August 27, 2024 • 33 mins
Join us as we explore the incredible journey of Kianna Henson, aka KJ Rose. From her roots in Southside Chicago to her academic achievements at Florida A&M, KJ's story is one of passion, perseverance, and profound success. You'll hear firsthand about her early days overcoming stage fright and then balancing a corporate job with session artist gigs and finally her evolution into a sought-after performance coach.
She has worked with massive stars like Janet Jackson, Britney Spears, and Justin Timberlake, major brands such as Doritos, Adidas, and Amazon, and has an exciting newly published book, "The Rose Effect: Eight Steps to Delivering the Performance of your Life."
KJ’s storytelling is both inspiring and educational, offering valuable lessons from her experiences with industry giants such as Clive Davis. This episode is a treasure trove of insights for aspiring artists and anyone curious about the world behind superstar performances. Buckle up for a vibrant, energetic, and deeply inspiring conversation with KJ Rose.
"Unglossy: Decoding Brand in Culture," is produced and distributed by Merrick Creative and hosted by Merrick Chief Creative Officer, Tom Frank, hip hop artist and founder of Pendulum Ink, Mickey Factz, and music industry veteran, Jeffrey Sledge. Tune in to hear this thought-provoking discussion on Apple Podcasts, Spotify, YouTube, or wherever you catch your podcasts. Follow us on Instagram @UnglossyPod to join the conversation and support the show at https://unglossypod.buzzsprout.com/.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
This week on Unglossy .
Speaker 2 (00:02):
I was like oh friend, it's soon.
I was singing Phyllis Hyman,you know what I'm saying.
So I've always had it, oh so,or, like Shirley Murdoch, as we
lay, and so I never.
I mean, I just had this love,but I didn't think that that
would translate into a career.
Speaker 1 (00:23):
From the top.
Yeah, I'm Tom Frank.
Speaker 3 (00:27):
I'm Mickey Fax.
Speaker 4 (00:29):
And I'm Jeffrey.
Speaker 1 (00:29):
Sledge.
Welcome to Unglossy decodingbrand and culture.
I'm Tom Frank, partner andchief creative officer at Merit
Creative.
This is Mickey Fax, hip hopartist and founder and CEO of
Pendulum Inc.
And that is.
Jeffrey Sledge, a seasoned musicindustry veteran who has worked
with some of the biggestartists in the business.
We're here to explore themoments of vulnerability,
pivotal decisions and creativesparks that fuel the
(00:51):
relationship between brand andculture.
Get ready for athought-provoking journey into
the heart and soul of brandingthe unscripted, unfiltered and
truly unglossy truth.
Kj Rose Chicago.
Kj Rose Chicago, that was fun.
She comes with energy.
Speaker 4 (01:11):
Mad energy.
She's a corporate speaker now.
She also we didn't even getinto that.
Like she'll go to like theAmazon office and, like you know
, talk to them about whatever'scoming up and boost the staff up
.
She does all kinds of stuff.
Man, I would invite her intothis office.
Speaker 1 (01:23):
She does all kinds of stuff, man, I would invite her
into this office.
She would get everybody firedup.
They'd all be running throughthe walls.
Speaker 4 (01:28):
She's really good at it.
Speaker 1 (01:30):
I'll tell you this though the one thing that just
jumped out at me that, I think,is a lesson across all
industries, not just music, notjust everything.
You got to say what you believe, whether you're a brand,
whether you're a musician,whatever you are in, whatever
aspect of life, say what youbelieve and that can take you a
long way.
Speaker 3 (01:49):
I agree, yep, and, be honest, I agree 100%.
Yeah, I enjoyed that episode.
Just hearing from someone who'sworked with so many different
artists on so many differentlevels, I think people are going
to really enjoy this episodeand if they're watching it,
they're going to enjoy the gunshow.
Speaker 1 (02:08):
I gotta ask you this about the gun show would you
have dare wear that shirt if wehad LL Cool J on here?
Speaker 3 (02:16):
I would wear it with LL Cool J.
He just got the cannons.
Like your camera, I just gotthe guns.
I just got the cannons, I gotthe, you know like, like your
camera.
You know what I'm saying I justgot the guns I just got the
regular guns.
Speaker 1 (02:27):
I'm doing this crazy right now wow oh man, I can't
wait for people to listen tothis, though, and watch it.
It's a gun show.
It's really good and I mean,wow, what an education she's had
to lead her to where she istoday, in both a traditional
sense and just all the peopleshe's worked with and all the
people, all the great thingsshe's done.
She's had to lead her to whereshe is today, in both a
traditional sense and just allthe people she's worked with and
all the great things she's done.
(02:48):
She's amazing.
Speaker 3 (02:49):
I agree with that wholeheartedly.
Speaker 1 (02:52):
Yeah.
So with that, let's dive intoKJ Rose that's Mickey Unglossy
is brought to you by MerrickCreative, Looking to skyrocket
your business's visibility anddrive growth.
At Merrick Creative, we solveyour brand and marketing woes
With big ideas, decades ofexperience and innovative
(03:12):
solutions.
We'll draw in your targetaudience and keep them hooked.
Remember, creativity is key tosuccess.
Partner with Merrick Creativeand unlock your brand's
potential.
Learn more atMerrickCreativecom.
And now back to the show.
Speaker 3 (03:27):
We missed a lot of great material.
Speaker 4 (03:29):
We did All right, here we go, here we go, here we
go, here we go.
Speaker 1 (03:34):
All right, we all good now Kiana.
Kiana.
Speaker 2 (03:38):
Kiana, kiana.
Speaker 1 (03:39):
Kiana.
Speaker 2 (03:40):
Good job.
Speaker 1 (03:42):
Kiana, I learned you just keep repeating the words
the repetition of it allrepetition.
I've already read your book.
I think it said that oh, thereit is.
I love the design of that, bythe way.
Speaker 2 (03:55):
Thank you beautiful designer by the name of uh david
and uh david anderson creativeartwork.
I have to remember that, okayokay.
Speaker 1 (04:05):
Today's guest is Kiana Henson, also known as KJ
Rose.
Kj is an artist performancecoach, influencer, celebrated
for transforming aspiringartists into superstars, earning
her nickname, the ArtistWhisperer.
We're going to learn about that.
She's got roots in SouthsideChicago.
She pursued a degree inbusiness administration from
(04:25):
Florida A&M and balanced acorporate job with night gigs as
a session artist.
Her career highlights includeperforming with icons like Janet
Jackson, Britney Spears, justinTimberlake.
Kj founded the Rose Effect LLCto help new artists flourish,
with Lil Nas X being one of hernotable successes.
She has also worked with brandslike Doritos, adidas and Amazon
(04:47):
.
Artists flourish, with Lil NasX being one of her notable
successes.
She has also worked with brandslike Doritos, adidas and Amazon
.
Recently, she published theRose Effect Eight Steps to
Delivering the Performance ofyour Life.
Welcome to Unglossy KJ.
Speaker 2 (04:57):
Woo, Bam, bam, bam bam.
I love it.
Speaker 3 (05:01):
I love it.
Speaker 1 (05:02):
Pretty good intro, though right.
Speaker 2 (05:03):
That was good.
Speaker 1 (05:05):
Was it factually accurate?
Speaker 2 (05:07):
Yes.
Speaker 1 (05:08):
All right.
Speaker 4 (05:09):
I love it Pretty good intro, though.
Right, that was good.
Was it factually accurate?
Yes, All right.
Yeah, Well, I'm going to gofirst real quick, because I want
to tell my story of how we met,because I think it's
interesting.
You know, KJ, you don't seem toquite remember.
This is wild.
So years ago I'm not going toage us, but years ago actually
she looks exactly the same.
She doesn't age like literallyat all.
Speaker 1 (05:27):
You look a little older.
She looks exactly the same.
Speaker 4 (05:30):
I look a little older .
She looks literally the same iswhen I met her and it's been a
minute, it's been quite a minute.
Anyway, the Soul Train Awardsyear blah, blah, blah, blah,
blah.
I decided I was going to throwan after party for the Soul
Train Awards.
So I got Jive I don't know howI did it, but I got Jive to give
(05:52):
me the money to rent a mansionI guess it was the Beverly Hills
or whatever and we put togetherthis party and they had the DJ.
I forget who DJed Shit, Iforget who DJed, but whatever,
we put together this party andit was dope and people forget
who dj shit, I forget who dj,but whatever.
Put together this party and itwas dope and people came and it
was rocking and it's before btwas, so soul train wars was the
thing.
So, um, uh, we have a mutualfriend, cheryl um, and cheryl I
(06:20):
I don't know shows at the party,but I think that's how we met
initially.
But anyway, I see these girlscome to the party.
It was like a lot of them right, good-looking women.
I'm like God damn, my shit litright.
And I remember they came in theparty and the music was rocking
and I looked and I kept hearingthis girl.
First of all, they were playinghouse music.
(06:41):
They started playing housemusic and for those who don't
know Chicago house music, peoplefrom Chicago love house music.
So they go ham when you playhouse music.
They all dance.
So this girl's on the dancefloor, she's dancing and she
starts yelling Southside,southside and I was like who the
hell is this girl?
I mean, I was saying it in agood way, because she was
(07:04):
setting it off.
She was setting the party off.
She kept going south side.
She danced and danced, anddanced and danced.
I was like who are you?
We started talking to ourselves.
We found out we're both Libras.
We created a rapport.
Later on, back in New York, Iworked with Jive.
I heard the guy who was myassistant at the time worked
(07:26):
very closely with Britney Spearsand he told me that she was
looking for background singersand I was like really, I said I
think I got somebody for you Band he was like ah, send it down
.
So Keanu came to the office anddid her one too.
She did the audition and shebecame a background singer for
(07:47):
Britney Spears.
She was on Staying Alive.
She toured with Britney like areal background singer, not some
bullshit.
She was really doing it.
So I feel like, in a small,small way, I was a part of
setting her career off to whereshe is now.
Speaker 2 (08:02):
Wow, In a tiny, tiny way.
Wow, that was a great story.
Speaker 4 (08:09):
It's the true story, Is it not true?
Well?
Speaker 2 (08:11):
there's some things I can go ahead and help you.
Okay, go ahead, so I wasactually singing for Carl Thomas
that year of the Soul TrainAwards.
Speaker 4 (08:26):
That's why we know Cheryll, because cheryl worked
with carl.
That's how I knew it was.
Speaker 2 (08:28):
Yes, yes cheryl had, uh, us all come to your party.
And then when?
Um so I didn't know aaron yet,I just knew you.
So I was calling you every day,every other day, because I said
I need to go on the road withBritney Spears, but you weren't
(08:49):
ever available.
I mean I know.
Speaker 3 (08:53):
Oh, I'm telling you.
Speaker 2 (08:55):
You said do you want to know the truth?
No, I want to know, but notbecause you weren't trying to
hang out with me, you were justa busy guy and it does not
preclude you being a majorfactor in how I started with
Brittany right, Because it was Idon't want to say major, it was
(09:15):
a little something.
Let me.
This is my story.
God dog, did you tell yours?
Speaker 1 (09:20):
Let her tell her story.
Jeffrey, we got to hear it.
Speaker 2 (09:23):
And so I was calling like every week like, hey, is
Jeff available now?
And Jeff, you know, was runningthe label, the department,
maybe the label, the label isbetter in my story at the time.
And so he was like he'll getback to you.
And then I never was dismissivebut I just never took a moment
to just really find out howAaron was doing.
(09:45):
So I was like how's your daygoing, aaron?
And he was like, well, whathave you been trying to get to
Jeff for?
And I said I need to be on thisnext Britney Spears tour.
And he said my friend Richardis the tour manager.
Let me send your stuff to him,richard Channer.
And then Richard sent it overto Skip Dorsey who was the music
(10:06):
director.
So it was all kind of.
And then I missed the auditionsbecause I was taking care of
some family stuff in Chicago.
But when I got back to New YorkI called Skip every day.
Persistence is my superpower.
I realized that very on and Isaid, hey, did you find what you
were looking for?
He was like, not quite, we'rein Miami.
(10:27):
Now Call you later.
Like this happened for weeks.
Like I would call him and justsing, or I would call him and
say I was about to get on thetrain, just wanted to make sure
you weren't going to call.
He'd be like nope and I'd belike this over the phone.
But based on your personalityand your persistence, it is
(10:49):
yours.
So you started this train.
Indeed, jeff, but that is howit all came to be.
I had to go get it.
Speaker 1 (10:57):
Hey, there's a lot to be said about persistence.
Speaker 2 (10:59):
Yeah.
Speaker 3 (11:00):
That's a good superpower to have.
Speaker 1 (11:02):
Sure is, I agree.
Hey, so let's rewind.
I want to hear about so yougrew up in the south side of
Chicago.
Speaker 2 (11:08):
Yes, and then we moved to Flossmoor, so I went to
HF there, juice WRLD went to HFas well, and a lot of other
really notable people, but alsoI went to Whitney Young,
michelle Obama and a lot ofother notable people.
Speaker 1 (11:21):
So where does the love of music and performing
come from?
Speaker 2 (11:25):
I think I was born with it, but I had this kind of
neighboring quality of havingstage fright.
I was great with the choir, Iwas great with the pom-pom squad
, the cheerleading squad, butwhenever asked to do something
as a solo artist, as a solospeaker, orator, like I, just my
body would have an adversereaction.
(11:46):
And so I just thought that Iwould be great in choirs.
I sang in the Soul Children ofChicago, I sang at Trinity
United Church of Christ, and soI was great.
But I would say that one of mybiggest arguments with my mom is
when I was asked to sing a soloat church and my entire
disposition looked like I didnot want to be there but it was
(12:06):
really a defense mechanism.
So I've always loved music Igrew up on.
I mean, I'm going to say I was,I was, I was, I.
Just I had an advanced palette.
So I'm not going to say cause,these artists might date me, but
anyway, anita Baker, tonyBraxton, chaka, stephanie Mills,
and so where everybody else wasat the talent show was singing
(12:29):
new edition, I was like, ohfriend, I was singing Phyllis
Hyman, you know what I'm saying.
So I've always had it.
Or like Shirley Murdoch, as welay, and so I never.
I mean, I just had this love,but I didn't think that that
would translate into a career,because you know, it's a very
(12:52):
pragmatic way of of moving.
In Chicago, you go to grammarschool, you go to high school,
you go get your degree, you comeback home and you work, and so
the idea that I could make aliving out of doing something
that seemed like a hobby at thetime, um was just, it was lost
on me time.
Speaker 1 (13:13):
Um was just.
It was lost on me, have you?
So I got to imagine today youcould get up on stage and you've
, you've lost that, that frightright.
I mean, you could absolutelyget up there.
Speaker 2 (13:18):
That's why I teach it .
Speaker 1 (13:19):
That's why how did you overcome it though.
Speaker 2 (13:22):
Um, I personally overcame it, uh, with repetition
, and then I jumped my butt onthe Apollo, uh, so I'm always
trying because I know it exists,and I'm always trying because I
know it exists and I'm alwaystrying to find ways to outrun it
.
I am, you know, I would get onthe showtime at the Apollo.
Anything that would shock mysystem I would try.
(13:45):
And so at showtime at theApollo, I won the first time.
And then you know, shout out, Iwon the first time.
And then you know, shout out toErskine, isaac and and um and
Dave Nelson, um, and so theywere like, okay, let's get on
showtime.
And so I get on there, I winthe first time.
Then they bring back all theall-stars, and so this girl
brought like I mean, I didn'tget the memo that you should
(14:06):
bring like a busload of people,but she did all the way from
Maryland.
And so I remember, like BoLeggett Lou was the host that
particular time, and so he wasgoing down the line and
everybody would get kind of theobligatory applause, and then I
think I was seventh and the girlwith the busload was eight by
the time they got to me.
Her whole party like booed meand then she won.
(14:30):
But I knew why they booed me,but it was like the ultimate
shock of the system that wasneeded.
And then I would say, inaddition to that, it was
repetition.
A lot of times we think artistsare getting up there.
No, some go from the top of thedome or it is just in their dna
, um to ref and just to have no.
No, but I wasn't born like that, so I knew that most of what I
(14:52):
had to do in the studio was towrite it all down, repeat it,
rehearse it, so that I couldalways have something to pull
from once I got on stage.
And those same methods andmodules are what I use for
artists.
You know whether they're legacyartists or whether they're new
artists.
You know there's something tobe said about helping people to
(15:15):
unleash and to excavate theassets of telling a story that
is, that is like impenetrableand that is compelling, so that
their story doesn't get hijacked.
So I do it because I was wherethey are and I had to get out.
Speaker 1 (15:30):
That's cool, mickey.
Where were you on the spectrumof being able to perform?
I mean, do you ever have thatkind of anxiety, or have you
always been one that can justsit in front of everybody and
perform?
Speaker 3 (15:41):
No, it doesn't matter if it's like five people or
it's.
You know, the most people I'veever performed in front of was
maybe 15,000 people opened upfor Wiz Khalifa and Amherst, and
you know it's anxiety everysingle time, no matter how many
people.
Yeah, I mean, but I personallybelieve in and maybe KJ Rose
(16:02):
could agree with this you know,I believe that if you care, then
you will have anxiety beforeyou get on stage.
If you care, then you will haveanxiety before you get on stage
.
I think the moment that youjust you know you don't have
that care and concern for theart anymore, it probably becomes
, you know, par for the courseand it's just kind of like, ah,
(16:22):
whatever, I'm just getting onstage, it is what it is.
But if you actually care aboutwhat it is that you're doing,
you always should probably getbutterflies and nervousness.
Speaker 2 (16:28):
Yeah, and I've found that replacing words that don't
serve you with words that dohave been have been like the
game changer.
So you know, anxiety, beinganxious, always seems to lean
towards negative.
But you know what you weresaying, mickey, in terms of
(16:50):
caring.
I've replaced that word withexcitement.
I'm excited to share what I got.
I'm excited to be able tounleash what I do to the
audience and to have them toleave this show in a better way
than how they came in.
So I am always with my clients.
I'm like, whatever wordsthey're using, whether it's
nervousness, I'm like, but maybeyou're just, and there's like
(17:11):
an enchantment about what you doso I get them to replace words
that can actually that's a greatpoint.
Speaker 1 (17:17):
Yeah, that's a great point.
Speaker 3 (17:19):
Yeah, words of power, so you have to be careful about
that.
Speaker 4 (17:23):
Yep, before we move on, give us one quick positive
I'm just going to keep itpositive positive story about
working with Brittany and onequick positive story about
working with Justin Timberlake.
Speaker 2 (17:37):
One positive story, brittany, and one with Justin.
I would say with Brittany shewas so young, you know, and so
she had no problems withallowing her background singers
to be showcased.
At the time, I remember, youknow, I really she was a little
nervous to sing on Oprah and Iwas like, wait, we're going to
(17:59):
Chicago.
We got to get this together Likethat's my mother's, and so I,
you know, truly encouraged herin that moment and then,
additionally, you know, to beable to come from the background
to the foreground, shout out toJohnny Wright, you know, for
making sure that we always werelike a present support for her
(18:22):
and it was my it was probably mysecond major tour, but it
definitely felt like family andeven in that, like there was
still some excitement to performbehind.
You know, not in the forefront,but you know, being almost 20
feet from stardom is what everyday gave me kind of like the
(18:44):
inspiration to keep going.
When you can keep these, thevisualization of it all, to see
what's happening in front of youand then to take that and then
pour into your own career, was,was powerful, um, and I would
say with justin I did, uh, promodates with with justin
timberlake, and and um, I think,let me say between justin and
(19:05):
janet, because that you know,like, like, again they had this.
Speaker 1 (19:08):
Oh yeah, Don't forget about Janet Jackson.
I mean, I mean you know samebirthday as me, by the way.
I just want to point out.
Speaker 2 (19:17):
Look at your superstar.
So with Justin it was, you knowI got to perform with with
friends, see your dance, and Ilook at all the people that were
behind him at the time.
Rob Stevenson, you know he.
Now he then became his vocalcoach and so I think you know I
was able to learn from the otherbackground singers that he had
(19:40):
and you know, unfortunately Ididn't get to go on a full tour
where he had them doingchoreography and so every time I
see him I'm like one more tourfull choreography as a back.
But, janet, you know to grow uploving an artist and to then
take those the choreography backto your pom pom squad for
(20:01):
Rhythm Nation and for PleasurePrincipal and now to be standing
behind her.
Sometimes it was very tough tofocus when you know every move
but you're not hired for that.
Okay, you're not hired to sing.
So she was always very graciousand it was after that, like if
I could have retired, you knowand I didn't know anything else
was coming I'd have been okay.
Speaker 1 (20:23):
Wait a minute so as a backup singer with Janet
Jackson and that music comes on.
You're not allowed to.
You're not dancing, you're justpure.
Speaker 2 (20:31):
Side to side because she got dancing.
So everybody got to know.
So I didn't get to.
Da da, da, da ha da, no, I didnot get to.
It was tough to silo it, youknow.
And then I think you know,sometimes it would get me in
trouble because I could not, Icould not unsee, you know, all
the themes, images, all thecontent and so.
(20:53):
But I was just Kevin Antunesactually brought me onto that
gig, so I was just grateful.
I could have never imagined, youknow, when I think about where
I started, of having the stagefright and then growing up in
Chicago, where, you know, I justthought I would have a nine to
five.
Because even with my first tour, when I called my mom, I was
like yo got this opportunity,blah, blah, and she was like,
(21:14):
what about your stock options,you know, what about your health
care, which are all good thingsbut great things.
But at the time, you know, evenin her conservative and
pragmatic views, there was justa hunger in me.
I was like I already got thedegree, I can get another job.
I vested we good, you know,healthcare, I mean it was so I
(21:35):
was able to to kind of satisfy.
You know both ways of thinking.
And then she got to come to theshow and I think once she saw
it and she was in it.
Yeah, exactly.
Speaker 1 (21:48):
So you were balancing both of these.
At one point, you were workingat Pfizer and you were doing
this at the same time.
Speaker 2 (21:54):
I was working at Pfizer by date.
Now I hadn't gone on tour atthe time, so I would go over and
record with Derek Angeletti forBiggs' album.
So it was on a song called PlayA Hater, and then Derek
Angeletti brought me on to dowellrick angeletti um brought me
on um to do what derrickangeletti to hire me for that
(22:14):
and did.
And then, uh, dio um brought meover to do heavy d and I sang a
song called big daddy, and sothat was great and so I was
singing background.
So I did something for caponenoriega, for common um, for mace
for, so I was singingbackground.
So I did something for caponenoriega, for common um, for mace
for, so I was singingbackground on their on their
(22:34):
album on all these wow.
Speaker 1 (22:36):
And so then you're showing up to work, you're
sitting next to somebody elsewho probably went home and
watched tv last night, and hereyou are singing with some of
these amazing people and thensleeping in the bathroom the
next day.
Speaker 3 (22:49):
So, when did you know , when was the moment when you
said I'm done with the day today.
Speaker 1 (22:56):
I'm going all in on this.
Speaker 2 (22:58):
But I got a call, this girl named Janae who was
like you know, there's a tourI'm not going to say what tour,
but anyway, it was a no way outtour I took an absence.
(23:22):
Oh boy, I told my bosses that Ijust needed to handle something
and I handled it for two monthsand I went on tour and then I
came back and I was like, oh myGod, okay, I still have a job I
still did not have.
Speaker 4 (23:36):
Didn't let you come back after two months.
Speaker 2 (23:38):
It was a leave of absence.
Okay, a family leave.
Thank you, I had to handlefamily business, yeah, yeah.
Speaker 3 (23:49):
I mean, listen and the family, like it was a family
situation.
Speaker 4 (23:53):
All right.
Yeah, it was a family vacay, afamily emergency.
Speaker 2 (23:58):
Yes, yes, and so I came back and then, you know, I
think I wasn't.
I didn't have the courage atthat point to leave totally
because I was in New York bymyself.
I didn't know if I couldsustain on just music alone.
But I knew that I could createthese moments in music.
And so then I worked anothertwo years at Pfizer and then I
(24:19):
realized I was not giving anyone thing a hundred percent.
I had these.
They wanted me to kind of exceland be promoted at Pfizer and I
was like no.
And then I was expecting all ofthese great wins in music but I
wasn't giving 100% to it.
And finally I was like I got togo.
And that's when I took the leap.
And I think, as soon as Istepped out on faith is when the
(24:41):
opportunities started comingwithin the two-week notice
period that I'd given them.
Wow, and those opportunitiesstarted coming.
And so another tour, yeah.
Speaker 3 (24:53):
Wow.
So, uh, you know I gotta ask,you know I gotta ask about this,
this tour that you went on, youknow the blankety, blank tour
and the family.
Speaker 2 (25:09):
any craziness happening on this tour?
No, I was so young and greenand just happy to be there that
I think everybody startedlooking at me as their little
sister, Like I just was notexposed.
Good for you to a lot of thingsand then, you know, I think
about, I look back on it andlook at all the things that you
know I was sheltered andprotected you know from, and so
(25:33):
I think it's the time when mynaivete probably worked for me.
Speaker 3 (25:38):
Awesome, I'm happy to hear that you know, especially
you know with all of the recent.
Speaker 1 (25:42):
In light of everything else In light of
everything else you know.
Speaker 3 (25:45):
So it's good to hear um before you know.
I know tom likes to get hisquestions in, but I got I just.
You know what was it likeworking with the notorious big
well, the unfortunate thing isthat he wasn't there.
Speaker 2 (26:02):
Okay, but it was beyond motivational to have to
be the first to hear the song.
Speaker 3 (26:15):
What song was this?
What song was this?
Speaker 2 (26:17):
Play a Hater.
Speaker 3 (26:18):
Oh, okay.
Speaker 2 (26:19):
Right, great.
So it was really Derek Angelettiand myself, you know, and I
think I think now, like if therehad been more people, you know,
who knows, I think it happenedthe way it was supposed to
happen, if, when we talk aboutthe sheltering of all things and
so, but no, I really wish thatI had been in the booth with
(26:43):
with Big, but his genius and hisenergy resonated through those
headphones in a way that made mefeel like he was there.
It was the energy, it was thetonality, it was having it right
here and hearing the first kindof time he had recorded it, you
know, before it made it out tothe world.
(27:04):
So it really set me on a pathof like, oh, this is what I'm
supposed to do, I can do this,and so, imagine, from Pfizer
after work, you know, probably Ididn't have a briefcase, but
I'm sure I had like a backpackand, like you know, I was like
business casual and I'm takingthe shuttle from 42nd and
whatever to, I think, second,over to 42nd and eighth to go to
(27:27):
daddy's house.
So it was an incredibleexperience.
Speaker 3 (27:32):
And you know, somebody said something to me
Well, not to me, but I readsomething the other day.
You know Biggie was, I think hedied at like 24?
Speaker 4 (27:43):
24.
And Pop was only 25.
They were young.
Speaker 3 (27:46):
Right.
So, like they were kids, youngmen creating classical music
yeah, 24.
And Pop was only 25.
They were young, unprecedented,you know um.
So you know.
Salute to you for for evencontributing to one of the
(28:09):
greatest albums in hip-hophistory.
I think that's just admirableon so many different levels, kj
that's one of the plaques that'sone of the plaques.
Speaker 1 (28:19):
That's one of the plaques no, tell us more about
these plaques.
I'm seeing all these plaquesbehind her like record.
I mean it's amazing.
Speaker 2 (28:25):
So one plaque is Life After Death.
Do you want me to go over thereand explain?
Let me just go over there.
Speaker 3 (28:33):
Oh, let's go, let's take a tour.
Take a tour here, folks.
Speaker 4 (28:38):
And she got the biggie shirt on too.
I know how this goes.
Speaker 2 (28:42):
That's why I asked this is presented to KJ Rose
Multiplatinum certification of11 million copies of um the
album life after death.
And then this one is heavy'ssingle is this, no, this is
(29:03):
waterbed head so this is thealbum of waterbed head and this.
Speaker 4 (29:07):
Remember that album.
Speaker 2 (29:07):
And this is a publication of 500,000 copies of
Uptown Records' Waterbed havealbum.
And then this is the single BigDaddy Waterbed have for
$500,000.
And then this is Lil Nas O-TownRoad, for we're going to get
(29:29):
into that.
This is a diamond, this is aplatinum, no certified diamond
and it is 10 million copies ofO-Town Road featuring Billy Ray
Cyrus.
Speaker 1 (29:44):
Wow, yeah, wait, so that's your highest one.
Speaker 2 (29:49):
No, biggie's high, the Biggie's one no biggie's
high, the biggest high, okay,okay for 11 um, and I guess they
weren't doing diamond then oh,because I was gonna say it's not
a diamond, right well, and youknow, the biggie one is is
probably higher anyway, becausethat's the album, whereas little
nas x was the single.
Speaker 3 (30:07):
Come on, I'm trying to help him out here.
Kj Rose.
Speaker 1 (30:12):
No, it's impressive.
That is very impressive.
Speaker 2 (30:15):
Yes.
Speaker 4 (30:16):
You were part of the Bad Boy family in a way.
Speaker 2 (30:19):
Yeah, where you going , where you going I mean I, you
sung on a lot.
Speaker 4 (30:25):
You sung on May, that's what I mean.
You were part of the bad boyfamily.
You worked with a lot ofartists, carl, that's what I
mean not, not nothing.
Speaker 2 (30:36):
And they showed me love, you know, from mace to
carl thomas.
Um, you know, at the time djrogers was doing a lot of
writing 112, those are my boys,the locks, I mean, yes, it was,
it was a family indeed, lil Kim.
Speaker 1 (30:48):
Yeah, so you're having all this success as as an
as as an artist, and arecording.
And what happened?
When did you decide totransform from performing to
coaching?
Speaker 2 (31:04):
Well, so after I had gone on tour, I was like I
cannot take all of the energythat I have and pour into other
people without taking the chanceon myself.
So my last tour was with, Iwant to say, janet Jackson.
And then I went to work forClive Davis, as just really like
(31:32):
letting them hear what I wasdoing, and nobody really liked
my music, but that's OK, I justkept going.
And so I understand how totruly maximize the moment, the
current moment that I was in,truly maximize the moment, the
current moment that I was in.
And so I think that you know Iasked for every glass of tea I
(31:55):
had to pour, for every apple Ihad to cut.
I was asking Clive, tell me whyyou chose this as a single.
You know so I was making sure Igot my information.
You know what I mean.
Like why did you sign thisartist, what?
Why did you, you know, choosethis as the single for Alicia or
for Monica or for JenniferHudson?
You know so it was like Ineeded there to be an exchange,
(32:17):
you know, internally, you knowmy own private exchange of.
You know, because I wanted to,I'd just come off the road.
So you know, to do like thesmaller task.
You know you want to break outand be like do you know who I am
, you know what I was like, youknow another level and this is
where you know.
This is the learning part ofwhat you're doing, so you can
(32:37):
understand the business and youknow, just make it work for you.
Speaker 1 (32:41):
That was part one of our conversation with KJ Rose.
Don't miss part two.
All right, folks, that's ourshow.
Tune in to Unglossy, the codingbrand and culture, on Apple
Podcasts, spotify or YouTube,and follow us on Instagram, at
UnglossyPod, to join theconversation.
Until next time, I'm Tom Frank.
Speaker 4 (33:01):
I'm Jeffrey Sledge.
Speaker 3 (33:04):
Smicky.
Speaker 1 (33:08):
That was good.
This week on Unglossy .
Speaker 2 (00:02):
I was like oh friend, it's soon.
I was singing Phyllis Hyman,you know what I'm saying.
So I've always had it, oh so,or, like Shirley Murdoch, as we
lay, and so I never.
I mean, I just had this love,but I didn't think that that
would translate into a career.
Speaker 1 (00:23):
From the top.
Yeah, I'm Tom Frank.
Speaker 3 (00:27):
I'm Mickey Fax.
Speaker 4 (00:29):
And I'm Jeffrey.
Speaker 1 (00:29):
Sledge.
Welcome to Unglossy decodingbrand and culture.
I'm Tom Frank, partner andchief creative officer at Merit
Creative.
This is Mickey Fax, hip hopartist and founder and CEO of
Pendulum Inc.
And that is.
Jeffrey Sledge, a seasoned musicindustry veteran who has worked
with some of the biggestartists in the business.
We're here to explore themoments of vulnerability,
pivotal decisions and creativesparks that fuel the
(00:51):
relationship between brand andculture.
Get ready for athought-provoking journey into
the heart and soul of brandingthe unscripted, unfiltered and
truly unglossy truth.
Kj Rose Chicago.
Kj Rose Chicago, that was fun.
She comes with energy.
Speaker 4 (01:11):
Mad energy.
She's a corporate speaker now.
She also we didn't even getinto that.
Like she'll go to like theAmazon office and, like you know
, talk to them about whatever'scoming up and boost the staff up
.
She does all kinds of stuff.
Man, I would invite her intothis office.
Speaker 1 (01:23):
She does all kinds of stuff, man, I would invite her
into this office.
She would get everybody firedup.
They'd all be running throughthe walls.
Speaker 4 (01:28):
She's really good at it.
Speaker 1 (01:30):
I'll tell you this though the one thing that just
jumped out at me that, I think,is a lesson across all
industries, not just music, notjust everything.
You got to say what you believe, whether you're a brand,
whether you're a musician,whatever you are in, whatever
aspect of life, say what youbelieve and that can take you a
long way.
Speaker 3 (01:49):
I agree, yep, and, be honest, I agree 100%.
Yeah, I enjoyed that episode.
Just hearing from someone who'sworked with so many different
artists on so many differentlevels, I think people are going
to really enjoy this episodeand if they're watching it,
they're going to enjoy the gunshow.
Speaker 1 (02:08):
I gotta ask you this about the gun show would you
have dare wear that shirt if wehad LL Cool J on here?
Speaker 3 (02:16):
I would wear it with LL Cool J.
He just got the cannons.
Like your camera, I just gotthe guns.
I just got the cannons, I gotthe, you know like, like your
camera.
You know what I'm saying I justgot the guns I just got the
regular guns.
Speaker 1 (02:27):
I'm doing this crazy right now wow oh man, I can't
wait for people to listen tothis, though, and watch it.
It's a gun show.
It's really good and I mean,wow, what an education she's had
to lead her to where she istoday, in both a traditional
sense and just all the peopleshe's worked with and all the
people, all the great thingsshe's done.
She's had to lead her to whereshe is today, in both a
traditional sense and just allthe people she's worked with and
all the great things she's done.
(02:48):
She's amazing.
Speaker 3 (02:49):
I agree with that wholeheartedly.
Speaker 1 (02:52):
Yeah.
So with that, let's dive intoKJ Rose that's Mickey Unglossy
is brought to you by MerrickCreative, Looking to skyrocket
your business's visibility anddrive growth.
At Merrick Creative, we solveyour brand and marketing woes
With big ideas, decades ofexperience and innovative
(03:12):
solutions.
We'll draw in your targetaudience and keep them hooked.
Remember, creativity is key tosuccess.
Partner with Merrick Creativeand unlock your brand's
potential.
Learn more atMerrickCreativecom.
And now back to the show.
Speaker 3 (03:27):
We missed a lot of great material.
Speaker 4 (03:29):
We did All right, here we go, here we go, here we
go, here we go.
Speaker 1 (03:34):
All right, we all good now Kiana.
Kiana.
Speaker 2 (03:38):
Kiana, kiana.
Speaker 1 (03:39):
Kiana.
Speaker 2 (03:40):
Good job.
Speaker 1 (03:42):
Kiana, I learned you just keep repeating the words
the repetition of it allrepetition.
I've already read your book.
I think it said that oh, thereit is.
I love the design of that, bythe way.
Speaker 2 (03:55):
Thank you beautiful designer by the name of uh david
and uh david anderson creativeartwork.
I have to remember that, okayokay.
Speaker 1 (04:05):
Today's guest is Kiana Henson, also known as KJ
Rose.
Kj is an artist performancecoach, influencer, celebrated
for transforming aspiringartists into superstars, earning
her nickname, the ArtistWhisperer.
We're going to learn about that.
She's got roots in SouthsideChicago.
She pursued a degree inbusiness administration from
(04:25):
Florida A&M and balanced acorporate job with night gigs as
a session artist.
Her career highlights includeperforming with icons like Janet
Jackson, Britney Spears, justinTimberlake.
Kj founded the Rose Effect LLCto help new artists flourish,
with Lil Nas X being one of hernotable successes.
She has also worked with brandslike Doritos, adidas and Amazon
(04:47):
.
Artists flourish, with Lil NasX being one of her notable
successes.
She has also worked with brandslike Doritos, adidas and Amazon
.
Recently, she published theRose Effect Eight Steps to
Delivering the Performance ofyour Life.
Welcome to Unglossy KJ.
Speaker 2 (04:57):
Woo, Bam, bam, bam bam.
I love it.
Speaker 3 (05:01):
I love it.
Speaker 1 (05:02):
Pretty good intro, though right.
Speaker 2 (05:03):
That was good.
Speaker 1 (05:05):
Was it factually accurate?
Speaker 2 (05:07):
Yes.
Speaker 1 (05:08):
All right.
Speaker 4 (05:09):
I love it Pretty good intro, though.
Right, that was good.
Was it factually accurate?
Yes, All right.
Yeah, Well, I'm going to gofirst real quick, because I want
to tell my story of how we met,because I think it's
interesting.
You know, KJ, you don't seem toquite remember.
This is wild.
So years ago I'm not going toage us, but years ago actually
she looks exactly the same.
She doesn't age like literallyat all.
Speaker 1 (05:27):
You look a little older.
She looks exactly the same.
Speaker 4 (05:30):
I look a little older .
She looks literally the same iswhen I met her and it's been a
minute, it's been quite a minute.
Anyway, the Soul Train Awardsyear blah, blah, blah, blah,
blah.
I decided I was going to throwan after party for the Soul
Train Awards.
So I got Jive I don't know howI did it, but I got Jive to give
(05:52):
me the money to rent a mansionI guess it was the Beverly Hills
or whatever and we put togetherthis party and they had the DJ.
I forget who DJed Shit, Iforget who DJed, but whatever,
we put together this party andit was dope and people forget
who dj shit, I forget who dj,but whatever.
Put together this party and itwas dope and people came and it
was rocking and it's before btwas, so soul train wars was the
thing.
So, um, uh, we have a mutualfriend, cheryl um, and cheryl I
(06:20):
I don't know shows at the party,but I think that's how we met
initially.
But anyway, I see these girlscome to the party.
It was like a lot of them right, good-looking women.
I'm like God damn, my shit litright.
And I remember they came in theparty and the music was rocking
and I looked and I kept hearingthis girl.
First of all, they were playinghouse music.
(06:41):
They started playing housemusic and for those who don't
know Chicago house music, peoplefrom Chicago love house music.
So they go ham when you playhouse music.
They all dance.
So this girl's on the dancefloor, she's dancing and she
starts yelling Southside,southside and I was like who the
hell is this girl?
I mean, I was saying it in agood way, because she was
(07:04):
setting it off.
She was setting the party off.
She kept going south side.
She danced and danced, anddanced and danced.
I was like who are you?
We started talking to ourselves.
We found out we're both Libras.
We created a rapport.
Later on, back in New York, Iworked with Jive.
I heard the guy who was myassistant at the time worked
(07:26):
very closely with Britney Spearsand he told me that she was
looking for background singersand I was like really, I said I
think I got somebody for you Band he was like ah, send it down
.
So Keanu came to the office anddid her one too.
She did the audition and shebecame a background singer for
(07:47):
Britney Spears.
She was on Staying Alive.
She toured with Britney like areal background singer, not some
bullshit.
She was really doing it.
So I feel like, in a small,small way, I was a part of
setting her career off to whereshe is now.
Speaker 2 (08:02):
Wow, In a tiny, tiny way.
Wow, that was a great story.
Speaker 4 (08:09):
It's the true story, Is it not true?
Well?
Speaker 2 (08:11):
there's some things I can go ahead and help you.
Okay, go ahead, so I wasactually singing for Carl Thomas
that year of the Soul TrainAwards.
Speaker 4 (08:26):
That's why we know Cheryll, because cheryl worked
with carl.
That's how I knew it was.
Speaker 2 (08:28):
Yes, yes cheryl had, uh, us all come to your party.
And then when?
Um so I didn't know aaron yet,I just knew you.
So I was calling you every day,every other day, because I said
I need to go on the road withBritney Spears, but you weren't
(08:49):
ever available.
I mean I know.
Speaker 3 (08:53):
Oh, I'm telling you.
Speaker 2 (08:55):
You said do you want to know the truth?
No, I want to know, but notbecause you weren't trying to
hang out with me, you were justa busy guy and it does not
preclude you being a majorfactor in how I started with
Brittany right, Because it was Idon't want to say major, it was
(09:15):
a little something.
Let me.
This is my story.
God dog, did you tell yours?
Speaker 1 (09:20):
Let her tell her story.
Jeffrey, we got to hear it.
Speaker 2 (09:23):
And so I was calling like every week like, hey, is
Jeff available now?
And Jeff, you know, was runningthe label, the department,
maybe the label, the label isbetter in my story at the time.
And so he was like he'll getback to you.
And then I never was dismissivebut I just never took a moment
to just really find out howAaron was doing.
(09:45):
So I was like how's your daygoing, aaron?
And he was like, well, whathave you been trying to get to
Jeff for?
And I said I need to be on thisnext Britney Spears tour.
And he said my friend Richardis the tour manager.
Let me send your stuff to him,richard Channer.
And then Richard sent it overto Skip Dorsey who was the music
(10:06):
director.
So it was all kind of.
And then I missed the auditionsbecause I was taking care of
some family stuff in Chicago.
But when I got back to New YorkI called Skip every day.
Persistence is my superpower.
I realized that very on and Isaid, hey, did you find what you
were looking for?
He was like, not quite, we'rein Miami.
(10:27):
Now Call you later.
Like this happened for weeks.
Like I would call him and justsing, or I would call him and
say I was about to get on thetrain, just wanted to make sure
you weren't going to call.
He'd be like nope and I'd belike this over the phone.
But based on your personalityand your persistence, it is
(10:49):
yours.
So you started this train.
Indeed, jeff, but that is howit all came to be.
I had to go get it.
Speaker 1 (10:57):
Hey, there's a lot to be said about persistence.
Speaker 2 (10:59):
Yeah.
Speaker 3 (11:00):
That's a good superpower to have.
Speaker 1 (11:02):
Sure is, I agree.
Hey, so let's rewind.
I want to hear about so yougrew up in the south side of
Chicago.
Speaker 2 (11:08):
Yes, and then we moved to Flossmoor, so I went to
HF there, juice WRLD went to HFas well, and a lot of other
really notable people, but alsoI went to Whitney Young,
michelle Obama and a lot ofother notable people.
Speaker 1 (11:21):
So where does the love of music and performing
come from?
Speaker 2 (11:25):
I think I was born with it, but I had this kind of
neighboring quality of havingstage fright.
I was great with the choir, Iwas great with the pom-pom squad
, the cheerleading squad, butwhenever asked to do something
as a solo artist, as a solospeaker, orator, like I, just my
body would have an adversereaction.
(11:46):
And so I just thought that Iwould be great in choirs.
I sang in the Soul Children ofChicago, I sang at Trinity
United Church of Christ, and soI was great.
But I would say that one of mybiggest arguments with my mom is
when I was asked to sing a soloat church and my entire
disposition looked like I didnot want to be there but it was
(12:06):
really a defense mechanism.
So I've always loved music Igrew up on.
I mean, I'm going to say I was,I was, I was, I.
Just I had an advanced palette.
So I'm not going to say cause,these artists might date me, but
anyway, anita Baker, tonyBraxton, chaka, stephanie Mills,
and so where everybody else wasat the talent show was singing
(12:29):
new edition, I was like, ohfriend, I was singing Phyllis
Hyman, you know what I'm saying.
So I've always had it.
Or like Shirley Murdoch, as welay, and so I never.
I mean, I just had this love,but I didn't think that that
would translate into a career,because you know, it's a very
(12:52):
pragmatic way of of moving.
In Chicago, you go to grammarschool, you go to high school,
you go get your degree, you comeback home and you work, and so
the idea that I could make aliving out of doing something
that seemed like a hobby at thetime, um was just, it was lost
on me time.
Speaker 1 (13:13):
Um was just.
It was lost on me, have you?
So I got to imagine today youcould get up on stage and you've
, you've lost that, that frightright.
I mean, you could absolutelyget up there.
Speaker 2 (13:18):
That's why I teach it .
Speaker 1 (13:19):
That's why how did you overcome it though.
Speaker 2 (13:22):
Um, I personally overcame it, uh, with repetition
, and then I jumped my butt onthe Apollo, uh, so I'm always
trying because I know it exists,and I'm always trying because I
know it exists and I'm alwaystrying to find ways to outrun it
.
I am, you know, I would get onthe showtime at the Apollo.
Anything that would shock mysystem I would try.
(13:45):
And so at showtime at theApollo, I won the first time.
And then you know, shout out, Iwon the first time.
And then you know, shout out toErskine, isaac and and um and
Dave Nelson, um, and so theywere like, okay, let's get on
showtime.
And so I get on there, I winthe first time.
Then they bring back all theall-stars, and so this girl
brought like I mean, I didn'tget the memo that you should
(14:06):
bring like a busload of people,but she did all the way from
Maryland.
And so I remember, like BoLeggett Lou was the host that
particular time, and so he wasgoing down the line and
everybody would get kind of theobligatory applause, and then I
think I was seventh and the girlwith the busload was eight by
the time they got to me.
Her whole party like booed meand then she won.
(14:30):
But I knew why they booed me,but it was like the ultimate
shock of the system that wasneeded.
And then I would say, inaddition to that, it was
repetition.
A lot of times we think artistsare getting up there.
No, some go from the top of thedome or it is just in their dna
, um to ref and just to have no.
No, but I wasn't born like that, so I knew that most of what I
(14:52):
had to do in the studio was towrite it all down, repeat it,
rehearse it, so that I couldalways have something to pull
from once I got on stage.
And those same methods andmodules are what I use for
artists.
You know whether they're legacyartists or whether they're new
artists.
You know there's something tobe said about helping people to
(15:15):
unleash and to excavate theassets of telling a story that
is, that is like impenetrableand that is compelling, so that
their story doesn't get hijacked.
So I do it because I was wherethey are and I had to get out.
Speaker 1 (15:30):
That's cool, mickey.
Where were you on the spectrumof being able to perform?
I mean, do you ever have thatkind of anxiety, or have you
always been one that can justsit in front of everybody and
perform?
Speaker 3 (15:41):
No, it doesn't matter if it's like five people or
it's.
You know, the most people I'veever performed in front of was
maybe 15,000 people opened upfor Wiz Khalifa and Amherst, and
you know it's anxiety everysingle time, no matter how many
people.
Yeah, I mean, but I personallybelieve in and maybe KJ Rose
(16:02):
could agree with this you know,I believe that if you care, then
you will have anxiety beforeyou get on stage.
If you care, then you will haveanxiety before you get on stage
.
I think the moment that youjust you know you don't have
that care and concern for theart anymore, it probably becomes
, you know, par for the courseand it's just kind of like, ah,
(16:22):
whatever, I'm just getting onstage, it is what it is.
But if you actually care aboutwhat it is that you're doing,
you always should probably getbutterflies and nervousness.
Speaker 2 (16:28):
Yeah, and I've found that replacing words that don't
serve you with words that dohave been have been like the
game changer.
So you know, anxiety, beinganxious, always seems to lean
towards negative.
But you know what you weresaying, mickey, in terms of
(16:50):
caring.
I've replaced that word withexcitement.
I'm excited to share what I got.
I'm excited to be able tounleash what I do to the
audience and to have them toleave this show in a better way
than how they came in.
So I am always with my clients.
I'm like, whatever wordsthey're using, whether it's
nervousness, I'm like, but maybeyou're just, and there's like
(17:11):
an enchantment about what you doso I get them to replace words
that can actually that's a greatpoint.
Speaker 1 (17:17):
Yeah, that's a great point.
Speaker 3 (17:19):
Yeah, words of power, so you have to be careful about
that.
Speaker 4 (17:23):
Yep, before we move on, give us one quick positive
I'm just going to keep itpositive positive story about
working with Brittany and onequick positive story about
working with Justin Timberlake.
Speaker 2 (17:37):
One positive story, brittany, and one with Justin.
I would say with Brittany shewas so young, you know, and so
she had no problems withallowing her background singers
to be showcased.
At the time, I remember, youknow, I really she was a little
nervous to sing on Oprah and Iwas like, wait, we're going to
(17:59):
Chicago.
We got to get this together Likethat's my mother's, and so I,
you know, truly encouraged herin that moment and then,
additionally, you know, to beable to come from the background
to the foreground, shout out toJohnny Wright, you know, for
making sure that we always werelike a present support for her
(18:22):
and it was my it was probably mysecond major tour, but it
definitely felt like family andeven in that, like there was
still some excitement to performbehind.
You know, not in the forefront,but you know, being almost 20
feet from stardom is what everyday gave me kind of like the
(18:44):
inspiration to keep going.
When you can keep these, thevisualization of it all, to see
what's happening in front of youand then to take that and then
pour into your own career, was,was powerful, um, and I would
say with justin I did, uh, promodates with with justin
timberlake, and and um, I think,let me say between justin and
(19:05):
janet, because that you know,like, like, again they had this.
Speaker 1 (19:08):
Oh yeah, Don't forget about Janet Jackson.
I mean, I mean you know samebirthday as me, by the way.
I just want to point out.
Speaker 2 (19:17):
Look at your superstar.
So with Justin it was, you knowI got to perform with with
friends, see your dance, and Ilook at all the people that were
behind him at the time.
Rob Stevenson, you know he.
Now he then became his vocalcoach and so I think you know I
was able to learn from the otherbackground singers that he had
(19:40):
and you know, unfortunately Ididn't get to go on a full tour
where he had them doingchoreography and so every time I
see him I'm like one more tourfull choreography as a back.
But, janet, you know to grow uploving an artist and to then
take those the choreography backto your pom pom squad for
(20:01):
Rhythm Nation and for PleasurePrincipal and now to be standing
behind her.
Sometimes it was very tough tofocus when you know every move
but you're not hired for that.
Okay, you're not hired to sing.
So she was always very graciousand it was after that, like if
I could have retired, you knowand I didn't know anything else
was coming I'd have been okay.
Speaker 1 (20:23):
Wait a minute so as a backup singer with Janet
Jackson and that music comes on.
You're not allowed to.
You're not dancing, you're justpure.
Speaker 2 (20:31):
Side to side because she got dancing.
So everybody got to know.
So I didn't get to.
Da da, da, da ha da, no, I didnot get to.
It was tough to silo it, youknow.
And then I think you know,sometimes it would get me in
trouble because I could not, Icould not unsee, you know, all
the themes, images, all thecontent and so.
(20:53):
But I was just Kevin Antunesactually brought me onto that
gig, so I was just grateful.
I could have never imagined, youknow, when I think about where
I started, of having the stagefright and then growing up in
Chicago, where, you know, I justthought I would have a nine to
five.
Because even with my first tour, when I called my mom, I was
like yo got this opportunity,blah, blah, and she was like,
(21:14):
what about your stock options,you know, what about your health
care, which are all good thingsbut great things.
But at the time, you know, evenin her conservative and
pragmatic views, there was justa hunger in me.
I was like I already got thedegree, I can get another job.
I vested we good, you know,healthcare, I mean it was so I
(21:35):
was able to to kind of satisfy.
You know both ways of thinking.
And then she got to come to theshow and I think once she saw
it and she was in it.
Yeah, exactly.
Speaker 1 (21:48):
So you were balancing both of these.
At one point, you were workingat Pfizer and you were doing
this at the same time.
Speaker 2 (21:54):
I was working at Pfizer by date.
Now I hadn't gone on tour atthe time, so I would go over and
record with Derek Angeletti forBiggs' album.
So it was on a song called PlayA Hater, and then Derek
Angeletti brought me on to dowellrick angeletti um brought me
on um to do what derrickangeletti to hire me for that
(22:14):
and did.
And then, uh, dio um brought meover to do heavy d and I sang a
song called big daddy, and sothat was great and so I was
singing background.
So I did something for caponenoriega, for common um, for mace
for, so I was singingbackground.
So I did something for caponenoriega, for common um, for mace
for, so I was singingbackground on their on their
(22:34):
album on all these wow.
Speaker 1 (22:36):
And so then you're showing up to work, you're
sitting next to somebody elsewho probably went home and
watched tv last night, and hereyou are singing with some of
these amazing people and thensleeping in the bathroom the
next day.
Speaker 3 (22:49):
So, when did you know , when was the moment when you
said I'm done with the day today.
Speaker 1 (22:56):
I'm going all in on this.
Speaker 2 (22:58):
But I got a call, this girl named Janae who was
like you know, there's a tourI'm not going to say what tour,
but anyway, it was a no way outtour I took an absence.
(23:22):
Oh boy, I told my bosses that Ijust needed to handle something
and I handled it for two monthsand I went on tour and then I
came back and I was like, oh myGod, okay, I still have a job I
still did not have.
Speaker 4 (23:36):
Didn't let you come back after two months.
Speaker 2 (23:38):
It was a leave of absence.
Okay, a family leave.
Thank you, I had to handlefamily business, yeah, yeah.
Speaker 3 (23:49):
I mean, listen and the family, like it was a family
situation.
Speaker 4 (23:53):
All right.
Yeah, it was a family vacay, afamily emergency.
Speaker 2 (23:58):
Yes, yes, and so I came back and then, you know, I
think I wasn't.
I didn't have the courage atthat point to leave totally
because I was in New York bymyself.
I didn't know if I couldsustain on just music alone.
But I knew that I could createthese moments in music.
And so then I worked anothertwo years at Pfizer and then I
(24:19):
realized I was not giving anyone thing a hundred percent.
I had these.
They wanted me to kind of exceland be promoted at Pfizer and I
was like no.
And then I was expecting all ofthese great wins in music but I
wasn't giving 100% to it.
And finally I was like I got togo.
And that's when I took the leap.
And I think, as soon as Istepped out on faith is when the
(24:41):
opportunities started comingwithin the two-week notice
period that I'd given them.
Wow, and those opportunitiesstarted coming.
And so another tour, yeah.
Speaker 3 (24:53):
Wow.
So, uh, you know I gotta ask,you know I gotta ask about this,
this tour that you went on, youknow the blankety, blank tour
and the family.
Speaker 2 (25:09):
any craziness happening on this tour?
No, I was so young and greenand just happy to be there that
I think everybody startedlooking at me as their little
sister, Like I just was notexposed.
Good for you to a lot of thingsand then, you know, I think
about, I look back on it andlook at all the things that you
know I was sheltered andprotected you know from, and so
(25:33):
I think it's the time when mynaivete probably worked for me.
Speaker 3 (25:38):
Awesome, I'm happy to hear that you know, especially
you know with all of the recent.
Speaker 1 (25:42):
In light of everything else In light of
everything else you know.
Speaker 3 (25:45):
So it's good to hear um before you know.
I know tom likes to get hisquestions in, but I got I just.
You know what was it likeworking with the notorious big
well, the unfortunate thing isthat he wasn't there.
Speaker 2 (26:02):
Okay, but it was beyond motivational to have to
be the first to hear the song.
Speaker 3 (26:15):
What song was this?
What song was this?
Speaker 2 (26:17):
Play a Hater.
Speaker 3 (26:18):
Oh, okay.
Speaker 2 (26:19):
Right, great.
So it was really Derek Angelettiand myself, you know, and I
think I think now, like if therehad been more people, you know,
who knows, I think it happenedthe way it was supposed to
happen, if, when we talk aboutthe sheltering of all things and
so, but no, I really wish thatI had been in the booth with
(26:43):
with Big, but his genius and hisenergy resonated through those
headphones in a way that made mefeel like he was there.
It was the energy, it was thetonality, it was having it right
here and hearing the first kindof time he had recorded it, you
know, before it made it out tothe world.
(27:04):
So it really set me on a pathof like, oh, this is what I'm
supposed to do, I can do this,and so, imagine, from Pfizer
after work, you know, probably Ididn't have a briefcase, but
I'm sure I had like a backpackand, like you know, I was like
business casual and I'm takingthe shuttle from 42nd and
whatever to, I think, second,over to 42nd and eighth to go to
(27:27):
daddy's house.
So it was an incredibleexperience.
Speaker 3 (27:32):
And you know, somebody said something to me
Well, not to me, but I readsomething the other day.
You know Biggie was, I think hedied at like 24?
Speaker 4 (27:43):
24.
And Pop was only 25.
They were young.
Speaker 3 (27:46):
Right.
So, like they were kids, youngmen creating classical music
yeah, 24.
And Pop was only 25.
They were young, unprecedented,you know um.
So you know.
Salute to you for for evencontributing to one of the
(28:09):
greatest albums in hip-hophistory.
I think that's just admirableon so many different levels, kj
that's one of the plaques that'sone of the plaques.
Speaker 1 (28:19):
That's one of the plaques no, tell us more about
these plaques.
I'm seeing all these plaquesbehind her like record.
I mean it's amazing.
Speaker 2 (28:25):
So one plaque is Life After Death.
Do you want me to go over thereand explain?
Let me just go over there.
Speaker 3 (28:33):
Oh, let's go, let's take a tour.
Take a tour here, folks.
Speaker 4 (28:38):
And she got the biggie shirt on too.
I know how this goes.
Speaker 2 (28:42):
That's why I asked this is presented to KJ Rose
Multiplatinum certification of11 million copies of um the
album life after death.
And then this one is heavy'ssingle is this, no, this is
(29:03):
waterbed head so this is thealbum of waterbed head and this.
Speaker 4 (29:07):
Remember that album.
Speaker 2 (29:07):
And this is a publication of 500,000 copies of
Uptown Records' Waterbed havealbum.
And then this is the single BigDaddy Waterbed have for
$500,000.
And then this is Lil Nas O-TownRoad, for we're going to get
(29:29):
into that.
This is a diamond, this is aplatinum, no certified diamond
and it is 10 million copies ofO-Town Road featuring Billy Ray
Cyrus.
Speaker 1 (29:44):
Wow, yeah, wait, so that's your highest one.
Speaker 2 (29:49):
No, biggie's high, the Biggie's one no biggie's
high, the biggest high, okay,okay for 11 um, and I guess they
weren't doing diamond then oh,because I was gonna say it's not
a diamond, right well, and youknow, the biggie one is is
probably higher anyway, becausethat's the album, whereas little
nas x was the single.
Speaker 3 (30:07):
Come on, I'm trying to help him out here.
Kj Rose.
Speaker 1 (30:12):
No, it's impressive.
That is very impressive.
Speaker 2 (30:15):
Yes.
Speaker 4 (30:16):
You were part of the Bad Boy family in a way.
Speaker 2 (30:19):
Yeah, where you going , where you going I mean I, you
sung on a lot.
Speaker 4 (30:25):
You sung on May, that's what I mean.
You were part of the bad boyfamily.
You worked with a lot ofartists, carl, that's what I
mean not, not nothing.
Speaker 2 (30:36):
And they showed me love, you know, from mace to
carl thomas.
Um, you know, at the time djrogers was doing a lot of
writing 112, those are my boys,the locks, I mean, yes, it was,
it was a family indeed, lil Kim.
Speaker 1 (30:48):
Yeah, so you're having all this success as as an
as as an artist, and arecording.
And what happened?
When did you decide totransform from performing to
coaching?
Speaker 2 (31:04):
Well, so after I had gone on tour, I was like I
cannot take all of the energythat I have and pour into other
people without taking the chanceon myself.
So my last tour was with, Iwant to say, janet Jackson.
And then I went to work forClive Davis, as just really like
(31:32):
letting them hear what I wasdoing, and nobody really liked
my music, but that's OK, I justkept going.
And so I understand how totruly maximize the moment, the
current moment that I was in,truly maximize the moment, the
current moment that I was in.
And so I think that you know Iasked for every glass of tea I
(31:55):
had to pour, for every apple Ihad to cut.
I was asking Clive, tell me whyyou chose this as a single.
You know so I was making sure Igot my information.
You know what I mean.
Like why did you sign thisartist, what?
Why did you, you know, choosethis as the single for Alicia or
for Monica or for JenniferHudson?
You know so it was like Ineeded there to be an exchange,
(32:17):
you know, internally, you knowmy own private exchange of.
You know, because I wanted to,I'd just come off the road.
So you know, to do like thesmaller task.
You know you want to break outand be like do you know who I am
, you know what I was like, youknow another level and this is
where you know.
This is the learning part ofwhat you're doing, so you can
(32:37):
understand the business and youknow, just make it work for you.
Speaker 1 (32:41):
That was part one of our conversation with KJ Rose.
Don't miss part two.
All right, folks, that's ourshow.
Tune in to Unglossy, the codingbrand and culture, on Apple
Podcasts, spotify or YouTube,and follow us on Instagram, at
UnglossyPod, to join theconversation.
Until next time, I'm Tom Frank.
Speaker 4 (33:01):
I'm Jeffrey Sledge.
Speaker 3 (33:04):
Smicky.
Speaker 1 (33:08):
That was good.
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