:30):
know, lyrical beef or they havepersonal feuds.
But I kind of feel like when itcomes to women we have to pick
a side for whatever reason.
So you know, there's the ideaof you know having friendly
competition misunderstandingsand of course, there's the idea
of you know having friendlycompetition misunderstandings
and, of course, relationshipsthat just go wrong.
That kind of creates thiscompetition and somewhat makes
(01:51):
it personal.
You know, the fans kind of seeit via social media or they read
about it in magazines as well,as you know see the artist's
behavior, how the media kind ofplays into it.
The music industry really has,you know, people behind the
scenes that kind of have theseconversations behind closed
doors and just circumstances andpopularity.
(02:13):
All of these things really playa role in the idea of what
happens when women becomepopular in the music game.
So it's not just me today Inthis episode.
I really wanted to get a feelfor some other people's opinions
.
I think it's really importantto get the opinions of others
when trying to talk about atopic like this one.
(02:35):
And while it's not a roundtable, I'm speaking with our
executive producer, carrie, whodefinitely has an opinion, even
even from a fan perspective andjust being able to kind of
understand the music business aswell as you know her place as a
fan kind of shares her opinionwith us as well as Sean of
(02:56):
Reggae Talk Podcast, kind ofgiving that male perspective.
And you know we're all kind ofdissecting why we feel that you
know there can only be or is itthat we're kind of thinking into
it too much?
So we're really dissecting theidea and sharing our opinions
with you guys.
Before we get into myconversations with Carrie and
(03:19):
Sean, I just really wanted tokind of share, even from from a
media perspective, working andbeing in journalism and
podcasting, and just being ableto share the opinions of the
masses I think the media kind ofstruggles with.
Are we sharing what the peoplewant to hear?
Are we asking the questionsthat the people want to hear or
(03:41):
are we merely reflecting whatthe people are really talking
about?
So it's kind of like thatchicken and the egg conversation
, but I think it does have wehave a certain level of due
diligence to kind of evaluate.
Is this a conversation that youwant to continue having?
Are we jumping on the bandwagonfor hits on our websites?
(04:03):
On the bandwagon for hits onour websites, are we really, you
know, developing engagingconversations when it comes to
women in music and even in othergenres?
And I think it's kind ofsomething that we as media
personnel kind of have to thinkabout when we're writing pieces
and even just you know, it mighteven just start off as a joke,
but I think things we've seenthings escalate rather quickly
(04:28):
and I always say, you know, alot of times issues can be
resolved offline and you know,if a conversation is had between
two people, then they can kindof, you know, resolve whatever
personal issues that they have.
Now, if it's completely allabout the music and you're
leaving it on wax, then that'sdifferent.
But when it comes to, like youknow, deep rooted personal
(04:50):
issues, I think those should beaddressed without the public's
eye and ears.
But a lot of, I think, a lot oftimes what happens is it kind
of just spirals out of control,especially with social media.
You know, social media hasallowed for artists as well as
fans to share their own publicopinions on themselves, on each
(05:11):
other, on what's happening inthe news, and I think it opens
up the door to kind of morescrutiny than ever before.
So, while I think competition ishealthy to kind of, you know,
it sharpens, you know, theskills of others.
When you compete in a way thatis not mean spirited, I think we
(05:33):
kind of understand thesentiment behind.
You know, when people are kindof going at each other and it's
personal and going at each otherand it's just lyrical, and
sometimes the lines definitelyget blurred and sometimes it
ends up, you know, resolvingitself.
And I don't think that weshould try to do away with
competition.
I think it's great for women tojust be able to compete, but
(05:57):
it's also, like you know,there's more than just one or
two who should be highlighted,and not necessarily that you
need the competition in order tobe highlighted.
I think doing great workoutside of the antics should
speak for itself, andunfortunately that's not always
the case.
So the people that you seeconstantly are the people who
(06:19):
are kind of stirring the pot alittle bit, and sometimes it's a
good thing stirring the pot alittle bit, and sometimes it's a
good thing, and sometimes it'sjust not as beneficial to the
culture or to each other.
It just kind of seems like it'sout of place in a way, but I
think that there is such aplethora of talent across
(06:39):
multiple genres.
You know you can have so manydifferent people contributing
and playing in the same fieldand being successful in their
own right.
Everyone is a queen, everyoneis a king of their own kingdom
and in their own lane.
So I don't think that it shouldbe such a big deal for us to
(07:00):
recognize just one or two or afew, because I hear men who
completely sound the same overand over.
So you know I can't tell thedifference between a few people
that I hear that are men, butyou know they seem to
continuously get the shine overyou know women as well.
(07:20):
For every you know 20 men thatyou hear in the music industry,
you might hear one or two women.
So I think it's also up to usto kind of really be better at
highlighting those women who aredoing great things in music and
in their respective genres inorder to kind of push, you know,
a bigger plethora of women tothe top.
(07:42):
Plethora of women to the top.
And then what happens whenthere are more women and it's a
little bit more equally yoked, Iguess you could say in terms of
talent pool.
Then you'll kind of start tosee all of the different bodies
of work and you know people willbe talking about more than just
one or two.
So today we have a very specialguest.
(08:04):
He is on another podcast calledReggae Talk and it's him going
in depth about all thesedifferent topics, with reggae
and dancehall specifically.
Welcome to the Stylin' Vibesfamily, sean.
Speaker 2 (08:20):
Hey, I'm on.
I'm on Give thanks.
Thank you for having me.
Speaker 1 (08:24):
So this is going to be an interesting conversation
because I know you have a lot tosay.
You always have something tosay and it's all good things.
So, you know, I think you kindof being in the music industry
and understanding, as not onlyyou know someone who does media,
but also someone who just is afan of music in general and not
(08:46):
just dance along with reggae Ithink it's a great conversation
for us to have, especially withrecent events that have been
happening surrounding women inmusic, and it's not particular
to just dance along with reggae,but it's definitely very
prevalent but just the idea thatthere can only be one woman you
(09:06):
know, no pun intended on top.
So the idea that you know itseems like, especially like
surrounding Nicki Minaj andCardi B, like you know, it
always feels like you have topick and choose.
So what is kind of yourperspective in terms of why you
(09:26):
think that is from a musicindustry standpoint?
Speaker 2 (09:30):
I mean I think there's there's.
Everyone has their own lane.
You know what I mean.
Everybody has their own laneand there's food for everybody,
especially with hip hop.
Hip hop is a massive, massivemarket.
There's food for everybody.
But I think this whole one womanstuff is it's's not really,
it's not really the artist perse, but the fans.
I think it's the fans who arewho really egg this thing on.
(09:52):
You know, you get what I'msaying.
But uh, I mean the artist, forexample, nick nicky minaj.
Nicky minaj, I mean, she's beenaround for a long time.
It's like in the workplace whenyou have, when you have a senior
employee who's been you.
It's like in the workplace whenyou have a senior employee
who's been on the job for Xamount of years and they have X
amount of time invested, andthen you have the young buck
(10:13):
fresh out of college.
They get a little insecure.
You get what I'm saying.
The fans remember over time thegenerations kind of turn over.
The fans who were rocking withyou 10 years ago maybe they're
not rocking with you again, andit's really the young bucks.
It's really the young bucks.
So I always say that music it'sall about relevancy and time,
(10:37):
especially hip-hop, hip-hop.
A lot of it is disposable music, just like dancehall, and the
fans change.
We did an episode called thegeneration gap, basically
whatever that was, that was uhpopping to you years ago, or our
parents.
It's not popping to me.
My tastes are different.
Speaker 1 (10:56):
You get what I'm saying yeah, just like you know
the change in another 10, 15years, same thing.
Speaker 2 (11:02):
I get it yeah man, yeah one.
So I think it's a generationalgap thing.
For example, nicki Minaj isabout she's up, she's
approaching 35 or she's about 35years old.
So meanwhile Cardi B is 10years or junior.
So there's no way Cardi B fansand Nicki Minaj fans have the
same pace and music.
(11:23):
It's Cardi B friends many ofthem are teenagers Nicki Minaj
fans they grew same taste inmusic.
If Cardi B fans many of themare teenagers Nicki Minaj fans,
they grew up.
You get what I'm saying.
Again, it boils down to thegeneration.
The generation has turned over.
It's a social media era now.
Social media is all about theyouth, the youth and what Nicki
(11:43):
Minaj called her people, theBarbies and what Cardi B called
her people.
Speaker 1 (11:49):
Was it Bardi Gang or Cardi Gang?
Something like that?
Cardi Gang.
Speaker 2 (11:53):
Cardi Gang.
I'm pretty sure, cardi Gang,they're not no 35 year olds,
cardi Gang.
They're a bunch of kids, andkids are mainly the ones who are
on the forums.
Kids are mainly the ones whoare on the forums.
Kids are mainly the ones whoare on the blog.
You get what I'm saying?
Yeah, I think very the oneamplified this, this whole
notion, because if you listen,if you listen to, like, uh, the
(12:14):
breakfast club, every secondthey make references to social
media, you know.
So that's kind of like theheartbeat, that's kind of like
the pulse of the culture and andit's a youth movement.
Speaker 1 (12:26):
So do you think that the artists play into it?
I feel like female artists playinto it too much and it kind of
gets more personal than it doescompetitive.
Speaker 2 (12:37):
I think they play into it, but I think they feed
into the fans more.
You know, like, for example, Imean on the dance hall side,
them says bias of the queen,right now she's, she's the one
that's, you know, the new, newage queen of a dancer.
Some people say and I know youhave um young book, what shensia
(12:57):
, shensia, do our thing rightnow.
I think at one point, at onepoint they had like a little
friction or something like thatI think they're friends now.
Speaker 1 (13:06):
Yeah, a lot of it has .
Speaker 2 (13:07):
Again it goes back to the social media.
You know people feed into it,people you know, comments here,
comments there.
Spies read it.
And spies please say yeah, yeah, yeah, like you shake, you
throwing shade and things.
You get what I'm saying.
Then there was a little thingwith jada Jada Kingston as the
next upcoming artist and ChenTia said you get what I'm saying
(13:27):
?
Yeah, I think.
Again, I think it has to dowith the fans more than anything
, man.
They instigate the social media, they instigate a lot of things
and people feed into it.
That's just my take on thewhole dynamic.
Speaker 1 (13:42):
But I kind of feel like it doesn't happen as much
with men per se, like they do doit and they do go at each other
.
I mean, if you have Kanye'slevel of emotional attachment to
ego, yes.
It happens a lot more frequently, but I feel like for women it's
almost like you have to fighteven harder to get that respect
(14:06):
and keep it.
And you know, once you are nolonger, you know popular, it
doesn't necessarily mean thatyou no longer have it, because I
mean, if you think about it,jay-z is no longer popular.
Speaker 2 (14:20):
I agree with you.
Speaker 1 (14:22):
Musically he's no longer popular as he's popular
to us, because that's our eraand we're always going to have
that love and affinity for him,but the Young Bucks aren't.
They recognize him more as hisbusiness savvy and being you
know Beyonce's husband than youknow knowing his catalog than
you know knowing andunderstanding his catalog, but
(14:44):
he still has managed to keep hisrespect musically no-transcript
.
You know, as women grow in thespace, they tend to want to
compete with the youngergeneration rather than say you
(15:05):
know, it's your time, I'm goingto do what I'm doing here and I
embrace you doing what you'redoing over there.
You know what I mean.
I think Lauren Hill might beone of the few that kind of just
like she sees everybody andit's kind of like it's love,
it's all.
Like I don't, I don't see Eve,you know either.
You few that kind of just likeshe sees everybody and it's kind
of like it's love, it's alllike I don't.
I don't see eve, you knoweither.
You know kind of really playinginto that cattiness either.
(15:25):
And you know people like youknow from dance.
You know marianne chagan, likelater size, so she's not even
associating herself.
So it's almost like you knowthe leadership.
So even though, like, the fanskind of of have a say in a sense
, I kind of feel like the womenhave a certain level of
responsibility to grow in thereBecause, remember, you're not
(15:47):
Spice, not young Spice, I meanshe's young.
But she was popular you know,years ago, like Faito Vaman
wasn't yesterday, like FaitoVaman wasn't yesterday.
So you know she has she, youknow she does, I think she
deserves that, that title ofqueen, because she she's
probably one of the only dancehall artists that are traveling
(16:10):
at that level and can, you know,bill and pack and you know have
have that sort of stagepresence.
But you know, song wise, shehas a good, a solid catalog and
she still hasn't reached herpeak.
I would say um, or she hasn'treached where she think she
would like to go.
I think she still has more thatshe wants to do, but she's not
(16:33):
22 like shancia yeah man, yeahman.
Speaker 2 (16:36):
But I mean, if you're going to say Spice, you say you
think Spice is queen and thenyou say her catalog is solid.
I mean a queen catalog can't besolid.
You got to be great.
You know what I mean.
But I mean that's a wholenother conversation with the
queen and all that stuff,because I mean I think Spice is
the queen at the moment.
You know, the queen is relativeto your generation, you know
(16:58):
some people with even some ofthe young kids still say related
saw as the queen, even eventhough when, ladies, I was at
the pinnacle of her career butat the same time ladies really
had no competition.
I mean she had, she hadcompetition.
I mean, yeah, can't name, can'tname some, some, some artists
from aside from tanya stevens.
Speaker 1 (17:17):
But tanya stevens to me isn't even she's uh on in
like a whole king.
She have our own kingdom, uh,you know, that means she can
queen, uh something else.
Speaker 2 (17:28):
But you see, the thing with lady saw, lady saw,
you can lighten her to like avibe scott till, because lady
saw was the queen, the queen ofslutness and raunchiness yeah,
if your vibe.
Scott came and and came with theword play and he came with the
imagery and alluttness andraunchiness.
You feel what I'm saying?
Scott came with the wordplayand he came with the imagery and
all that stuff and he kind ofpainted a picture that was
different from what we were usedto.
That was Lady Saw.
She said things differently.
I mean, when I was a youth,lady Saw, music was banned in
(17:50):
the house.
Speaker 1 (17:51):
It was prohibited.
You get what I'm saying so.
Speaker 2 (17:54):
She was an icon for that.
You know, slackness and allkind of thing.
That's kind of what made herinto the queen of the dance hall
.
And then as her career kind ofprogressed, she kind of widened
her catalog and you know, andbecame much more dynamic, as
opposed to a Spice whose catalogis not really as much.
As you know, it's not reallydiversified.
(18:15):
You get what I'm saying.
So that's why Spice is thequeen of the moment, because she
has it going on.
I'm really happy for her.
She'll do her thing.
But musically I want to hearmore from Spice.
I want her to perform at thosehigh-profile elite events in
Jamaica and don't get backlashfrom singing her songs that
(18:39):
people know.
You get what I'm saying.
Speaker 1 (18:41):
Yeah, that's true.
That's true, I agree with that,that's definitely true.
So, in terms of like, and evenin our conversation, I kind of
feel like we're picking namesout of a hat isn't a plethora of
artists that you know, we deemtalented, you know to, to kind
(19:03):
of go toe-to-toe, but thatthat's not necessarily the case
for you.
That might be, I think, veryspecific to, to maybe dancehall
and and even reggae, but even inother genres, like I feel like
there's other dope artists thatare really doing you know
amazing things that just aren'tbeing recognized because of like
(19:26):
they have.
They live in their own worldand I think social media has
allowed you know artists tocreate their own fan base
because, I mean, we don't evendiscover music the same.
We discover you know musicthrough playlists and you know
word of mouth and sharing.
Like you know, we don't listento radio to hear new music
anymore.
(19:47):
At least I don't know um I mean,I think it allows me right.
So you don't, you know, it'snot the same.
So I feel like there's evenmore talent that's out there,
but I kind of feel like we seethe same ones over and over and
over again, do you feel?
(20:08):
That that's more of a mediakind of thing and we kind of
have a due diligence to kind ofshine light on others in the
space doing great work.
Speaker 2 (20:19):
Absolutely.
I mean there are tons oftalented artists out there, but
I mean you know how it is.
I mean I can only speak formyself and I don't depend on DJs
and all these radio people tofeed music for me.
I mean to feed music to me.
You know, I go out and I seekmusic because I love young
talent and I love to share youngtalent.
If you go on reggae musicforever, I mean you see what I'm
(20:41):
about you get what?
I'm saying, but I think, I think, I mean I think the model kind
of shifted the common fan, ifyou do.
I think I did a little uhsurvey one time and I was asking
people how they consume musicor how they find, find out about
new music and many of them saysocial media, their timeline.
So people are kind of shiftingfrom depending on djs and
depending on the radio to givethem new music and they're
(21:03):
consuming it in different ways,primarily the um, social media
so final thought what, whatwould you like to see more of
from women in the music industry?
I want to see more womenembracing each other, more women
celebrating each other, morewomen.
So I'm celebrating each other,you know.
I mean, for example, nick.
I mean I gotta go back to NickiMinaj, because a lot of people
(21:24):
say Nicki Minaj is bitterbecause Cardi B is a new chick
on the get on the block orwhatever, whatever, and I just
want to see women breaking otherwomen lack of a better word.
I want to see Nicki with some,with some upcoming artists under
her label you know, it's likeoh, bonte, bonte, boss, enough
artists.
You know the dance island thingI want to see.
(21:44):
I want to see nikki doing thesame.
As opposed to everything beingall about nikki, I gotta use
nikki minaj because you knowthis is really.
You know that's really whateverybody's talking about
nowadays the whole party beatstuff.
So just women celebrating women, and you know oneness I like it
.
Speaker 1 (22:01):
Thank you so much for being on the podcast.
Please share your instagramwebsite.
All of that.
The podcast um what you gotcoming up next.
Speaker 2 (22:11):
All of that good stuff all right, you can follow
me on instagram at reggae musicforever, just like how you spell
it.
And you can check out ourpodcast at reggae talk just like
how you spell it.
And you can check out ourpodcast at reggae talk just like
how you spell it.
And uh, we just released a newepisode, episode six.
That's our most recent episodeand that's titled uh, dancehall
versus reggae beef.
You know, the dancehall artistsversus the reggae artists.
Reggae artists feel dancehallartists are singing foolishness
(22:34):
and the dancehall artiststhey're not really too.
It's like a little you get whatI'm saying, and then the reggae
roots fans who don't reallycheck for dancehall artist in
Ari too.
It's like a little you get whatI'm saying, and then the Reggae
Roots fans who don't reallycheck for dancehall.
So it's something to check out.
It's definitely created alittle, a little stirred up.
Speaker 1 (22:46):
Stirred up the pot as usual, but I like it.
I like it.
Thank you so much.
We're going to have you backbecause we got lots more to talk
about.
So we have a very good friendof the show and executive
producer, carrie ann reed brown,but today she's sharing her fan
(23:07):
perspective on the show.
Yeah, we are talking about theidea in music and it's not just
specific to car genres, reggae,dancehall but across a lot of
genres, the idea of only onewoman being at the top.
So the topic kind of reallyspawned out of some of the the
(23:34):
chatter around women in themusic industry and how, you know
, one wants to be queen and youknow, if you think about
dancehall, you know spice kindof came into.
You know her own queendom, asyou know, lady saw was kind of
exiting.
But even before lady saw, youknow, there were others before
(23:54):
her.
You have, you know, patra andyou have lady g and you have,
you know, like Sister Nancy andall of those people and for
whatever reason, I think becausethere aren't as many women on
there at that level, therealways seems to be the idea that
there can only be one woman ata time.
(24:16):
So as a fan who kind of isseeing some of this or
experiencing it through music.
What are your thoughts aroundthat notion?
Speaker 3 (24:28):
Well, it's interesting that either now
we're more, as the saying is,more woke and more aware of it,
but it's really been existingfor a long time, right, if you
think about it, because when you, when you, when you thought of
Patra, you weren't, I can'tremember.
I mean, lady Saul was there,but Patra was kind of delivering
(24:51):
something different, and so inthat way, I feel like two women
can coexist.
But if it's a male dominatedindustry, it's almost like only
one, only one woman DJ artistcan be at the top, even if you
have varying styles, and it'sit's, like you know, to the
(25:11):
detriment of the other artists.
That brings variety, right.
So if you are, if you want tomake it in dance hall, right,
right.
So if you are, if you want tomake it in dance hall, right.
And you, you, you say okay,lady g exit, lady saw comes in,
and you know it's typical indance hall that everybody copy
the name, right.
So you had capleton, simpletonand all these, bantan, buju, you
(25:32):
know, mega bantan, whatever,and lady, you know, lady g still
there, but Lady Saw rises tothe queen of dancehall that she
is, and then you have Spice.
So what happens?
It doesn't allow a lot for thewomen to be creative and
(25:52):
diversify or even grow.
And I mean we saw some growthfrom Lady Saw, where she started
out really racha and you knowthat's kind of the staple or the
way you identify Lady Saw, butI'm sure she wanted to to create
different songs.
So, like you know, like let melove you with my heels on was
kind of a different type of song, but it was just like, yeah,
(26:14):
I'm a like it, right.
So it's almost it's not only aone woman thing, but boxing that
one woman or women in aparticular category, the way
they come out and don't allowthem to evolve, right.
So men are, you see, how youknow?
Or if they evolve, they evolveout, right.
(26:34):
So before Lady Saw went fromdance hall to gospel, there was
Chevelle Franklin, right, andChevelle Franklin is popular
with Beanie man, dancehall Queen.
She was the female voice onthat song and then she just
transitioned and she startedsinging gospel.
So you look at that, buju wasallowed and even Capleton was
(26:56):
allowed to go from slap danceall to more conscious dance all.
And we I don't see the womengetting that same creative
liberties to, um, to grow anddiversify or experiment.
It's almost the minute they getto that point it's almost like
all right, they get put on ashelf and it's next for the next
slap, and I mean nothing'swrong with it, but it's like
(27:19):
hyper-sexualized dance hall umartists as a woman.
Speaker 1 (27:24):
Do you think that the competition, that it kind of
breeds a certain level ofcompetition, right, and that's
always kind of been you know thebravado of, you know music like
dance hall and hip hop and tosome extent of music like
dancehall and hip-hop and tosome extent even pop culture,
because everyone wants to bethat one on the top but does it
(27:46):
breed a certain level ofcreative competitiveness or does
it seem to get catty?
Speaker 3 (27:55):
Um, you know, I've, you know, in doing my own
podcast.
You know this one guy yeah, youknow this one guy said there's
no competition, right.
And if we go back to Chimamanda, you know she was like
competition is not necessarily abad thing, right.
For women, it's conditioned tobe a negative thing.
For men, it's conditioned to bewhat you're supposed to do, be
(28:20):
a negative thing.
For men, it's conditioned to bewhat you're supposed to do.
And when you compete in terms ofthe quality and the style and
let's go back and think ofcyphers and rap battles and
clash right, you are competingto see who is the best lyricist,
right?
So I think that is good in someway.
But I think, inherent in theway women are socialized, it
(28:42):
always ends up going towardsbeing a catty way, and then it's
stoked by other people who havethat mindset that the dislike
is not on a professional level.
I love basketball, so you couldwatch on basketball like LeBron
and somebody they having wordson the court, but like when they
(29:04):
, when they off the court, it'sjust like all right, fine,
whatever, some of them really dogot beef, but it's like on the
court they're very competitiveand it's like so you know, that
doesn't.
A lot of times women aren'tafforded that level of
competition a lot of times womenaren't afforded that level of
competition.
Speaker 1 (29:19):
So as a fan, kind of observing some of this and I
think we kind of you know, wesee the memes, we see you know
who's the top five, you knowwho's this, who's that, and
quite often it's somewhat spunby either the fans and or the
media.
Do you feel like you know theartists kind of get swept up
(29:40):
into?
Speaker 3 (29:41):
you know what the people on social media and the
media are saying, versusfocusing on their craft, or is
it kind of it just comes withthe territory and as a fan, you
kind of enjoy it it it comeswith the territory, and even the
biggest of superstars to thelowliest of podcasters or you
(30:03):
know, just as an everyday personyou know I was I don't remember
what I was watching the otherday and they say ego is dressed
up, insecurities right.
So, like different people will,in a is a so so, so, so so.
So it's just, it just comespart of it and it depends on
what you want to hear, or notnecessarily what you want to
hear, but it really depends onwho's around you.
And you know some of the thingsyou will take personal because
(30:26):
we are humans at the end of theday.
And you know there's ego butthere's like deep-seated, like
emotions.
Like yo, I thought we were cool, you know I was trying to build
sisterhood.
So you know some fans like thatnever really took care for it,
it was just a matter ofpreference.
So when it was bounty andbeanie, you know I would never
say napoleon or bounty tune.
(30:47):
You know beanie man, I wouldnever say that.
It was just like I liked morebeanie songs than I liked bounty
songs when it was tupac.
But it wasn't like I didn'tlike one or the other, I liked a
particular style, but therewere songs of the other that I
liked and that is kind of whatpeople should focus on, right,
there is the way how I do apodcast or how I do something or
(31:10):
I cook my mac and cheese isdifferent from how somebody else
do it.
It's not necessarily better,it's just different.
And it's embracing thosedifferences.
Because no mega China figure,all business and philosophical,
but essentially you know, asartists you're commodities,
right, and if it's yourcommodities, you're like you
have a one mega artist come out.
(31:32):
What makes one singer differentfrom the other?
It's their differences, nottheir similarities.
And you know, from a businessperspective, you know you, you
have to highlight yourdifferences in order to stand
out as opposed to how muchyou're the same.
So if we embrace the differencesand say, well, you know this,
this, this female dancer artistsare, this artist is not like
(31:55):
this one, then you'd be like,yeah, you know that that's a for
them thing and I'm good uponthat, me good upon this, you
know, type thing.
But, um, again, with the fans,they get caught up in whatever
the fans want to do and andwhatever makes money.
You know whoever is behind thescenes, you know shot calling,
you know you're kind of at themercy of that and it's a numbers
(32:16):
game and, as much as we don'tlike it, sometimes you get
caught up in the mercy of thatand it's a numbers game and, as
much as we don't like it,sometimes you get caught up in
the number of likes, number ofplays and all of them something.
There they play a role becauseyou know it directly affect the
food we have to eat.
Speaker 1 (32:30):
No, that makes sense.
But in terms of like, as youknow, as you're listening to,
you know new music, or evengoing back, even the idea of how
(33:02):
much women are played, theratio is completely skewed in
certain genres.
You know, I'm constantlyhearing Cardi B and Nicki Minaj
when there are a plethora ofother women, whereas you can
hear a TI, a Kendrick Lamar, adesigner you know what I mean
like they're all different intheir own right but they kind of
live within the same space ofthe same genre.
But it's almost like, okay, wehave 20 songs that we have to.
You know, we want to fill upthis program in with 25.
(33:23):
Only two or three belong to towomen, and it's not necessarily
gauged based on pop, certainlevels of popularity, but um,
also like who who's actually?
You know, I kind of feel likethere's something somewhat
coerced around the rivalrywithin women of course it is.
Speaker 3 (33:46):
There's a level where it's kind of orchestrated and
you know, then there's also,before it's even orchestrated,
you, you fall victim to thisheavy rotation and you, you know
radios need to make money, allof these things.
So you play what's popular.
And, if you know, I do myselflike a variety of music, like if
(34:07):
me here, if I keep hearing thesame song, but as I switched
radio stations or and for themost part that's part of the
reason why I hardly listen tolike radio, I want to be able to
select my own songs and certainsongs like I can connect to on
my own.
But you're right, you knowheavy rotation, you're subjected
to that.
Like when I was introduced tothat, when I first came here, I
was like what is that?
(34:28):
And no, it's everywhere.
Right, you don't get a variety.
You just kind of play this onesong on repeat, on repeat, until
you're kind of tired, like I'vehad it so much that I just
never want to hear the songanymore.
And oftentimes it is who, atwhichever label or whatever, is
pushing it, you know.
So there there are so manyhands in the pot driving that
(34:52):
and in a way you know we aregetting force fed what they feel
like we should get, as opposedto you know what we feel like yo
, I want good song.
This me like it right.
And and this is not new,because when you go back and
think to the days I made it ofcassette, yes, we used to get
cassette um and cd right.
You, you had a whole cd withwhat 12, 15, 20 song and of on
(35:16):
some of those CDs, with theexception of some artists where
a lot of their songs were playedon radio and hit the charts,
you probably heard three of thesongs on an album on radio.
The rest of it you just had toknow on your own and it was just
like yo, I love that song.
And sometimes people are likewhich album was that?
Because it's not played, soit's it's.
(35:37):
The question then comes like,as artists, how else can you
introduce your art, youraudience, to music that radio
may not play in heavy rotation,but as an artist you will
gravitate towards a certain songso like the bigger problem is
the, the industry, and when, andI think part of it is realizing
that, okay, the industry iswhat feeds me.
(35:58):
But I also have to be mindfulnot to get caught up in that
cycle of how the industry canpit me against someone else when
you know sometimes it'scollaboration.
But even then, right, let's goback to rap.
So you had Salt-N-Pepa, you hadMC, like you had a whole bunch
of them around the same time.
So kind of felt like you know,at some point there was variety.
(36:21):
Granted me can't quote me aquote upon one and compared to
the man, but still there were.
There was a variety, becausethey were, their rap was a
different style or their topicwas a different style, their
dress was just different.
There was just a cleardifference with MC like Queen
Latifah, salt-n-pepa, um, moniLove, or you know Yo-Yo.
(36:45):
You know there was justdifferent styles.
And it's kind of the same thingwith dancehall.
When you look at, you knoweverybody was what's her name?
Again, our name is like at thetip of my tongue, everybody's
like she's a you know she'sunderrated um, tanya stevens,
but she, she just kind of had adifferent style.
Um, and it's embracing thosedifferences.
(37:05):
That kind of help the music andthe genre.
Because if you feel like ifyou're only pushing out one type
of dancehall or one kind ofreggae music or however we want
categorize it, then people aregoing to be like that's not for
me, whereas you know you have.
You look at the women in reggaemusic and its sub-genres all
together.
Speaker 1 (37:25):
You're like we need the diversity from the women, we
need women's perspectives doyou feel like you kind of
touched on the early, well, thelate 80s, early 90s in hip-hop
where you had, like QueenLatifah, mc Lyte, salt-n-pepa,
like I felt like there was acertain sense of camaraderie
amongst among them and they,whereas you know you fast
(37:50):
forward to, you know a littleKim Foxy Brown, they immediately
became rivals, like veryshortly after you know, both of
their careers launched.
So you know, even Eve was kindof in her own lane and you know,
lady of, like everyone kind offelt separate.
So they had, you know, the biglabels of the time.
(38:11):
They had one woman at asrepresenting as their first lady
of that particular label whichsomewhat, I think, kind of
contributed to to the notionthat there can only be one,
because it's not like there wasa roster of women under one belt
(38:31):
who all kind of collectivelybrought something to the table.
And it was the same with, likeyou know, with jay ruckers and
you know olivia was signedbefore alicia keys and they did
nothing with olivia and you knowalicia keys became the
cornerstone artist for the label.
Like it, it happens in, you knowr&b, it happens all over.
(38:56):
So what, what is it?
What do you think it is?
You know that either the, the,the level of intent.
Speaker 3 (39:06):
Like you, can't put all your eggs in one basket, but
I'm gonna have an answer I knowthe question you didn't ask,
but I'm gonna have an answer Ican't understand why I don't
understand the thought processwhere I could focus only on one
woman artist at a time and focuson busing her, whereas they
have a whole roster of men andthem are released differently.
(39:26):
You know, literally theapproach that we're saying can
apply to women.
You know they are doing it withmen and they were like we can
only groom one woman at a time,and I'm curious, right.
So even though Style and VibesCaribbean, I mean, I'm curious,
I get it.
The Supremes were like at thetime, if you go back to Motown,
(39:49):
the Supremes were like you knowthe bigger group, but they had a
ton of other groups on thelabel.
They just did different thingsand so it's almost like I don't
know, as we I may not understandwhy it just because here's the
thing, as I get older, I don'tfall out of love with reggae.
(40:10):
It's just that I I can't jumpup and down in a dance the way I
did when I was younger and Ineed to have the artist to meet
me at the maturity that I am andthat doesn't exist because it's
almost like they don't allowthat to happen and that's kind
of weird.
As business people within theindustry, you got to say well,
(40:32):
you got to touch everybody,which is why all these reggae
will never die.
Because guess what happened Me?
Reached starting age.
Mega drawback for the tunes I'mappearing to listen to, because
, which is why all these reggaewill never die.
Because guess what happened me?
Reach certain age.
Mega drawback for the tunes I'mappearance listen to because I
feel like that's what resonateswith me, because they're they're
not keeping or playing themusic that me feel like.
All right, I'm a woman of acertain age.
When I walk out, you know, whenI meet you, a true yeah and
(40:56):
that's how I'm gonna say so.
It's almost like where's thatmusic for the others.
You know, man, I'll meet you ata true yeah, and I saw me and
say so it's almost like where'sthat music for the others.
You know that other.
You know when you're, you knowthe mature level, you know.
You see R and B has it.
You know when you're boo whocry, you break.
You know, and they have.
(41:20):
You know.
Everything that's happening isto the detriment of the woman as
an artist and as a creativebeing and a person that has
emotions of every spectrum.
Um, but men have no, men haveno reason as to why they just
groom one artist at a time, andwe've seen the story over again
with Whitney, with Mariah Carey.
They've moved somebody else outthe way to make space for them
specifically and I can't tellwhy.
(41:43):
I mean, I'm sure I've watchedmany documentaries.
That kind of gives anexplanation, but those
reasonings don't make sense tome.
I hear what the reason they'resaying it just logically doesn't
make sense to me as to why.
Speaker 1 (41:56):
Last thought what would you like to see in terms
of progression for women in themusic industry, as far as what
it would look like in the futureor feel like?
What are you looking for?
Speaker 3 (42:12):
Yeah, just kind of embrace the different styles.
I mean just embrace thesubtlety of you know, like just
how you're different, as opposedto you being the same and
owning that difference andknowing that you know.
Again, it depends on theirpersonal goals and I can't tell
them what their personal goalsare right.
(42:33):
But if it's making music andmaking money, sometimes it's not
going to be a stadium selloutbut that music does connect with
somebody and it's just kind offinding who that artist is.
And I mean I've heard the storyover and over again where the
women are making the music whatthe record label put out.
Or the record label will say,oh, this is what's popular,
(42:55):
that's, and they're just likethat's not me.
Will say, oh, this is what'spopular, make that, and they're
just like that's, that's not me.
So it's it's kind of figuringout how to, to to make that
music that appeals to youraudience because the the record
label can't like it.
But if your audience don't likeit, guess what money not gonna
make because you're not gonnalisten to it.
(43:16):
So just, um, I think it'saudience in mind.
Trust me, audience in mind iskind of where it's at, because
when you, when you connect withyour audience.
I'm gonna play your music, evenif you don't play a part of it,
and I'm gonna play the music.
How many like cree summer?
And we know what they thoughtabout her.
Again, that's our cree summer,from a different world.
(43:37):
She, she had an album.
It wasn't a commercial successbut I love that album.
It was just like she had somenice songs on there.
She had a song on there withLenny Kravitz.
I was like yes, but it wasn't.
I never heard it on radio.
I buck up.
I buck up and listen, like itMe hear some real things because
(43:58):
of that.
So it's because when the famegone and you get to a certain
age, you have to say where yougonna look back upon the body of
work you have are.
You know the fame you had at apoint and people said, boy, she
could have.
I really liked her.
She did sound good, but me doeswish she did sing some.
You know better songs, deepersongs, but then all of that is
(44:19):
still relative.
So I just have to say just makegood music and focus on the
audience, because that's whatdictates longevity If your music
can surpass the time that youmade it for Very true.
Speaker 1 (44:36):
Thank you so much for sharing your fan opinion with
me today.
Carrie Ann Reed Brown, thankyou for having me.
Thank you guys so much fortuning in.
I know this was a hard topic tokind of talk about and I know
that there's so much that wehaven't even talked about.
So I really want to get youropinions.
(44:57):
Please share with your friends,share this podcast with your
fellow girlfriends anddefinitely comment, share your
opinion, share your thought.
We should definitely have around two.
If you have any thoughts aroundthis topic and you want to kind
of keep the conversation going,I'm more than happy to do
another podcast to kind offollow up on it.
(45:17):
Until next time, thank you guys, so much for listening and make
sure you guys leave me a review, if you can, in iTunes, so that
you know we can continue forrank the ting.
Until next time, leave it to me.
Peeps.
Thanks for listening to thelatest episode of the Style and
Vibes podcast.
If you like what you hear and Iknow you do share it with your
friends and family podcast.
(45:38):
If you like what you hear and Iknow you do share it with your
friends and family if you wantmore, make sure you visit
stylingvibescom and follow us onour social channels, twitter
and instagram, at styling vibes.
Until next time, lea tummypeeps.
Popular Podcasts
24/7 News: The Latest
The latest news in 4 minutes updated every hour, every day.
Therapy Gecko
An unlicensed lizard psychologist travels the universe talking to strangers about absolutely nothing. TO CALL THE GECKO: follow me on https://www.twitch.tv/lyleforever to get a notification for when I am taking calls. I am usually live Mondays, Wednesdays, and Fridays but lately a lot of other times too. I am a gecko.
The Joe Rogan Experience
The official podcast of comedian Joe Rogan.