EP 2 - Rhythm Nation 1814 - Janet Jackson (1989)

[00:00:18] Speaker A: Hey, divas. [00:00:19] Speaker B: Welcome back to Diva Decoded. My name is Cam. [00:00:24] Speaker A: And my name is Nelly. [00:00:25] Speaker B: And today we are covering Rhythm Nation 1814 by Ms. Janet Jackson. The icon, the legend. [00:00:34] Speaker A: She is the diva. [00:00:35] Speaker B: She is the moment. [00:00:37] Speaker A: She is everything. She is everything. Honestly, like watching her live, especially like. Cause I had saw her at like Budweiser and seeing her in an outdoor venue was just oh my God and the moon and then her, it was too good, too good. So I'm very, very excited for this episode. [00:00:58] Speaker B: I got into Janet Jackson because of my dad, actually, believe it or not, because I was listening to Paula Abdul, who's very much in the same vein as Janet. She has songs like Straight Up, Cold Hearted. So he was like, you need to listen to Janet. Like you would love her. So I started listening by watching her AMA performance of Escapade from 1990 and it was amazing. So that kind of got me into her because I'd heard the song before, but I just didn't realize it was her and then realized how great she is and kind of went from there. So it's probably my favorite Janet Jackson album. I say that about every album, but. [00:01:38] Speaker A: No, she is too, too, too good. And when we talk about like true like divas, it would be a sin to not have her like be number one. [00:01:49] Speaker B: Like she is so talented and such a good performer. [00:01:53] Speaker A: Everything, like, especially like there are artists who are half her age who are just standing doing shit all behind a mic and she is giving us everything. Like seeing her with the full headset dancing for her life, oh my God, I gosh. [00:02:12] Speaker B: And she could still deliver. [00:02:13] Speaker A: Oh my goodness. [00:02:14] Speaker B: She could still deliver. [00:02:15] Speaker A: Oh my goodness. And oh my goodness. I'm just so excited talking about her because she's just everything to me. [00:02:22] Speaker B: She and her music. Because it's dance music as well. Just it makes you want to move. Like I'm. I'm not a dancer, but I'm like bob my head to it like every time and alright, in the second verse when it's like three times, I always, every single time I hear the song, I will tap my finger, duh, duh, duh with the song. And I don't know why, but I just do. [00:02:44] Speaker A: She is everything. I also, I still find myself like watching so many of her music videos because that was also like, seemed like she was during the revolution of music videos. Like, I'm just like, instead of like somebody like singing in a forest, you're dancing for your life. It was so, so, so good. And I'm like, I just, I Just wish that it was there. [00:03:02] Speaker B: I know. Me too. Her videos are everything. [00:03:04] Speaker A: Yes. [00:03:05] Speaker B: Especially because she had a little bit about Janet Jackson. She had her first album, Janet Jackson, and it didn't really do anything. And that was in 1982. And then 1984, she had dream street. And both of those. She was under the management of her dad, Joe Jackson. And yeah, the albums didn't really go anywhere. Cause they weren't very personal, the videos. I don't even know if she had videos or if she did. They weren't very good. So by the time Control came around in 1986, she made the change to start working with Jimmy Jam and Terry Lewis. And then also, obviously took more Control, hence the name, and had a lot more agency in her career and set trends in a lot of ways. Like, I love Michael Jackson. I think he was very much inspired by her throughout his career. Especially if you look at his bad era, which came out in 1987. Even the looks, it's very inspired by. [00:03:58] Speaker A: Control's looks, actually, like, in terms of even costume design. [00:04:01] Speaker B: Yeah. [00:04:02] Speaker A: Like, I'm like, this is so Janet coded. Like, when you watch. What was the one where they don't care about us? That's what I was thinking of. History, past, present. Whenever. Whenever I look at this, I'm like, this is Janet. Yeah, that is Janet. [00:04:16] Speaker B: I also love the History album. I think it's so underrated. And, you know, he was going through a lot of shit at the time. But this is a Janet Jackson episode. Thing about Janet Jackson. She lived. No, actually, I feel like now the perception is she lived in a shadow. But actually during that time, she was a star in her own right. I mean, and still now. But yeah, I don't know. At least in my perception of her. Growing up, you know, you heard so much about Michael, but not really much about her. Cause there was Nipple Gate. [00:04:48] Speaker A: Oh, my goodness. [00:04:48] Speaker B: That happened. That kind of made people look at her differently, which is so stupid. She was wearing a pasty, man. You watch the clip. She's wearing a pasty. [00:04:58] Speaker A: Jt, you will burn. [00:05:00] Speaker B: Oh, my God, he's awful. [00:05:02] Speaker A: Jt, we are never gonna be friends. [00:05:06] Speaker B: But no, this girl, I didn't realize until I actually delved into her music. She has, I think, 11 number ones. 10 number ones. No, 10 number one in the U.S. so she is very, very, very successful and talented in her own right and stands on her own. Whereas I love Michael. We're going to focus on Janet today and Rhythm Nation, 1814, period. [00:05:29] Speaker A: Shall we go to the track list? [00:05:30] Speaker B: Yes, of course. [00:05:37] Speaker A: Before anything, what I want to say is, oftentimes when I hear, like, interludes, especially with a lot of modern music, I'm like, why? Like, you didn't need that. Yeah, I think it was just. They're just thinking of it a way to break up the album. But I'm like, this feels so married. [00:05:55] Speaker B: With all the tracks and so focused and quick. But very intentional. [00:06:01] Speaker A: Exactly. And it's also. You actually are listening to the words as opposed to just like, ooh, doo, doo, elevator music in between. I'm like, this is like, listen. Go to school and listen. Yeah, it is very, very. Like you said, it's very intentional and just. I think it just ties the. Ties all the tracks all together in, like, a very effective way that I think people should learn from. [00:06:21] Speaker B: I love the interludes. I think they're, like, so short and so effective. But they really nailed down what this album is about. And the record label wanted to control part two, basically, and she said, no, we're gonna do something completely different that's gonna be socially aware of. And, you know, we're gonna talk about that and kind of. I'm gonna share my thoughts and ideas and kind of spread that word. So I thought that was really interesting idea and executed so well. [00:06:48] Speaker A: Exactly. [00:06:49] Speaker B: So even though it's, like, a very much a fun pop record, it's like, it has a deeper side, especially with the earlier part of the album. [00:06:56] Speaker A: It's very special with, like, the school aspect of it. Like, it's very educational. There was. What was that one? I forgot the song where she was like, something. Knock it off. I don't know. The knowledge, the knowledge, the knowledge. [00:07:09] Speaker B: We'll get into the knowledge. [00:07:10] Speaker A: But, yeah, it feels like. I know this is a Janet. This is a Janet episode, and this will be my last point about Michael Jackson. I feel like in different ways, it feels like they were working in parallel together. It felt like they were making the same. Like, a lot of times they were, like, in the same studio crafting things together. And then they're like, okay, you put this for your album, I'll put this for mine. Because, yeah, it is very educational and like, wake up, Wake up. [00:07:35] Speaker B: Yeah, I feel. I feel like, though, the thing about Michael, he didn't really do much socially conscious until. Well, no, that's not true. He. I mean, he was a big advocate for. For many things I don't really know, but he. He was. He was very charitable throughout his whole career. But in terms of the music, it. Affecting the music, it didn't really come in until man in the Mirror and 87. And then in terms of a bigger album, the History album, and with they Don't Care About Us, Earth Song, to name a few. Those are very socially conscious, and I think that kind of came from. From Janet, but. [00:08:16] Speaker A: Exactly. [00:08:17] Speaker B: I think for Michael, it didn't really come about in his music until it affected him very deeply. [00:08:23] Speaker A: Oh, yeah. I think they definitely navigated it. Yeah, they navigated it a lot differently, which is interesting. So I'm like, when you think of a lot of, like, other sibling artists that, like, have their own path, like, I'm. I'm literally just off the top of my head, I'm thinking of Beyonce and Solange where, like, they have two completely different styles of music, and it's like they're so separate from each other. But I feel like what's something that was so special about Janet and Michael was that, like, his socially conscious songs came long after or, like, years after her. But it felt like. It still feels like we had said before, like, he's inspired by her. [00:08:59] Speaker B: Yeah. [00:09:00] Speaker A: But also it feels like they. It's a lot of times I feel like they were working in tandem with one another, which was really, really special. But, yeah, I don't know this. This album. I'm excited to get into it. [00:09:11] Speaker B: Yes. So the first full track on the album is the title track, rhythm Nation. [00:09:15] Speaker A: We are a part of a rhythm nation. Where the hell was my invite? Where was my invite to that song? Why didn't she ask me to be on the backing tracks for that? [00:09:27] Speaker B: I know. I'm pissed about it too. I. I needed to be there. [00:09:33] Speaker A: I hate it. [00:09:34] Speaker B: It's such a strong album opener, I think, too good. [00:09:39] Speaker A: And it's also just like. It could have actually, when you think about it, it could have just opened the album. It could have just. That could have just been the first song. But I'm like, no, we're gonna start with an interlude. Actually, we're gonna start with an interlude. Cause I'm like, you need to ramp up to it. And it's just so strong that to this day would listen to it. I'm like, I can't just listen to it. I'm just sitting. I'm in front of a mirror and I'm like, dancing. [00:10:00] Speaker B: I know. Me too. Every time I talk about Janet Jackson, I'll mimic her dance moves from this music video. People of the world, I mean, look at their way. Sing. [00:10:14] Speaker A: Woo. [00:10:15] Speaker B: Like, all the little bits. [00:10:17] Speaker A: So good. I feel like this entire album as a whole is like it's, like, very gritty. Like, when I think of, like, the. Like, the imagery of it. [00:10:25] Speaker B: Yeah. [00:10:26] Speaker A: And this album specifically, I'm like. I think of, like, Alleyway. Like, I think of, like, you know, like those. You know, like those. You see it in a lot of, like, 80s and 90s movies. Like, the garbage cans that were so, like, tin. [00:10:39] Speaker B: Like. [00:10:39] Speaker A: Yeah, like that you're using your drumsticks on. Like, this is like, all of that imagery coming together is just, like, so well blended into the song that I think. Yeah, you had said what a fantastic album opener. [00:10:53] Speaker B: Well, sonically, too, that's kind of what it's giving, like a very hard beats and kind of industrial almost sounding. It's. It's. It's very. It's very interesting what they did with the sound of this album. And it differs so much from Control and anything of that time. It's New Jack Swing, which was very popular at the time and kind of came about with. With her earlier album, Control. But, yeah, I think. I think this song in particular is so strong. It's not necessarily my favorite of the singles of the album, but I think it's. It's so iconic and probably her most recognizable song, in my opinion. [00:11:36] Speaker A: Yeah, it's a. It's its namesake. So I'm like. I feel like. Oh, sorry. I'm obsessed with this song personally. It's. It also isn't my favorite. We'll get to my favorite later. But I really do. This is such a strong song. [00:11:52] Speaker B: It is. It is. It went number two in the US which is amazing. And it was the second single off the album, so. Yeah. All right. The next track is State of the World. What do you think, Nelly? [00:12:04] Speaker A: Like, we had said about the, like, the topic, knowing this album was so heavily rooted in, like, social consciousness. It's so wild. Like, talking about just, like, how timeless this album is. I'm like, this exact same things are. Like, she's talking about. I'm like, we see right here today. [00:12:19] Speaker B: Yeah. [00:12:19] Speaker A: Exact same things and how cyclical history is. But that's what just makes it even, like, all the more relevant. I'm getting into the messaging of it, obviously. I'm like, this album is so heavy with this messaging. Like, it's. It forces you to listen to it well, forcing you to bop to it. Like, literally, I'm just like. I'm like, my headphones on. I'm bopping to it and I'm like, damn, she's right. Like, she's actually right. But yeah, no, this song. This song is this Song is really, really good thematically too, with its tone. Like, it's. I love how consistent the drums are just even. Just beyond the song. Like a lot of songs on the track, like, they. They follow the same beat. [00:12:58] Speaker B: Yeah. [00:12:58] Speaker A: And I think it's like, it's something that like, speaks larger to, like how the messaging is just consistent throughout. Even when it's like. Even when a different message is being put across, I'm like, it is still the same. It all comes back to the same ground zero. [00:13:14] Speaker B: It all works together, which is. Which is really nice. I think sonically, it's such a bop. It's so hard hitting. And I love the. I think it's like orchestral hit sounds that they make. Like the dun dun. [00:13:31] Speaker A: Dun. [00:13:32] Speaker B: I. I'm here for it too. Good. And lyrically too, it's so. It's probably the rawest song on the album because it's talking about people in very real situations who are. Who are struggling in life. It talks about suicidal thoughts. It talks about this girl who's pregnant, she's 15, doesn't know what to do, she has no time for her life, dreams or goals and is just feeling the pressure of everything. So I think that's. I think that's very raw and hard hitting and the same thing for, you know, in the second verse, little Johnny all alone his only friend Jolly carries with him Goes to school each and every day to be teased because he has no place to stay. So this young homeless boy feels his life is worthless. Instead of suicide, he cries himself to sleep Come through. [00:14:20] Speaker A: Genius lyrics, period. [00:14:22] Speaker B: Yeah, no, sorry, I'm like, I. It's all in there. I think it's so. It's so strong and impactful and makes you think. And, you know, hearing a voice like Janet as well just makes it all the more easy. Not easy to understand, but like, just kind of can get through to the audience more than if it was like, say, a commercial, someone you already love telling the story. You know, your ears are more perked up to listen. So I think that's also the great thing about this album and it being done through music and also done so well, is that people will. People will listen more. [00:15:05] Speaker A: Yeah. She's also so pretty. [00:15:08] Speaker B: She is so pretty. [00:15:09] Speaker A: She's also like so freaking pretty. And like, I think of that. Sorry, sidetrack real quick. When she was on stage, when she gave the award to Keanu Reeves and like, he like literally stopped his speech midway through and he was like, oh, my God, you're so beautiful. Like, literally turned around and I'm like, yeah, like, she was that girl, like, 10. She is that girl. [00:15:32] Speaker B: 30 out of 10. Like, everything. So, so beautiful. This song did not get a video. It was a single. It was like. You know how sometimes there's like, a half single? It's, like, kind of half released. It was that. It wasn't, like, fully released. So it was the eighth and final single off the album, and I think did okay. I. Like, I. There's no chart success that's really notable that I could point out here, but it's one of my favorites from the album. [00:15:59] Speaker A: Interesting noted. [00:16:01] Speaker B: Next track on the album is the Knowledge. [00:16:04] Speaker A: Sorry. This song. [00:16:06] Speaker B: This song is so iconic, but. And so funny, but also we get what it's trying to do. But, like, oh, my God, girl. Illiteracy. No. Yeah. [00:16:15] Speaker A: Like, yeah, yeah. [00:16:16] Speaker B: Fuck the illiterates. [00:16:17] Speaker A: Yeah. Like, okay, okay. I see what you're doing. I see what you're trying to do. But it just. I think this song. This song didn't hit for me, really. It didn't really hit for me. I feel like I just. It felt ironic at times. [00:16:33] Speaker B: It's kind of funny. But I love it, Like, I think because the part that we're talking about, it goes. Prejudice? No. Ignorance. No. [00:16:45] Speaker A: Are there any, like, Joseph and the Amazing Technicolor Dreamcoat fans here? This is for any divas that are musical theater heads who love that show. And there's that one show. There's that one number where they're trying to guess who stole the bread. And they're like, with a Judah. No. Benjamin. Yes. Yes, yes. It's like. It felt like that to me. This will only make sense to, like, five people, but I just, like. It feels. When I listen to it, I'm like. It just feels too ironic. But I get what she was trying to do, and it's not the worst song in the world, but I'm like, this one didn't hit for me. [00:17:23] Speaker B: Maybe a little too theatrical for you. [00:17:25] Speaker A: Yeah. And it's funny because I. Hey, I love theater. I really, really do. Bring it on. Bring it on. But not Bring it On the Musical. Sorry, I'm not a big fan of that one, but I. This one, I was like, okay, girl, I get it. But also, no. Like, just. No. [00:17:44] Speaker B: I think. [00:17:44] Speaker A: Yeah. [00:17:44] Speaker B: I think sonically, it works. But I don't know about lyrically. When she goes illiteracy. No. That is so funny. That is so funny. [00:17:55] Speaker A: She's like, pick up a book. [00:17:57] Speaker B: Yeah. [00:17:58] Speaker A: Oh, my goodness. What a woman. [00:18:00] Speaker B: Like, being so serious. Like, I don't know, I just always find that funny. [00:18:04] Speaker A: So. [00:18:04] Speaker B: So no, I think it's a great song and it has really good moments. Both of these songs stay the World and the Knowledge both top Rhythm Nation for me. And these are the very socially conscious moments on the album. At least in the early album until we get to later. But yeah, I think. I think they do a great job and making it bops. And this song actually got a video even though it wasn't a single. A part of the Rhythm Nation 1814 video which actually outsold Michael Real. [00:18:34] Speaker A: Yeah, say it louder. [00:18:35] Speaker B: It outsold Michael, but yeah. So this, this is a great one too. And similar to what you were talking about with the imagery of the album. It's her on a roof jumping around, dancing by herself. And I'm like, yes, girl, you do that. What a. [00:18:49] Speaker A: Like a dancer. [00:18:50] Speaker B: Yeah. [00:18:51] Speaker A: Like I would love to like attend one of her dance class. Actually. No, I wouldn't. I'm sorry, I would not. [00:18:55] Speaker B: I couldn't. I couldn't. [00:18:56] Speaker A: Like. Actually that sounds like a terrible idea to me. [00:18:58] Speaker B: It's so intricate. Her dance moves like especially the Miss yous Much Dance, which we'll get into. [00:19:03] Speaker A: And my knees. Bad. [00:19:05] Speaker B: Oh my God, my knees are awful. [00:19:06] Speaker A: Oh my God. Mine is. My right one is awful. [00:19:08] Speaker B: Do they make noises? [00:19:10] Speaker A: Yes. Did you hear it earlier? [00:19:11] Speaker B: No. [00:19:12] Speaker A: I got up and I was like, yep, that sounds like popcorn. [00:19:16] Speaker B: Oh my God. Well, every time I like squat or something, it cracks. I'm like, well, yeah. So I don't know, maybe I need to like. I don't know if there's knee strengthening exercises. Anyway, sorry. [00:19:30] Speaker A: Go to maybe the next one. [00:19:32] Speaker B: Yeah, we'll go to the next song. Song. [00:19:34] Speaker A: Just miss you much. [00:19:36] Speaker B: This song. Okay, before we get into it, we have the little let's Dance into let's Dance interlude. [00:19:41] Speaker A: Yes. That's what I was going to talk about. [00:19:42] Speaker B: Yeah. Okay. [00:19:43] Speaker A: When I tell. Like when we talk about transitions. Yeah. The transition from let's dance into this is like beautiful. [00:19:50] Speaker B: Yeah. [00:19:50] Speaker A: So stunning. [00:19:51] Speaker B: Cuz it. It's also such a smart way. Cuz I love just. I love hearing pop divas talk. Like even Britney Spears like in Break the Ice, when she's like, I know I've kept you waiting. I'm like, yes, please just talk. Don't say any. Don't sing, just talk. So when she's like, get the point. Good, now let's dance. It's like it's such a nice bridge into it and so it's not disregarding those more socially conscious. [00:20:18] Speaker A: Exactly, exactly. And it's also, like, as we know, there's, like, freedom and liberation in dancing, too. [00:20:23] Speaker B: Yeah. [00:20:23] Speaker A: And so, like, she. The way that she was able to get, like, her points across, you know, about illiteracy and everything, and she's able to, like, have that ring in our minds and being like, okay, now let's celebrate. Let's dance. You know, like, it's. It's such a nice release from everything that we've been like, you know? Harboring Ms. Too Much is a fantastic song. It's one of my favorites, actually. [00:20:46] Speaker B: I love this song. [00:20:48] Speaker A: And it feels. I don't know, it just feels like I'm watching Saved by the Bell, like, specifically the college years, and I just. I just, like. I feel like I'm in my room getting ready. I'm imagining myself literally, like, early 90s, getting ready to go out with my friends, but I miss my pen pal boyfriend. Like, it just feels like very. It feels very innocent, very poppy, very fun. And I just love it so much. It makes me feel so good. [00:21:14] Speaker B: I love this song. It was the debut single from the album. [00:21:18] Speaker A: I didn't know that. [00:21:19] Speaker B: Yeah, it was. It was the. It was the first single. It went number one in the States, which was amazing. I just love the intro into the song. It's so long, but it just. It builds up the anticipation and. And then you get that first shot, like an arrow going through my heart. So this song actually came about. Fun fact, I don't know if it was Jimmy Jam or Terry Lewis, but from an ex lover he got broken up with through a note. And at the end of the note, it said, miss you much. And they went, we're gonna make this a number one hitch. And they did. [00:21:54] Speaker A: Oh, my gosh. [00:21:55] Speaker B: What? Imagine that. Imagine that. Like, imagine being that girl and you're like, where's my residuals? [00:22:03] Speaker A: Wait, I'm taking notes. I'm writing that down. I would love for that to happen to me, please. [00:22:10] Speaker B: Oh, my God. Someone write a number one song about what I said to them. Breaking up with them. I've never broken up with anyone. [00:22:15] Speaker A: Well, this is the thing. I'd actually. It'd be fun to be on both ends. [00:22:20] Speaker B: I love that. [00:22:21] Speaker A: Oh, my God, get my writing out there. But also, let me make a hit off of you. You. [00:22:25] Speaker B: Yeah. That's such a surf. [00:22:27] Speaker A: I love it. [00:22:28] Speaker B: But, yeah, sonically, I think it's so fun. I love the music video. I love the dance. I imagine the dance in my head when I'm listening to this song. I think the beats are so hard Hitting. It's probably my favorite of the album so far in terms of the tracks that we've explored. And yeah, I just. It's. It's such a fun song. [00:22:48] Speaker A: This is also my favorite from the ones we've. We've seen so far. So excited. It's not mine favorite, favorite. [00:22:54] Speaker B: Me neither. [00:22:54] Speaker A: But I'm like. But this is definitely, like definitely up there. [00:22:57] Speaker B: The thing about this album, there's so many good songs. A little history lesson about this album. I believe it's the only album in history to have seven singles be in the top five in the Billboard Hot 100 in the U.S. that's wild. And I think it's actually top four because the lowest charting single from this album was. Alright, interesting. The song. All right. Not. Not all right. Not to be confused listeners. We haven't explored that song yet. But yeah, so it has that distinction and hasn't been topped in that sense since. So. Yeah, I think. I think that's. That's amazing. And this is the single that kind of jumped off. They jumped off with. Which I think is smart. This is a good choice for Elite single. [00:23:44] Speaker A: This one is so fun. I just. I. I have so much fun listening to this one and I love having fun listening to music. But also, what's so funny, because the songs I like music I usually gravitate to are ballads. I love ballads. Freaking love ballads. But I love a good song that just gets me up, like, makes me fantasize. [00:24:05] Speaker B: Yeah. I also the whole thing of tell your mama, tell your friends, telling, tell anyone whose heart can comprehend. And then also spelling M I S S U much. Oh my God, that is so smart. I didn't understand what they were saying like for the first little bit of hearing the song. But it's also in the background so I'm like, yes, spell that out. Like, I love that. [00:24:27] Speaker A: It's. She's targeting the illiterate. Oh my God. [00:24:33] Speaker B: You won't get this if you can't. If you can't read. [00:24:35] Speaker A: No, that's. No, actually, let me. Let me. Let me actually preface no shade to those who cannot read. I like absolutely no shade at all. I. We just think it's an interesting call out from her to target you guys. [00:24:49] Speaker B: Unfortunately, I feel like she couldn't. In the knowledge. She couldn't think the fourth thing. [00:24:53] Speaker A: No. [00:24:53] Speaker B: You know, ignorance, no. Prejudice, no. Bigotry. No. Illiteracy. I guess let's go with that. [00:25:01] Speaker A: I'm misogyny. No. [00:25:03] Speaker B: Oh my. Yeah. That would have been so much better. [00:25:06] Speaker A: Like, girl, I know I don't know. [00:25:09] Speaker B: Like, I guess because it's called the Knowledge. You have to learn to read and write. That's how you win the fight for life. So I get what they were trying to do, but like, you know, I. [00:25:17] Speaker A: Don'T know, it feels very. Like it's your fault as opposed to it's the system's fault. [00:25:23] Speaker B: No, I. I think too lyrically they could have fixed that. But we're not talking about the Knowledge. [00:25:28] Speaker A: Yeah. Oh yeah. We're talking about Ms. M I S S U much. [00:25:31] Speaker B: Yes. [00:25:32] Speaker A: And now we're going to be talking about Love Will Never do without you. [00:25:38] Speaker B: This song is amazing. What do you think, Nelly? [00:25:41] Speaker A: This one also, I think was. Was good. I think this is a good song. I wouldn't say it's a marker for me. I remember listening to it and being like this. Felt it feels. It's so funny because it's gonna contradict what I said earlier is that I'm like. There are similar themes, like sonically in the songs. I feel like it just. It feels like just like a slow down version of what I just heard. [00:26:02] Speaker B: Yeah. I mean putting them next to each other. Miss yous Much and Love Will Never do, they are pretty similar. But I would say though, fun fact, this song was originally supposed to be a duet with Prince. [00:26:14] Speaker A: I do remember that. [00:26:15] Speaker B: Yeah, it's. So that's why at the beginning she's singing in a low tone. And then at the beginning of the second verse she goes up an octave for other guys. I've tried before that. That was the whole idea behind it and they just kept it in the song. And I think she's such a beautiful lower register in the song. I mean, I think it's one of my favorites definitely off the album. It always makes me bop. So I do disagree with you in that sense. Like I think it's. I think it's very strong. I mean it doesn't beat Miss you Much for me, but it might be on the same level. [00:26:51] Speaker A: I will say I do love the music video for this one. [00:26:53] Speaker B: The music video we need to talk about it is. [00:26:56] Speaker A: I love it. I love it so much. And this is when we talk about just like her beauty like that updo and like the mid drift, the midriff and just like the black and white and just being in the lover's arms. Like I'm like that when we talk about just like that blissful love. Like she does it so well. Like so, so, so, so, so well. That makes you like literally this is something that you'd like, spend a lifetime searching for. [00:27:24] Speaker B: Yeah. And there. It's just so beautiful and so. So artistic. The music video. So artistically done. Also, it's the first time we see her, you know, looking a little scandalous, a little sexy, showing a little midriff. Because throughout the promo cycle for this whole album, she was very covered up, wearing, like, black long sleeves, and she's showing some body and this in this one. And it was kind of like a little teaser for what the Janet album would be in 93. Yeah. Which is a lot more sexually liberated. And there's a lot more songs about it. I feel like Control and Rhythm Nation is very, like, kind of like. I don't want to say prudish, because that puts it in a negative connotation, but more conservative in that sense. [00:28:14] Speaker A: Yeah. [00:28:15] Speaker B: Versus, like I said, more sexually liberated in. In the Janet album. But I think. I think that is about growing up, too. She was 23 here. But I do think with songs like from the Control album, putting out Time Flies When We're Having Fun. And then in this album, some days tonight, we kind of see her exploring sexuality. [00:28:36] Speaker A: Yeah, exactly. The idea of being like, we. We got it. We gotta do what we gotta do, baby. It's just so nice. And, like, if I remember correctly, there's, like, a visual of, like, a beach, right? [00:28:48] Speaker B: For this one? [00:28:48] Speaker A: Yeah. [00:28:49] Speaker B: There was a desert. [00:28:50] Speaker A: Desert. Oh, my gosh. Okay. Opposite. No water. [00:28:53] Speaker B: This. You know, sand. It's pretty close, actually. You know what? [00:28:56] Speaker A: Actually, yeah, I think. Yeah, I was thinking of the sand and, like, I don't know. I feel like. I just love, like, the imagery of, like, the vast landscape and being, like, it's only them against the world. Like, it's just something that's just so, like, ugh. Like, ugh. [00:29:09] Speaker B: It was gorgeous. [00:29:10] Speaker A: Like, primal about that. And I just. I really, really, really do like the visuals of this. But I think the song itself, I'm like, it's okay for me. It's good, but for me, it isn't a highlight of the album. For me. [00:29:22] Speaker B: I disagree, but respect your opinion. [00:29:25] Speaker A: I respectfully disagree. [00:29:29] Speaker B: Okay. Should we move on to the next track? [00:29:31] Speaker A: Sure. [00:29:32] Speaker B: The next track on the album is Living in a World they didn't make. Back to a more socially conscious moment. What do you think, Nelly? [00:29:40] Speaker A: This one. I feel like this song feels like a lullaby, but when I say lullaby, I think specifically those lullabies that, like, are, like, jarring. You know, the ones that are like. [00:29:53] Speaker B: If you, like, ring around the Rosie. [00:29:56] Speaker A: Or something, but, like, not creepy, but More so just like it's not one that's to put you asleep, it's to one that makes you think. [00:30:02] Speaker B: Yeah, like, it definitely has a negative connotation or like a negative. I mean, it's true though, like what the lyrics are saying, but it has a negative message. But it's, you know, for a positive goal, you know, to raise awareness of. Of what's going on. But I think particularly talking about children exactly is important. [00:30:26] Speaker A: And I think there's a level of like. I was just gonna say, like, there's a level of like melancholy in the song that I appreciate. Actually. I think it's most. I'm also just like biased because I love ballads, but I'm like, there's just like a level of like sadness that you feel that like forces you to pay attention. But also the idea of like children is so interesting to me, like in how like the similar reason why I love. I believe the children are a future risen. Right. And shut up. Right. Whitney, I forgot the name of the song. [00:30:58] Speaker B: Greatest love of all. [00:30:59] Speaker A: Greatest love of all. I feel like there's like a level of like care for kids during that time that I'm like, I think we're losing the recipe. There's like a general like hatred for children that I see nowadays that is like very nerve wracking because I'm like, they are marginalized. And so I think what's so precious about that time is that like, they literally are like, we need to build a future for these. This marginalized population. Like, they are living in a world that they didn't make. Like. And I think it's so. So like the messaging for this song is what brings me in. I'm like, yeah, like, we need to care about the kids again. Like, we really, really do. And there's tying back into the idea of like education and like educating ourselves so that we can educate the next generation as well. Like, it's just so special to me. I really do like the song. Like, I actually. I really do. I feel like this is a song that could like, for people that have poor taste, it could easily bore somebody. But like, I feel like this one for me, I'm just like, this is something that I'm like, yeah, I get it. [00:32:03] Speaker B: I feel like something that's really interesting about this song too is. I don't. Okay. I don't know all these musical terms, but I believe it's in a minor key. Like, it's very. It's very. Kind of dark sounding and very moody. And that matches the Lyrics so well. And then also this album has a very cinematic quality in terms of the interludes that I think, you know, having the children playing in the beginning matches. So I think. I think kind of that draws the listener in. But yeah, it's very. It's very sad sounding but not. Not in the way you would think. So I think it's. I think it's smartly done. And the emotion of the music matches the emotion of the lyrics so well. Like, it's. I think it's like the greatest fit of the album so far in terms of those two coming together. [00:32:55] Speaker A: Exactly. Like tying back into the idea of like the minor chord progressions. It. It does force you to like furrow your eyebrows just a little bit to be like, she's right. [00:33:05] Speaker B: Yeah. [00:33:05] Speaker A: Like she actually is right. And it. It just. It makes you stop. And I feel like every other song, it, like it's supposed to be catchy and like pumps you up to like get you to like dance and listen and be like. To get your like energy up. Whereas this one like literally forces you to like stop for a second. [00:33:24] Speaker B: It's very like contemplative and slow and very slow moving. I like the peaks and valleys that we're having. Even the Knowledge is very different from Rhythm Nation or like Miss yous Much is very different from State of the World. But sonically, this is the most different that we've had exactly. So far up until this point in the album. Yeah, I think this is a great song. Isn't necessarily my favorite. No. But I think it's. I think it's a great song with a great message and it's a very nice deep cut. [00:33:58] Speaker A: I agree. I love this one. This one's really special to me. The next one, the album is. All right. Cam, what do you think about this song? [00:34:07] Speaker B: I adore this song. This song is amazing. I love the album version. I love the remix with Heavy Duty with the. With the different instrumentation and rapping going on. But I mean we're talking about the album so we'll just focus on that. But if you haven't heard that remix, you should go listen to it. It's amazing. I love how this song has that hard hitting beat. It has that sample with. All right, all right. It just. Something about this song makes me groove and then I love. I love the video. It's her and. And suits. It's very kind of 50s noir, 40s noir esque, beautifully done. And I think, you know, there's some. I don't know if it's A xylophone or something. It sounds like a kid instrument towards the end. And I think it's so well put together, this song. And then. So this is a long song. It's probably about 6 minutes and 40 seconds. Ish. So we get to like the 4 minute mark or the 5 minute mark and it just coasts. There's no more lyrics. It's just vocal samples of Janet going all right. And like. [00:35:22] Speaker A: Exactly. And I love that this song, I think, is so. Such a good staple for production. [00:35:31] Speaker B: Yeah. [00:35:31] Speaker A: Like, I'm like, the production of the song is really well done. I love the shooby doobie doop. Like, I think it's so fun. [00:35:38] Speaker B: It is so cute. [00:35:39] Speaker A: I feel like it does. The backing track, it sounds pretty similar to Rhythm Nation for me. Yeah. I feel like the backing track does have the same like. Like it has the same like to it or like a similar. And I think it complements it rather than like mimics, which I like. But like, this one is a really fun one for me. It's. It's very. I love. I think for me, the production and also the ad libbing in this one is so fun, showing off what she can do. And this one is like a. Yeah, this one's a nice show off song. [00:36:14] Speaker B: It's. It's so well done and so catchy. I don't know to me if it sounds like rhythm. I think. I think rhythmically there's a little bit more going on here. Like a little bit more of a shuffle type moment. Especially with the sample. Like. All right, all right. If you actually listen, the sample is kind of offbeat. [00:36:35] Speaker A: Mm. [00:36:36] Speaker B: But it doesn't even matter. That's the thing. And it's done so well and it's. [00:36:41] Speaker A: So interesting to know I should listen to it again. [00:36:43] Speaker B: Yeah. It's like it. Just listen to it with that in mind. But I just think sonically, it's. It's so amazing. The. The lyrics are. Are cute. Like, I don't know if they're gonna like, destroy me or anything, but, like, you know, I'm. Something about me. I'm sure I've mentioned before, I'm very much more musically aware when I'm listening to music as opposed to lyrically. Like, the lyrics come in later versus some people listen to lyrics first. [00:37:12] Speaker A: I operate the same way. [00:37:13] Speaker B: Yeah. [00:37:14] Speaker A: I feel like this album is an anomaly for me because I'm like. I'm usually just like, I don't give a fuck about the words. Give me the music. Inject that into me. [00:37:21] Speaker B: Yeah. [00:37:22] Speaker A: But like Specifically this album. I think it's like, like what I said. I'm like, this one forces you to pay attention in a way that I'm like, oh, I don't. I don't. It makes me listen to lyrics a lot, a lot more intentionally than I usually do. [00:37:36] Speaker B: I love this song. I think that's all I really have to say about it. What about you? [00:37:40] Speaker A: It's a great song. I don't think it's part of my top three, but I do think it's a great song. [00:37:47] Speaker B: Okay. [00:37:49] Speaker A: I wish you guys could see Cam's face. Cam's like, oh, okay, cool. [00:37:55] Speaker B: Now moving on to the next song on the album, Escapade. [00:38:00] Speaker A: Cam, Cam, Cam, Cam, Cam, Cam. Escapade is that girl. [00:38:06] Speaker B: I know. [00:38:07] Speaker A: I just, I right from the intro, like, do, do, do so good. And it just, like, it also is just, like, infused with nostalgia for me. I just, like, when I listen to this, I literally think of, like, shopping with my mom. Like, I, I don't. I, I, I, I, I, I, I, I, I, like, it's too good. I think also, like, with the title of it, like, it feel. It does feel like you're escaping to another realm. I, like, I, I feel like I'm not on this planet when I listen to this song. [00:38:43] Speaker B: This song makes me think of, like, you know, it's Friday. You've worked really hard throughout the week, and now you just get to chill, have some fun, and you for an amazing time and, you know, good vibes and. Yeah, that's like. That's kind of where it. Where it takes me lyrically, in terms of the music, it is so strong in terms of as I was boy. Like, I love the verses. I love the choruses. There's actually like a fourth chorus. Usually there'd be like three in most songs, structured, but this one has a fourth one, and then the ad libs are on top of the fourth chorus, so. I love the ad libs too. Baby, come on now. [00:39:30] Speaker A: Like, too good. [00:39:31] Speaker B: It's so well done. So. Yeah. And, like, this is the song that got me into Janet, so. Oh, yeah. This was the first one I ever listened to. And I was like, this. [00:39:40] Speaker A: What a great first song to listen to. [00:39:42] Speaker B: I was like, holy. Like, this girl is not to be toyed with. Yeah, she was cooking. Her and Jimmy Jam. Cooking what? Jimmy and Jimmy Jam and Terry Lewis. Sorry, we're cooking. [00:39:53] Speaker A: What colors do you think of when you think of this song? [00:39:56] Speaker B: Maybe purple. [00:39:57] Speaker A: Yeah, okay. Because I was gonna say, like, either purple, pink as well. Pink, blue. Maybe, but like, only, like, the blue that, like, sneaking out of her room. Like, the color of the sky blue. I'm like. I feel like. Like a. Like a. Like a little bit past blue hour. Blue. [00:40:17] Speaker B: Blue hour. Oh, yeah, I see what you mean. [00:40:19] Speaker A: To the evening. Not sky blue. Like. Like late. Like a little bit of a. She's. It's a little bit past her curfew, you know, Blue. [00:40:26] Speaker B: Yeah. But it doesn't matter, does it? [00:40:27] Speaker A: Literally doesn't matter because she's just, like. It's just her against the world in that moment. [00:40:31] Speaker B: On an escapade. [00:40:32] Speaker A: On an escapade. Like, this song is so freaking fun. I think, like, the nostalgic memories I have are specifically, like, when I would listen to the song, like, what I was doing. And so I'm like. [00:40:43] Speaker B: Yeah. [00:40:43] Speaker A: Like, I picture me shopping with my mom at different thrift stores when I was younger. But specifically, like, when I think of, like, the actual visuals of the song, I'm like. I imagine, like, it is a girl, like, escaping her room. Like, she's jumping. Not jumping out her window. No, she's climbing out of her window. Not jumping off. Nope, she is climbing out of her window and just escaping into the night. Like, ugh. [00:41:06] Speaker B: It's such a moment. [00:41:07] Speaker A: I love it. Such a moment. [00:41:09] Speaker B: Definitely one of my favorites from the album. Like, this is amazing. [00:41:13] Speaker A: It's too good. [00:41:14] Speaker B: Career highlight it, honestly. [00:41:16] Speaker A: Yeah. I feel like when we talk. It's also this one, too. Like, I think the production is so strong in this one too, apparently. [00:41:22] Speaker B: Sorry, sorry. Sorry to cut you off. The drums were apparently supposed to be a temporary drum loop, and they liked it so much they kept it. So that's why there's that little, like. And then. And then it goes in, like, that little white noise at the beginning. [00:41:36] Speaker A: Yeah. [00:41:37] Speaker B: So I don't know. I'm. I was just like, oops. Like, just saying, what is this? [00:41:41] Speaker A: That's so fun. I love doing a history deep dive with Cam because I want to know any of this shit. [00:41:47] Speaker B: It's a moment. It's a moment. Another US Number one single, so definitely worth noting. [00:41:55] Speaker A: Number one in my mind. [00:41:56] Speaker B: Sorry. [00:41:57] Speaker A: Number one in my head, too. [00:41:58] Speaker B: Number one in this house, baby. [00:42:01] Speaker A: All right, the next song we have is Black Cat Now. I honestly, this one, when I think of, like, similarly to how we said earlier, like, how this song feels very. Not the song. This album feels very gritty. This is, for me, the grittiest song on the album. Like, I'm like. I listen to this and I'm like, I feel Like, I'm being marked. [00:42:22] Speaker B: You are. [00:42:23] Speaker A: Like, it's just so good. I also love, specifically in the beginning, I'm like, it sounds like a black cat or like a cat, rather like the sound of a Rawr. But it also sounds like the roaring of an engine for me. And it feels like, ooh, let's get. Let's get this thing on the road. Like, I feel like this is, like. This takes me, Like, I'm like, in a rock era. Like, this is, like, yes. [00:42:44] Speaker B: This is a for real. For real rock song. [00:42:46] Speaker A: It is so good. Like, so freaking good. [00:42:49] Speaker B: I think this is such a distinct song on the album. There's nothing like it because we were talking about, you know, miss yous Much. Maybe sounding a bit like Love Will Never do or Rhythm Nation or, you know, that kind of a thing. This is unmistakable. What this song is. And even her voice, how she sings it, is completely different from the rest of the album, which I think is so powerful. [00:43:10] Speaker A: Yeah. [00:43:10] Speaker B: And I. Yeah, I just. I love this song. It's such a good rock song. The hook is amazing, and it's like, it's still very poppy. So, like, I can still get into it because I'm not a. I'm not a rock girly. I'm not going to lie. But it's so palpable, and so it just still fits so well with the album. And it's like kind of an angry song. I'm like, yes. So this is, like, such such a good song. Another US Number one. [00:43:40] Speaker A: I remember thinking. When I remember, like, there's an era where I'd listen to this song, like, all the time. And I remember at the time being like. I feel like they should like her and Alanis Morissette should do a duet of the song. Now I'm thinking. I'm like, I don't know how that work, but I genuinely. When I think of the. I just made me think of when I'm here to Red nine yell. Like, I just, like. It's like, they're like different songs in a, like, parallel universe. But I. Black Cat to me, is just something that I'm like, this is like, when we talk passion. She's putting her entire pussy into this song. Like, it is like she's. She was in that studio, and they're just like, we're gonna give this song to Madonna if you can't kill this. And she's like, I'll show you. I will show you everything I got. And she did. [00:44:25] Speaker B: It's a vocal moment. [00:44:27] Speaker A: It is everything. It is Everything. And I would just love to have seen this live because, like, when I saw her, I didn't get, like, she didn't perform this. [00:44:34] Speaker B: Yeah, the. The video is a live video. I. I just think it's so fitting of the song even to not have, like, a super big budget video, even though it's filmed very well. So I love it so much. In terms of other vocal moments of the album, I realized we forgot to mention love will never do without you. Sis does a whistle note. [00:44:51] Speaker A: She pulls on the wall. [00:44:52] Speaker B: She does. And then it, like, transitions to a synth. It's so well done. I just wanted to bring that up before we forgot. [00:45:00] Speaker A: It's also, like, thinking of the songs. I'm like, when you hear her, like, her voice, like, she has such a soft voice, like a. Like a. Hey, like, I just want to tell you something. Shut the upper. Hey, girl. And I'm like, this is what those cursive singers are trying to do nowadays. But I feel like with this, it's like she's like, reaching the back, like, literally the base of herself to bring everything she's got. And I think it just is so powerful. And I'm like, yo, that voice came. You grabbed that from your ass to bring it all the way to the front and clenching, clenching. And it's giving everything you got. And we're hearing it and you're delivering. You're doing it. Could. It could have easily, like, been butchered, like, with her angelic voice. [00:45:53] Speaker B: Yeah. [00:45:53] Speaker A: But I'm like. But she's, like, showing, like, she's just showing us how, like, multifaceted she is. [00:45:57] Speaker B: Too, and her grit and, you know, like, she's more than one thing. So I think. I think that's another thing that's amazing about this song. [00:46:06] Speaker A: I also feel like this is a song that could easily have gone to somebody with a little bit more like, like, rasp. [00:46:12] Speaker B: Yeah. [00:46:13] Speaker A: In their voice to, like, I guess compliment the grit of the song. But I'm just like. It's just something so special about hearing. Like, I just wish I saw her perform this live. Like, I just. I would have loved to have watched this live with her. Like, her, like, cheekbones just too good. Too freaking good. [00:46:34] Speaker B: I. I love it because the. This is what the Michael and Janet typically do. They'll usually do a rock song on their album. So, like, if you look at, like, even Thriller, it was Beat it and then on. On Bad, it was Dirty Diana. So. And obviously for this one, it's Black Cat. So I. I love that kind of. I love that kind of thing that they do. They're just like, let's do a rock song. Let's just do it. [00:46:58] Speaker A: Freaking love her. [00:46:59] Speaker B: So it. It's very, very good. Should we move on to the next song? [00:47:03] Speaker A: Yes. The next song on the album is Lonely Cam. Let me know what you think. [00:47:08] Speaker B: This is such a gorgeous song and so, like, underrated for me because for a long time I just listened to the singles, and then I was like, wait, there's some real good, deep cuts in here. And this is such a beautiful one. The layering of her voice is done so well. And just the melody, you know. You know when you hear a really good melody and it just sounds like it's always been there, like, you've always heard it, you've always known it. [00:47:32] Speaker A: Yeah. [00:47:33] Speaker B: That's kind of what this is giving to me. So I think it's. I think it's so beautiful and such a different, different, different, different vibe. [00:47:44] Speaker A: I feel like it's so interesting to have this off after Black Cat. [00:47:48] Speaker B: Yeah. [00:47:48] Speaker A: Like, because I'm like. It reminds you. I'm like, yo, even the baddest have their moments, you know? And I'm like, that is so real. I'm like, there are times, like, if you, like, look through, like, my liked playlist on Spotify, it's. It is all over the place where I have my pumped up song. And then right after, I'm like, depresso mode. [00:48:08] Speaker B: Whiplash. [00:48:08] Speaker A: Like, absolute whiplash. And so something like, about the transition from Black Cat to this is something that I'm like. It's so special to me, actually, because I'm just like, yeah, like, let me, like, put my pussy on the floor, but also, like, I'm gonna cry while doing it. It's like, yeah. And Lonely. Lonely is such a vulnerable song. I will say. I love all the ballads, like, or I. I like all the ballads mostly, like, on this. On the album. This one isn't the strongest one for me, but I do love this one. This one is very. It is. It is so vulnerable and so, like, it puts it all on the line. And I'm like, oh, my God. [00:48:40] Speaker B: Like, yeah, I will say. Yeah, it's not particularly memorable, but it is amazing and it's beautiful. And it's. I think it's like. I think it's nice that it's just chill, you know, because, like, for most of this album, this album has no chill. So it's like, okay, 2016 reference. So to. To kind of have it be super, like, relaxed and not too serious. [00:49:09] Speaker A: Exactly. [00:49:09] Speaker B: It's. It's just nice. But, yeah, I think that's all I really have to say about this one. [00:49:13] Speaker A: Yeah, this one's a nice cruise song. I think, like, if you're driving and, like, imagining driving home from work and. [00:49:18] Speaker B: You had a bad day, I imagine, like, you're. I'm driving down, like, the west coast on, like, in, like, a Ferrari and it's sunset and it's like the 80s. Like, that's what this is giving for me. [00:49:31] Speaker A: Like, that's real. [00:49:32] Speaker B: It's, like, agreed. You like that? [00:49:34] Speaker A: Yeah, I do like that. [00:49:35] Speaker B: I would love to. I need to go the west coast girl. West coast represents. So put your hands up. [00:49:40] Speaker A: Yeah, let's go. I've been an east coast girly literally my entire life. [00:49:44] Speaker B: You've never been to the west coast either. [00:49:45] Speaker A: I've traveled, like, to, like, bc. I've never done west coast us. [00:49:51] Speaker B: I need to do it all. [00:49:52] Speaker A: I know. [00:49:53] Speaker B: Should I move on to the next one? [00:49:55] Speaker A: Come Back to me. [00:49:56] Speaker B: It is. Come Back to me. What do you think, Nelly? [00:49:59] Speaker A: This one is it for me. Like, this one. This is my number one ballad on this album. This is so good. It's like when you come to. [00:50:09] Speaker B: When you come. [00:50:12] Speaker A: I think there's just, like, a moment of, like, release when she finally sings the title of the song. I don't know what it is. I'm like. It feels like forever before she gets to. It might not actually be forever, but in my head it is. And when she finally just sings Come Back to Me, like, it's so. It's like, so affirmative. And there's a level of vulnerability between lonely and this song that I'm like. I really, really do appreciate just herself. She just feels very lonely. And the second one is a solution. She's like, I need you near me. Like, I actually need you right by my. That. I'm like, I really do. I really do love. And there's. I'm a. I love yearning. I like love. I love it in movies. I love it in music. I love it in all, like, all, like, aspects. And I usually. I love it when it's like, from a man. I don't. I don't like begging, but, like, I. [00:51:03] Speaker B: You're like. [00:51:04] Speaker A: I love yearning when it's from them, actually. But I appreciate her saying, like, inner thoughts aloud. But I really, like, like, sonically, this. This song is. It's. It's everything to me. And it's like, I. I was not even born in the 80s, but, like, I imagine that, like, I have a high Rise in New York. When I listen to the song. [00:51:26] Speaker B: Yeah, this. I. I think of the video every time I hear this. The video. She's in Paris, and she's like. [00:51:32] Speaker A: I don't know if I've watched this video. [00:51:33] Speaker B: It's such a good video. And she's, like, looking out in her balcony, and she's like. She's just. You're. And I think, as well, the lyrics give such a. Such a good visual in and of itself. Like the look through my old drawers Found a letter you wrote Said you need time away that was so long ago like, it really paints a picture for you. And also, sonically, this is such a beautiful ballad. All the background vocals. It's like a choir of Janet. [00:52:00] Speaker A: Exactly, Exactly. I. I would love choir with Janet's in my room. [00:52:05] Speaker B: I know. [00:52:05] Speaker A: In my bedroom specifically, but I. Janet. This is me shooting my shot. But I just. This song is so special to me. I actually don't even have many words. I just really love this song. [00:52:22] Speaker B: This is amazing. This is such a beautiful ballad and so different from every other single, because this was a single, went number two in the U.S. i don't know what the. What the hell about number one, but this should have been number one. But it's okay. It still did very well. [00:52:37] Speaker A: It's all right. But so sorry, not Whitney. [00:52:41] Speaker B: We'll get to that. I'm gonna make it anyway, Bobby. [00:52:49] Speaker A: Oh, my God. The last full song on the album is Some Days Tonight. Cam, take it away. [00:52:56] Speaker B: This song is so sexy. [00:52:58] Speaker A: So sexy. [00:52:59] Speaker B: Like, like we said previously, it's very similar to Funny how time flies when you're having fun. I think there's, like, some pleasure noises in this song, if you get what I'm saying. [00:53:10] Speaker A: It's also, like, when you hear, like, the sounds of the rain or, like, the water or whatever. I'm like, this is the sound of some other liquids. Sorry. [00:53:21] Speaker B: It's the sound of the choir in your bedroom. [00:53:23] Speaker A: Yes. Of the choir in my bedroom. Yes. [00:53:28] Speaker B: I think it's. I think it's very, like, you know, sexy. Oh, you've been so patient. Let me show you what you've been waiting for. And kind of like all of that. I think that's so, like. I don't know. It's so sexy. It's like. It's, you know, similar to how love will never do without you is like the. The last video. So it kind of sets it in a new direction, a sexier direction for the. For the next album. This is, like, the song version of that, because it's the last song on the album. At least that's not an interlude. And it's kind of like, okay, I'm finally. We're finally going to, you know, have that moment that you've been waiting for and I've been waiting for and kind of go from there. So I think. I think that matches in that sense. And it's very much like the Janet album, where it's like. The Janet album is a very sexy album. So I think it's nice that it leads into that, and it does it very tastefully as well, I think. [00:54:29] Speaker A: You know what's really interesting? I would have actually thought this album would have ended with not a ballad. I actually would have expected this album to end with something poppy. And I'm not mad about it. [00:54:39] Speaker B: No, I like it. [00:54:40] Speaker A: I actually like it. I also think that this is what we talk about with just transitions and the way that this album flows. It flows so well together that having come back to me, be right before this and being like. She's like, I need you. Listen, I need you bad. So. Oh, actually, no, Even from Lonely. I'm lonely. Okay. And then she's like, I need you so bad. Like, I'm so. Like, I. Dude. And then ending off with being like, oh, my God, let me show you how much I've missed you. Like, it is, like, so special. I keep saying it's special, but this album is very, very special. [00:55:16] Speaker B: It is. [00:55:16] Speaker A: And I just. I feel like there's a lot of, like. There's a lot of. A lot of, like, playful innocence in this album that I'm like. With these songs, it makes you, like, realize that I'm like. I think she's, like, pretending to be innocent. It's like a level of just like. Oh, what do you mean that it's like. I think it's. It's cute. And this song, like, unleashes it just like, so these are the color of my panties. And it's like, so. It's so, so, so nice. And I. Yeah, I imagine, like, lights dimmed. A very, like, either candles or just no light and just moonlight. Specifically in this bedroom. Esque. [00:55:55] Speaker B: I see, like, red lighting like hell, but, like, in a sexy way. [00:55:59] Speaker A: Okay, interesting. [00:56:01] Speaker B: Something vibrant, very dim. And then, like, maybe it's, like, humid in there. A little steamy, you know, like, then a steam room. That kind of moment. It's just a sauna. [00:56:12] Speaker A: Yeah, it's a sauna. [00:56:15] Speaker B: Sorry. So random. And. Yeah. So I don't know. I think it's. I think it's so sexy. It's so. It's so coy. You know, it's like. It's. It's a great song. [00:56:29] Speaker A: Moment of release. Like, it just. It. It. [00:56:32] Speaker B: I mean, does she. Doesn't she start to, like, moan? [00:56:37] Speaker A: I. I remember her making sounds. [00:56:40] Speaker B: Yeah. [00:56:41] Speaker A: I guess that. What. Yeah. Interesting. She's finishing on the song, but. [00:56:47] Speaker B: Yeah. No, I think it's a great. I think it's a great song. [00:56:49] Speaker A: It is so great. It is also like. I. Like we had said. I'm like. I think it's a great way to actually have closed out the album. [00:56:55] Speaker B: Yeah. I. It's nice. It's like. Because there's the opening act of the album, which is the very socially conscious moment. [00:57:01] Speaker A: Yeah. [00:57:01] Speaker B: And then. And that's three songs. And now it's closing out the album with a very kind of quiet, contemplative moment, relaxed and meaningful moment with these three songs. Lonely Come Back to Me and then Some Days Tonight. So I think that's a really nice third final act. [00:57:25] Speaker A: Yeah. [00:57:25] Speaker B: Maybe fourth act. I don't know that the album takes before it closes. So. Yeah, it's. It's beautiful. [00:57:31] Speaker A: I agree. I love it. [00:57:33] Speaker B: So that. That was the last track on the album. Quickly, before we move to the next segment, there's a B side on the Miss yous Much single. It's now on the Love Will Never do without yout single on Spotify called you'd Need Me. It's about Joe Jackson, Janet's father, and how he wasn't really there for her. If you haven't listened to it, you should listen to it. It's a great song. [00:57:53] Speaker A: Interesting. [00:57:53] Speaker B: Just only side note. [00:57:55] Speaker A: Interesting. I never knew that. I'll listen to that After It's a. [00:57:59] Speaker B: Bop, then we'll get into the music market at the time of release. So at the time of release, New Jack Swing was becoming a very big deal. Some precedence for this was obviously her previous album, Control. And I feel like this is very similar to Forever your Girl by Paul Abdul, Sonically. And also with their very high budget videos and dancing and stuff. Paul Abdul was the choreographer of all the Control videos. So then when she went on to make her own album, she wasn't the choreographer anymore. Obviously she was doing her own career and became a huge pop star herself. So I think that's very interesting. I mean, I know Bobby Brown was New Jack Swing. I don't know when his album came out with My Prerogative. [00:58:48] Speaker A: My Prerogative. [00:58:49] Speaker B: That's a great song. Even though we don't stand Bobby no, but, yeah, I'm not gonna lie. It's a bop. [00:58:54] Speaker A: You know what's so interesting? I just read into it, like, how they compared it. There was a review that compared her success with its album to Aerosmith. [00:59:02] Speaker B: And what's that? [00:59:03] Speaker A: It's very interesting. They had said. They declared it a dance record with a ruthlessly frank social consciousness that addresses drugs, homelessness, illiteracy, and teen runaways. Very interesting. They compared it to Aerosmith and Billy Joel. I feel like there are other influences that they actually could have referenced in terms of social consciousness, but I think purely on the idea of children is like, something that, like, maybe could be compared to. With them. But, like, yeah, interesting references that they pulled. [00:59:36] Speaker B: Yeah. Aerosmith. Sorry, sorry. [00:59:38] Speaker A: Aerosmith. Like, I don't know. [00:59:40] Speaker B: I don't know much about Aerosmith, though. [00:59:41] Speaker A: I'm not gonna lie. I feel like it's a very random reference to fold nonetheless. Sure. But, like, I feel like what we had said is that I'm like, there was such a need to address. I guess that was also, like, the peak of, like, the war on drugs that was happening around that time. And so, like, I think there was a need to, like, crack his whack. Right. Thank you, Cam. Thanks for reminding me. But I feel like there was a need to, like, bring it back to the children as opposed to, like, systemically, the incarceration was so high at that time. But I'm like, there was also a need, as we know now, to, like, care about the children and be like, how can we actually pour into these kids as opposed to just, like, have them go down this path and go to jail. Right. And so with this album, I think it's so important to have called back to that, to be like, we actually need to look at the next generation. We can't actually disregard them. And I think we need. Like I said, I'm like, I think we need to bring that back a little bit. A little bit. [01:00:40] Speaker B: She needs to do Rhythm Nation, too. [01:00:41] Speaker A: Listen, I'm going to be on it. [01:00:43] Speaker B: Oh, my God. We'll be. Will be in the song rhythm nation 2. Wait, what was the song you want to be a part of Illiteracy? Was it that one? [01:00:52] Speaker A: I also. I mean, there are many songs I actually want to be a part of, but I would love to be a part of Escapade. [01:00:57] Speaker B: Escapade. [01:00:57] Speaker A: I would love to be a part of Escapade. Or I could also do. I would do. Honestly, I would do the Knowledge. [01:01:05] Speaker B: I'll be on it. It's the Knowledge. [01:01:06] Speaker A: Yeah. [01:01:08] Speaker B: Remix. [01:01:09] Speaker A: But, yeah, I think the messaging, it tells us everything we need to know about the time as well. Yeah, for sure what they're trying to get across. But again, as we know, history is cyclical, so it's relevant even today. [01:01:22] Speaker B: So in terms of commercial success, this album was huge in terms of the singles and in terms of album sales in general. We talked a little bit about the record of seven top five songs on the Billboard Hot 100 from one album. In terms of worldwide sales, it has 12 million copies sold worldwide, which, honestly, I'm not gonna lie, I expected a little bit more. But at the same time, I find Janet Jackson vinyl singles everywhere, so I feel like she definitely maybe sold more singles at this time. I'd have to. I'd have to deep dive into it, but it was number one on the US Billboard 200 and then also number five in Canada. So, I mean, we could have done a little bit better, but we're Canadians. [01:02:09] Speaker A: We're behind. Yeah, that's so funny. [01:02:12] Speaker B: In terms of the singles and their success. Going to talk some US Success here for a minute. [01:02:17] Speaker A: Take us to school camp. [01:02:18] Speaker B: Miss yous much was number one on the Hot 100. Great job. [01:02:24] Speaker A: Good job, baby girl. [01:02:26] Speaker B: And then the next single, Rhythm Nation, was number two. Then the following single, Escapade, was another number one in the US and then all right was the following single, and that went to number four on the Hot 100. And then the following single was Come Back To Me, which was number two. Then Black Cat, which was number one. And Love Will Never do without yout, which was number one. State of the World was also released, but not released in the us it was released in Australia and Canada. [01:02:55] Speaker A: This album deserved every success it got. [01:02:58] Speaker B: It was, like, amazing. My dad, too, in terms of, like, how this broke barriers as well. Like, my dad worked at. I don't know where he worked. If he worked at, like, a grocery store, if he worked at, like, he worked somewhere with music. And he would put this on the whole album to play for the whole store because he was like, I love. This is. Bob's a man with taste. [01:03:21] Speaker A: Oh, my gosh, I need to shake his hand. I need to shake his hand. [01:03:28] Speaker B: So, yeah, he was the one that actually got me into this album, so I was, like, very thankful for him with that. But, yeah, he. He loved it. It's. It's such a great music with great beats, and it's definitely my. My favorite Janet album, so. And it did very well. Did very well. [01:03:46] Speaker A: Love her down. [01:03:48] Speaker B: All right, Nelly, what do you think? Of the album cover. [01:03:51] Speaker A: Black and white gets me all the. [01:03:52] Speaker B: Time with the hat. Oh my God. Iconic. [01:03:55] Speaker A: Frickin love it. I just love. I'm a sucker for just face. Black and white hat. Cool. Like she looked so freaking fresh. [01:04:04] Speaker B: She ate that up like the ponytail. [01:04:07] Speaker A: Oh my goodness. I just think it's so stunning. I don't think it would have gotten more out of me if it wasn't color. I feel like black and white just made it. [01:04:15] Speaker B: Black and white fits the album so well. [01:04:18] Speaker A: And like so many of her visuals as well. [01:04:20] Speaker B: Yeah. [01:04:20] Speaker A: And so like our black and white too, that I'm like. I feel like I don't know. It also is just like something with like history too. Cause it'd be like we're in an era of color. Okay. And we're still dealing with the same prejudice that we were in an era of black and white. And I like, like, I think. I don't think that's the intention behind the black and white of it, but like that's something that I picked up as well from it. I. The album cover is very special to me. [01:04:48] Speaker B: It fits it so well. It. It fits it so well and it's so simple, but so effective. [01:04:55] Speaker A: So something really special and interesting about the title of this album. Rhythm Nation 1814. As some of you may know, 1814 is the year that the Star Spangled Banner was actually written. And you know, calling back especially to the song Living in a world that we didn't make. It's like knowing how like pointed the song was. It was supposed to be a song for freedom for all, but we as we know. No, it was for select people. And she calls it out in the album being like, we're living in a world where they're choosing who the freedom is for choosing who we're fighting for. And I think it's really interesting to have that be the title of the album being like Rilla Nation 1814. This is actually an entire country built not by the people who are ruling it. So I think it's very, very cool and very interesting. An interesting call out. [01:05:46] Speaker B: Yeah. So intentional. I wasn't even aware of the 1814 meaning. So in terms of the producers of this song, every song is produced by Jimmy, Jim and Terry Lewis on the album, except for Black Cat, which is produced by Janet Jackson and Jelly Bean Johnson. By the way, I should mention, every song is produced not just by Jimmy Jam and Terry Lewis, but Jimmy Jam, Terry Lewis and Janet Jackson. Just so we're clear. [01:06:13] Speaker A: I love that. That's so funny. Cause like, that does sound like one of the most different from the album. [01:06:18] Speaker B: Yeah, you can really tell. [01:06:20] Speaker A: It's like this is one that, like, it felt like it was recorded in a different months later or months earlier, like, as opposed to the rest of the album. [01:06:29] Speaker B: Yeah, it definitely feels. It doesn't feel so disjointed, but it feels very fresh compared to it. Especially when you get to that point in the album. It's kind of like. It's like when you wash your face, it's like, I'm cleansed. [01:06:42] Speaker A: Yeah. [01:06:45] Speaker B: So, yeah, I. And I love Jimmy Jam and Jerry Lewis. They do great work. They ended up working with Mariah later in her career after her little falling out with Walter A. Which we'll get into one day, don't you worry. Mariah fans, Lambs. So, yeah, I love them. I think they're so talented and she is as well, of course. But they were kind of the masterminds together and were able to kind of hone in her sound and go with her vision and kind of let her be her, you know? Whereas I feel like when she did albums under the management, I mean, not that Jimmy Jim and Terry Luce were her management, but when she did those first two albums before she started working with them, it was kind of lost this, you know, with them, she really found her tone and her direction, and she was definitely leading the charge with that as well. So they really knew her with this one. [01:07:41] Speaker A: They really, really did. And it's just, like, interesting, as we mentioned, as much as, like. As similar as the songs are, I'm like, they complement each other really well and also complement her in the different layers that she has. I'm like, the innocent layers, the sultry layers, the vulnerable layers. And so I'm like, this one is. I'm like, they. It feels like they've really studied her, for sure. [01:08:02] Speaker B: It feels like they. They were very close, you know, like, they. They knew each other very well. They're great friends. They're still great friends to this day. So, yeah, I think. I think that helped a lot. [01:08:11] Speaker A: Yeah. [01:08:12] Speaker B: As collaborators now, we'll move on to the impact. [01:08:17] Speaker A: I feel like we had talked about how much influence that even, like, Michael Jackson had got from her. And then I'm like, that just goes to show how many artists actually have stemmed from her. And like, this album specifically, I think that there's a level of, like, there's a lot of play with this, with genre that I feel like are very exemplary of what different albums that we see today. Even of being like, you Actually don't have to limit yourself to like one sound, one voice, like one, you know. [01:08:48] Speaker B: Right. [01:08:48] Speaker A: And so it's even beyond the upbeat versus the ballad. I'm like, it goes into. This one sounds more rock. This one is pop. This one is. There's like also like some funk elements to it too, that like, they're like, Yeah, I would say maybe even some like, like some subtle, like, Latin notes that I hear in some songs that I'm like. It is so, so, so subtle. Like, maybe even like, like some Brazilian notes that I hear that I'm like. This is something that I'm like. It is so colorful the ways that explorers while all still following the same theme that I'm like, this is like the way that it's like all blended together. It like forms the run of an album today. I'm like, how do. Where do you place an interlude? Do you need an interlude? Like, do you. Do we need to hear this? And it's like every time we heard an interlude, we're like, yeah, this album, for me, of course, the best one was Now Let's Dance. But like, the way that all these tracks are all married to one another, I feel like it helps. It played a huge role in forming, informing the make of an album. [01:09:54] Speaker B: I think it clearly resonated with audiences because it's still so well loved and she still does perform a lot of these songs. And I believe she had the State of the World tour pretty recently, like in the last 10 years, which is a reference to the song Stay the World, of course. So, yeah, I think in terms of her discography, it's a pillar, it's a cornerstone, it's very important. And yeah, I feel like sonically it influenced Michael Jackson. If you listen to Michael Jackson's 1991 album Dangerous, that's when he really started to go into the new Jack Swing sound. That was his first album when he stopped working with Quincy Jones and he started working with Teddy Riley and other other New Jack Swing producers who were very prominent. So it even influenced him and changed his sound. So, yeah, I think. I think she was ahead of the curve in that sense with this album and you've seen the success of. Of the singles. So, yeah, I think that's interesting as well. And then also on the remixes, there are a lot of great remixes for this album, but I think my favorite, like I said, is alright with Heavy D. That is such good remix. It has a really great rap verse. I'd recommend listening to it. You know, that was kind of when that Started becoming more of a thing to where Mariah made it really big with fantasy in 1995 and old dirty Bastard. That's when it became super, super mainstream and as big as the original, which is worth noting. So, yeah, I think that's some areas where the impact lies. I think it being a socially conscious record has a whole other kind of impact in. Of itself. And, yeah, I. I think it's such a. Such a beautiful album and really delivered. [01:11:48] Speaker A: Yeah, I agree. Shall we rank the tracks? [01:11:51] Speaker B: Yes, let's rank the track. [01:12:00] Speaker A: And now we're gonna get into our track rankings. We're gonna do our bottom two and our top three. [01:12:07] Speaker B: This is quite a long album, so we're gonna do it that way because this is our podcast and not yours. [01:12:11] Speaker A: Yeah, no, exactly. Go start your own. But also still listen to this one. So I don't know if I have a worst one as opposed to just my bottom two. So I would say my bottom two, which is interesting because these conscious ones are probably the knowledge and state of the world. [01:12:32] Speaker B: Wow. [01:12:33] Speaker A: I know. I know. Boomi. I feel like these ones just don't do it as much for me as the other ones, but these are still great songs. [01:12:41] Speaker B: All right. For me, I think. I think, as well, this would be my bottom two. I. I don't know if I would actually. I would. I would say my second lowest is Lonely, even though I love that song. This just to show, like, how good this album is, because I love Lonely. But my worst song is the title track, Rhythm Nation. [01:13:01] Speaker A: Interesting. [01:13:02] Speaker B: Yeah. For some reason, it's a great song, but just for some reason, there's so much more this album has to offer. And this song, like, I don't know if I'm being biased, but it kind of takes a lot of the glory. So I'm like. I'm just kind of like. I'm not trying to be, like, cool and different like. Or anything like that, but, like, it just, like, I get the least amount of dopamine when I listen to this song. [01:13:24] Speaker A: Interesting. [01:13:25] Speaker B: So, yeah, that's my least favorite. [01:13:27] Speaker A: You know what? That's interesting. It's for me, like, similarly, like, I. It's not my favorite. I think it's just right in the middle for me. It doesn't make me hot, doesn't make me cold, but, like, interesting. You literally shot on that song. And then we're going to get to our top three. [01:13:46] Speaker B: Okay. [01:13:47] Speaker A: In third place for me is Black Cat. This one is so, like, what we had mentioned. I'm like, this one is the one Where I'm like, oh, my God. She's giving everything she's got. And I just get so pumped up listening to the song. It's also just like. I think just the. The production of this makes you just like so raw. Like, it's just like. It feels so raw that I just. I can't help but just admire it so much. It's so good. [01:14:16] Speaker B: Awesome. My number three is state of the World. I love this song. I think it's. It makes me groove. It is like the beats are so hard hitting and I love that shit. Like, I love that you get it. You get a pop girly on a song and a song that goes, dun, dun, dun, dun. You got me, take my money. [01:14:39] Speaker A: It's a good song. [01:14:40] Speaker B: It's a great. It's a great. It's one of my favorites. [01:14:44] Speaker A: My second one come back to me. Literally. Oh, my God. I. Everything I said already, I've already stated, but it's just so freaking good. And it's just. It's something that I'm like, I'll probably listen to on the card ride, on the car ride home. [01:14:58] Speaker B: I love that. Yeah, that's a. That's an amazing song. I was so close to putting that up there, but I think. [01:15:06] Speaker A: Why didn't you? [01:15:09] Speaker B: Why didn't you? My number two is escapade. I love escapade. [01:15:17] Speaker A: Okay. [01:15:18] Speaker B: I think it's such a strong song. It. It's what introduced me to this album and I love it so much. And it's just a bonafide bop. Come on. [01:15:28] Speaker A: I love it. It's. It's. It is. It is amazing. Which is why it's not my number one. [01:15:34] Speaker B: Oh. [01:15:35] Speaker A: Which is why I'm. Like when you said I was number two, like, my heart broke a little bit because this is undeniably the best song for me. [01:15:40] Speaker B: But. [01:15:43] Speaker A: It'S just. It is. It is. I think it's infused with crack. This is a song that gets. I was gonna say something very vulgar and I'll leave it out, but I. Let me just say it makes me imagine 20 janets in my room. [01:16:02] Speaker B: That's how Nellie goes to bed every night. [01:16:04] Speaker A: Yeah. [01:16:05] Speaker B: That's what puts her to sleep asleep. Jinx. [01:16:09] Speaker A: What's your number one if it's not escapade? [01:16:12] Speaker B: My number one is. All right. [01:16:14] Speaker A: Okay. [01:16:15] Speaker B: I love this song. [01:16:17] Speaker A: That was a fun one. [01:16:18] Speaker B: I love it. For. For me, of those hard hitting beats, it's the song that does it the best. And I love how it coasts. As I was saying, I love the weird kind of Sounds in it. I love the vocal samples. I love the. The sample that's throughout the whole song. It is just such a good song and there's so much of it. And I love the other version as well, the heavy D version, as I've said four times. So I like this song is amazing. [01:16:47] Speaker A: It's a great song. But also like this album is just fantastic. [01:16:50] Speaker B: I really, I really, really had a hard time choosing my top three. Like I didn't know whether to put it and come back to me. It was like almost in there. But yeah, I had to go with my heart. [01:17:00] Speaker A: Shut the fuck up. For me it was choose my bottom two because I'm just like, these songs are still good. Like these songs are still good. Just the two that just didn't do it for me as much as the others did. And I. You know what? All right is great. All right is great. They're probably, probably gonna listen to that again. Maybe the heavy D version. [01:17:20] Speaker B: The heavy D version. You need to listen to their remix. [01:17:26] Speaker A: That's so fun. And now it's time to give the album a grade cam. Shall we? [01:17:32] Speaker B: Yes. You ready? We're gonna do it on the count of three. Together. [01:17:36] Speaker A: Three, two, one. Diva Decoded. This album revolutionized the music stratosphere and is timeless. [01:17:48] Speaker B: I think it's like it. While it does sound very of the time, it is it done to the very best of the best. And in that sense, it's kind of timeless. Like it. I mean it's just such high quality music, it doesn't even matter. And I think the message is especially timeless and it's more relevant now than ever. So I, I think it's. It's DVD coded in that sense as well. And then it also laid the groundwork that the biggest names in the industry, such as her brother Michael Jackson would use sonically and lyrically. [01:18:24] Speaker A: It's like when you watch performers on stage today, like pop, like specifically part pop artists, you see them on stage and you, you see Janet. Like, you see it in the dance moves, you see it in the sound, you see it in the song you. [01:18:36] Speaker B: See in the production, especially Britney. [01:18:38] Speaker A: Oh my gosh. [01:18:39] Speaker B: Brittany is so inspired by Janet. And Britney loves Janet. [01:18:42] Speaker A: Exactly, exactly. [01:18:43] Speaker B: Slay for you was for Janet. [01:18:46] Speaker A: Yeah. [01:18:47] Speaker B: And then Britney, she gave it to Britney. And then Britney did it. [01:18:51] Speaker A: So good. So, so, so good. And you guys better agree, like there's literally no other option. [01:18:57] Speaker B: Go listen to this album. [01:18:58] Speaker A: It is so freaking good. And you'll see why she is Diva Decoded. Why she is the diva Well, I think that takes us to the end, Cam. [01:19:07] Speaker B: Yes. Thank you so much for listening. And thanks for joining me, Nelly. [01:19:11] Speaker A: Ah, and if you're ever down, Diva, listen to Rhythm Nation 1814. So you can get pumped up, so you can feel vulnerable, so you. You can feel melancholy, but also so you can feel excited and angry, socially conscious, and everything. And everything in between. [01:19:27] Speaker B: Thank you so much. [01:19:28] Speaker A: And we'll see you next week. [01:19:29] Speaker B: And we'll see you next week. [01:19:30] Speaker A: Bye, divas. [01:19:31] Speaker B: Bye. [01:19:40] Speaker A: Before we end, we'd love to shout out our lovely team behind this podcast. [01:19:44] Speaker B: First, we'd like to shout out our amazing editor, Blake Walker. Thank you so much. You do all the dirty work and we really, really appreciate you. [01:19:52] Speaker A: We love you, Blake. We'd also love to shout out our lovely social media manager, Angelica Ortega. So everything you see visually, it's her. [01:19:59] Speaker B: Yeah, she's killing it. Thank you so much for listening. My name is Cam Barbeau. [01:20:03] Speaker A: And I'm Nellie Deverles. [01:20:05] Speaker B: You've been listening to Diva Decoded.