Episode Transcript
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Speaker 1 (00:10):
Tanashi Jurgensen Kchingway was born on February sixth, nineteen ninety
three in Lexington, Kentucky. Her background is a rich tapestry
of cultures and influences, as her father, Michael, hails from Zimbabwe,
bringing Shona roots, while her mother, Amy claims Danish, Norwegian, Irish,
Italian and English ancestry. Their meeting at the University of
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Iowa on a blind date began the story of a
family deeply committed to education in creativity, as both parents
went on to become professors in California, where her father
teaches acting and her mother teaches physical therapy. Teneshi, the
eldest of three with two younger brothers named Thulani and Kudzai,
(00:54):
spent her early childhood in Decalm, Illinois, and then settled
in Los Angeles when she was eight year old old.
She attended Crescenta Valley High School for just a year
before finishing early, determined to make show business her full
time pursuit. From a very young age, Taneshi showed interest
in talent and dance, beginning formal ballet, tap and jazz
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lessons at age four and then competing in various styles
through a dance company. Into her teens, her determination and
focus translated into an early introduction to acting and performing,
and by the time she was a child in Pasadena,
she was steadily accumulating credits. Taneshi's work in animation and
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television began as a motion capture performer for the Polar
Express in two thousand four, and she quickly picked up
recurring roles as Robin Wheeler for the Cartoon Network series
Out of Jimmy's Head spanning two thousand seven to two
thousand eight, and as Celeste Burnett on CBS's Two and
a Half Men in two thousand eight. In two thousand
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and nine, alongside these, she contributed voice performances to shows
like Franklin, Rocket Power, and Holly Hobby and Friends, and
appeared in films including Masked and Anonymous. The pressures of
audition life shaped Tenesh's teenage years. She recalled being acutely
aware of her parents' sacrifices, and this sometimes precarious position
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of supporting a child's career in Los Angeles school was
not always comfortable, as she faced bullying and alienation stemming
from her ambitions and her racial heritage. Taneshi has spoken
candidly about experiences with colorism and feeling out of place,
both in black communities and mainstream spaces, explaining that identity
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navigation would become a persistent theme throughout her journey. Her
big break came with music rather than acting. In two
thousand seven, Taneshi joined The Stunners, an energetic girl group
put together by pop star Vitamin C. With The Stunners,
Taneshi toured nationally and notably open for Justin Bieber in
twenty ten, which bolstered her confidence and musical aspirations. By
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the time the group disbanded in twenty eleven, she had
already developed a fierce independence and began to teach herself
the intricacies of music production, learning everything from recording and
mixing to filming and editing her own material, often in
her bedroom studio using logic Pro pro tools and final
cut Pro. She often cited YouTube as her teacher, an
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example of her resourcefulness and commitment to honing her sound.
Her initial solo releases, which blended alternative R and B
with introspective lyricism and experimental production, drew widespread positive reception.
Mixtapes in Case We Die in Reverie in twenty twelve
showcased her ethereal vocals and atmospheric beats, paving the way
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for black Water. In twenty thirteen. The buzz around Taneshi
led to a contract with RCA Records, setting the stage
for her formal debut single, two On, featuring rapper Schoolboy Cue.
Produced by Mustard. It dominated the airwaves and reached number
twenty four on the Billboard Hot one hundred, landing her
a platinum record and earning her the B M, I
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R and B hip Hop Award for Most Performed Song
in twenty fifteen. Her debut studio album, Aquarius in twenty fourteen,
was widely acclaimed by critics as an impressive breakthrough for
a female artist, with both Soul Train and BET Award
nominations following. Aquarius was praised for its cohesiveness, ambition, and
fresh approach, yet the trail forward was not always smooth.
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Tanashi often spoke about how major labels tried to pigeonhole her,
sometimes selling her songs to other artists or orchestrating collaborations
without her input. Despite awkward pairings with established artists and
the frustration of feeling misunderstood, she continued to produce and
release exceptional work, including collaborations with Kid inc on the
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platinum Body Language with Snake Hips and Chants the Rapper
on the triple platinum All My Friends and Britney Spears
on the chirt topping s lumber Party. Her sophomore album,
night Ride, arrived in twenty sixteen and landed at number
eight on the Top R and B Hip Hop Album's
chart in the United States. Joyride followed in twenty eighteen
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and ranked at number fifty eight on the US Billboard
two hundred and number six on the UK R and
B Albums Chart. With each project, Tenasha blended genres, merging pop, electronic,
and R and B sensibilities with remarkable versatility as both
performer and producer. Critics frequently commended her for creating cohesive,
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sonic worlds and pushing the boundaries of contemporary pop. Twenty
nineteen saw a turning point for Tenasha when she left RCA,
citing artistic differences and a desire for greater independence. She
embraced her status as an independent artist, releasing songs for
You Then three hundred thirty three in twenty twenty one,
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BBA and G three to l in twenty twenty three
and Quantum Baby in twenty twenty four, each time refining
her sound and gaining more control over her creative direction.
The music drew inspiration from personal growth, night life, love, identity,
and self empowerment, making her one of the most sought
after voices in contemporary music. She performed live at major festivals,
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appeared more than forty times as herself on television, and
continued to engage with a broad international fan base. Beyond
the music, Tanashi has become a symbol of resilience and authenticity.
She's spoken about sexism and studios, and the recurring challenge
of being underestimated in an industry dominated by men. Her
candid conversations about identity, race, and sexuality, most notably coming
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out as bisexual in a twenty twenty Gay Times interview,
furthered her reputation for honesty and inspired many of her listeners.
Tanesh's refuse. Taneshi's refusal to be put in a box,
whether musically or personally, has meant she continues breaking new
ground with her every project. Tanesh's personality off stage contrasts
with the high energy performances she is known for at home.
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She surrounds herself with a tight circle of family and friends,
finds solace with her CATPJ, and enjoys gaming and documentaries
as much as making music. Make Up, as she's explained
in interviews, helps her shift into performance mode, allowing her
to tap into her artist persona while staying connected to
her authentic self. She holds a black belt in taekwondo
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and prefers comfort and stability to Hollywood glamour, even driving
the same car for years and prioritizing her family home
in La Crescenta, thirty miles north of Los Angeles. Her
journey from Lexington, Kentucky, to global musical stardom has taken persistence,
self belief, and adaptability. Today, t ye quiet, please dot A,
(07:53):
I hear what matters