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As we're already into the third month of twenty twenty four, this year has started off with a bang, A very chaotic year in general, but for black storytelling in particular.
Twenty twenty four got Hands. But you think the black storytelling realm has been chaotic too?
I mean, who can forget Kat Williams stirring the pot during his Club Chashe interview in the beginning of January, You.
Having an unnatural allegiance to losers.
It's not like you.
He had the Internet going wild with all the allegations.
Epitome of standing on big business.
Then, near the end of January, the h town hottie Megan thee Stallion released a single Hits, where she took shots at unnamed ops.
Unnamed but one rapper did decide to respond.
What they be saying about hit dogs anyway? Nicki Mina's responded via tweet, Instagram lives, and a radio app called station Head, And finally, in a song titled Bigfoot.
The girls are fighting in the words of the late Rodney King.
Can we all get along? Can we get along?
It's looking like the answer is no. And with Kat coming for Cedric the Entertainer and Steve.
Harvey, Ricky Smalley and Ludacris, Kevin hart Yup and Tiffany Hattish everybody.
Basically people were saying he was hating on them, trying to bring them down, But I don't think that's quite it.
You don't think Cat's a hater. I know you got your pH D player hater degree.
I mean, I do think he'd be hating a little bit, but as we discussed in our episode, I like to thank my haters. Offering principal criticism isn't hating. And when someone like Kat Williams, who is objectively funnier than comedians like Steve Harvey and Cedric the Entertainer, has comments about how they carry themselves as comics, I think that ventures into Hayden's first cousin beef, which I happen to have a bachelor's.
In beef, is nothing new, but it's particularly raw this year.
Yes, and with Meghan and Niki, one of the main talking points I saw was that Nicki Minaj was going to ruin her legacy by trying to go back and forth with Meghan, and while I am te Meghan one hundred percent. I don't know if that's actually true if we look at past beef's in the storytelling realm. People love to rehash beef, sure, but the few artists find themselves in rarely overshadow their most important works. Take Tupac versus Biggie, for example, their beef had a fatal ending.
But I've never heard anyone claim that their legacies have been ruined from beefing or Spike Lee coming for Tyler Perry. When folks still a retrospective on Spike's career, I don't think there will be much hand ringing about him beefing with Medea's creator. The beef filmmakers, poets, musicians, and authors get into maybe interesting like a footnote in their legacy, but from what I've witnessed, it doesn't completely ruin the
public's perception of them over time. I'm Katie and I'm Eves, and I got a question, which one of y'all won't beef?
So, Hayten and beef In are first cousins, Yes, I'd say so, So how would you define beef or beef in?
I define beef as a mutual feud among peers or near peers. So there's like no way I could be beefing with Oprah. I could offer some principal critiques which I have, or I could be hate no, no, but I can't beef with her. We're just not in the same stratosphere.
Okay, So per your definition, it takes two to tango and they have to be on the same level or they'reabout right.
So her bff, Gail King, could be beef with her, I can't beef with her. And when you look at the history of black storytelling, you'll find plenty of equally yoked beef. Because I'm a bookish gal, we'll focus on beef between writers, specifically Zora Neilhurston and other writers of the Harlem Renaissance. Part one, Zora Neil Hurston Versus Langston Hughes. Let's venture back to post World War One America. It was the dawn of the Jazz Age, and as music, art,
and literature converge. With this great migration, the Harlem Renaissance is born, an explosion of cultural, social, and intellectual and artistic expression rooted in the Black experience. Two literary stars who became synonymous with the Harlem Renaissance are none other than Zora Neilhurston and Lenggston Hughes and nineteen twenty seven, the two had a chance encounter outside a mobile Alabama train station. Zora was in town to interview Kadjo Lewis,
the last living former slave born in Africa. Langston was in Alabama giving readings and doing some research. The two decided to go on a tour of the Deep South. During their road trip, they learned they shared a love for black folklore, everyday Black Folks, an adventure. In her nineteen eighty nine essay Turning into Love some thoughts on surviving and meeting Langston Hughes, Alice Walker says of Zora and Langston's friendship, it is so easy to see how
and why they would love each other. Each was to the other an affirming example of what black people could be like. Wow, crazy, creative, spontaneous, at ease with who they are, and funny.
Damn. I really don't want their friendship to end now.
They did maintain a close friendship for many years and even had the same patron, Charlotte Mason. Patroon basically a rich white person who supported artists financially, and that's nice of Charlotte I guess well, Charlotte did give both Zora and Langston healthy monthly stipends. She was still pretty racist though.
She believed African Americans and Native Americans were quote younger races unspoiled by white civilization, and that American culture could be re energized by exposing it to primitive ones.
That was very paternalistic of her.
Yeah, it turns out Charlotte was central and Dora and Langston's friendship, and they're falling out. She demanded complete devotion from the black folks she was sponsoring. She even controlled Zora's work to the point that Zora wasn't allowed to show anyone else without Charlotte's permission. That being said, Zora and Lanston did produce some of their most enduring works during the time that she was sponsoring them. But here's where the beef comes in, and it all starts as
a play called mule Bone. Zora and Langston began working on mule Bone in March nineteen thirty. The play was based on a folk tale Zor her during one of her anthropological trips to Florida.
The pair dedicated the play to Louise.
Thompson, their typist sounds good so far, so by June the play was almost done. Zora went away for the summer, took her notes, and promised to return in the fall so they could finish the play. But when she came back, she would not return Langston's cause. Zora felt that Langston wanted to list Louise Thompson The Typist as a third contributor and was not down with that at all. Some historians believed Zora was jealous of Langston and Louise's relationship,
but I don't know, I don't know. Also, during this time, Langston was in the process of severing his relationship with Charlotte.
Ooh, I knew she was gonna come back in it.
Yeah, Charlotte was controlling Langston too. According to Langston Hughes biographer Faith Barry, Charlotte chose the books Langston could read, the music he can listen to, and the plays he could watch. So when Langston got out of his relationship with Charlotte, she preyed on his downfall and took Zora's
side in her dispute with Langston. Some historians think Zora was trying to protect her relationship with Charlotte by shunning Hughes because while Langston cut himself off from Charlotte's purse strings, Zora remained close to her till Charlotte died in nineteen forty six.
Zora wasn't trying to jeopardize that bag, y'all.
And wasn't, so she's not communicating with Langston right, And in October of nineteen thirty she submits mule Bone for copyright, listing only herself as the author.
Zora Girl Yes.
And in January of nineteen thirty one, Langston finds out that a copy of mule Bone, listing only hersu's name, was sent to Gilpen Players, an all black theater company in Cleveland, for their consideration. I know he was mad, big, mad, furious, I rate, but Zora wasn't the one who sent the play to Gilpen.
It was actually Carl van Vechten.
Zora had sent him a copy and he said it to Gilpen without telling her. During all this kerfuffle, Langston applied for a copyright under both their names. Gilpin wanted to stage the play, but it still neededn't work. There was some back and forth. Zora refused to allow productions to play. Then she authorized it under the condition that she could work with Langston on changes. Then she sent Langston a letter saying he didn't write any of the play.
So with all that drama, Gilpen decided not to go forward with the play, and Langston Hughes's copy of Meal Bone in his papers at Yale. He pinned a handwritten note summarizing it down with him Zora Ammuel Bone. The notation reads, this play was never done because the authors fell out.
Dang, so no one ever got to see Meal Bone.
Oh no, they did.
It hit the stage for the first time in nineteen ninety one, over sixty years after it was written. It was met with mostly negative reviews and the consensus that if Langston and Zora would have finished the play together then it would have been much better.
Wow, the beef really impacted the art. That's tragic.
And while a copyright issue was the center of Zora and Langston's beef, ideological differences fueled Zora Neil Herstin's and Richard writes beef and they did not mince words.
More on that after the Break.
Part two, zor Neil Hurston versus Richard Wright and other respectable negroes to understand why Zora Neilhurston and Richer Wright had beef. You have to understand some of the contexts of the Harlem Renaissance. The Harlem Renaissance was an artistic flowering of the New Negro movement. Its participants celebrated their African heritage and embraced self expression, rejecting long standing and
often degrading stereotypes. Richard Wright wrote what you might call protest novels, works that were overtly political and interested in sending a capital M message. Richard Wright used his role as a Harlem Renaissance writer to reveal the humanity of black people through the strength of arts and letters. And Zor Neil Hurston was explicitly not on that she wrote for the sake of writing, rather than for a greater
political good. Some even questioned her standing as a Harlem Renaissance writer because of her flat refusal to politicize her early writings. Richard Wright and other writer's acute Zora of using African American stereotypes in her writing to pander to white audiences.
That is an evergreen accusation. I've read some of Zora's work. What did Richard say about it? Like, what did he find offensive?
So the back and forth between them starts after Their Eyes Were Watching God is published.
Give a quick synopsis for folks who aren't familiar with the book.
Sure Their Eyes is written using a Southern dialect. It tells the story of Janie, who, after childhood hardships and difficult marriages, finds the love she seeks in a young blue singer named Teacake. The two live happily until Jane shoots him after he attacks her. Richard wrote a scathing review that appeared in The New Masses on October fifth, nineteen thirty seven.
In part, he says, miss Herston voluntarily continues in her novel the tradition which was forced upon the Negro in the theater, That is the menstrual technique that makes the white folks laugh. Her characters eat and laugh and cry and work and kill. They swing like a pendulum eternally in that safe and narrow orbit in which America likes to see the Negro live between laughter and tears.
It was really bold of Richard to say that in public in that way.
Yeah, I like they was going at each other, But he didn't step there. He goes on to.
Say, the sensory sweep of her novel carries no theme, no message, no thought. In the main, her novel is not addressed to the Negro but to a white audience whose chauvinistic tastes she knows how to satisfy. She exploits that phase of Negro life which is quaint, the phase which evokes a piteous smile on the lips of the superior race.
That's really hard hitting, honestly, and that's a pretty big accusation.
It was like a very eloquent read.
Yes, a read I feel like read is putting it very lightly though, and other black writers agreed with Richard Wright, including Ralph Ellison, W. E. B.
Du Bois, Alan Locke, and Otis Ferguson. But white audiences reviewed the book positively, which.
I'm sure Richard saw as evidence that his take on it was right.
Yeah, but not only him. Remember Charlotte Mason, Zora's patron.
Mm hmm, how could I forget? What about her?
Well?
As I said, she was really controlling in Racist She got Zora to sign an agreement that stated that all the material that Zora wrote would be the legal property of Charlotte, and Zora could only use it with written permission. In Yearning Race, Gender, and Cultural Politics, Bell Hooks asserts that it is difficult to believe that Herston was blind to the cultural imperialism the white supremacy of her sponsor.
She goes on to argue that because of Charlotte Mason's financial support of herson, she enforced specific themes and subjects onto Hurston's work.
So Charlotte was getting Zora to include the stereotypical depictions of black folks that Richard White sound offensive.
That's the thought process.
But I say, even if it wasn't explicit, Zora knew that the lady had her views right, and she knew she needed money, so preemptively added some stuff that she knew would reinforce Charlotte's worldview.
Mm hm, that would make sense. What does Zorra have to say about all of this anything?
Sure?
Did?
She said, I am not interested in the race problem, but I am interested in the problems of individuals, white ones and black ones.
I guess that goes back to what you said about her writing being apolitical.
Yeah.
She criticized what she described as quote race pride and race consciousness, describing it as a thing to be a board, stating suppose.
A Negro does something really magnificent and not glory, not in the benefit to mankind, but in the fact that the doer was a Negro. Must I not also go hang my head in shame when a member of my race does something execrable. The white race did not go into a laboratory and invent incandescent light. That was edison. If you are under the impression that every white man
is an Edison, just look around a bit. If you have the idea that every Negro is a carver, you have better take off plenty of time to do your searching.
What do you say about that?
It's a little bit troubling. In some ways, She's not wrong, you know what I'm saying, Like, yes, we are all made differently. We all don't have the same paths in life. We all don't, you know, have the same roles, and we do different things. That's true. But I think this kind of sentiment and response to race pride and race consciousness in a way ignores the reason behind race pride and race consciousness, which is that we've been through a
lot of shit. So a little dismissive in ways. But I'm not gonna say I don't feel where she's coming from, because you know, we take the ups with the downs. That's a fair point across the board. I just think it's a little misplaced in this instance.
I really interested to see what Zora Neil Hurston thinks of her like standing in American culture now, because she is like lumped into all these Harlem Renaissance writers who, for the most part, were on that race pride stuff, even though she wasn't. When I first learned about Zora Neil Heherston in high school, as far as like her books and stuff, I think their eyes were watching God.
It wasn't even a sign.
It was like, you can read these five books, and like her book was the only black one, so I read that one, but the teacher wasn't like, oh, zorineel Hurston was like against race pride, you know what I mean? And I think like at that time it was pretty well known that she was kind of like a contrarian in that regard. But I think as a contrarian you got to be contrary. You can't agree with these niggas, even if you kind of do what do you mean?
I think that was her role in the Harlem Renissance was to be contrary to Richard Wright, to W. E. B. Du Bois to like say these things like I'm not black, I'm Zora. You know she said it first. Okay, sorry, Yeah,
I think that's a fair point. And even if it wasn't the case where she was specifically trying to be contrarian, it's like she wasn't the only person who was not trying to be in the race consciousness lane at the time, Like there were other people who were writing who wanted to be more focused on like historical fact rather than writing things that were about uplifting the race, rather than writing things that were about being.
Race positive specifically. So she wasn't alone in thinking this way, because I think Drusilla Dungee Houston was writing at the time, and she also was on this way where she was talking about historical thing and the roots of where black people came from, and she shared kind of similar sentiments.
She was still in the category of racial uplift, but also in some ways said things that were derogatory a little bit about other writers in the Harlem Renaissance because of how much they focused on art as opposed to educating people about the real black history.
Basically, Okay, because I know Zora got into it with w Duvois and you know, this is like a little bit after the Harlem Renaissance, but saying that the brown versus Board decision like wasn't good basically, and that you know, y'all so focused on race, y'all so focused on like getting close to white people, which is a criticism of
the Civil rights movement and desegregation. And yeah, but I don't know, I really do think that Bell Hooks is onto something like having this white woman who is sponsoring your life, like you wouldn't be able to really like write these things. And she's racist and you know that, Yeah, you know, she's racist. She thinks you're primitive, and you know, be next to you. It's giving get out, like you know, like you use some of you to reinvigorate herself.
So I do think that played a part in it.
And it kind of goes back to our episode the Black Struggle Industrial Complex, like when you have like this taste maker in your head kind of like controlling the art you put out. You're gonna put little goofy things in there to appease them, you know, Like they're saying that she used all these stereotypes, and she used the Southern dialect, which when I read, their eyes were watching God. I like the Southern dialect. I never read a book
like that before. But I know some people were like, I literally cannot read this because I can't.
Catch the flow of the dialogue.
So I do think Charlotte played a big role in like what she spoke out against and the art that she put out. But I mean I could see both sides. I can see why people were beefing with her, and I can see why she was like, f ya, I'm gonna do.
I'm gonna do.
Me and Charlotte, Yeah, me and my girl.
Did Sora ever review Richard's work.
Yeah, and she came swinging too. In April of nineteen thirty eight, she reviewed Uncle Tom's Children, which are novella set in the Deep South that focus on the lives of black folks during the post slavery era and their resistance to white racism and oppression.
Sora writes, this is a book about hatreds Mister Wright serves noticed by his title that he speaks of people in revolt, and his stories are so grim that the dismal swamp of race hatred must be where they live. Not one act of understanding and sympathy comes to pass in the entire work.
And that was just the first paragraph. Mind you, dang, did they ever squash the beef? It doesn't appear so their eyes were watching. God went out of print shortly after its release in nineteen thirty seven and didn't get
reprinted until nineteen seventy eight. Many believe that happened because of Zora's refusal to participate in the racial uplift movement championed by W. E. B. Du Bois, and in nineteen thirty three essay titled the Negro College du Boys appears to throw a shot at those of Zora's ilk.
He writes, why was.
It that the renaissance of literature which began among negroes ten years ago has never taken real and lasting route. It was because it was a transplanted and exotic thing. It was a literature written for the benefit of white people and at the behest of white readers, and started out privately from the white point of view. It never had a real Negro constituency, and it did not grow out of the inmost heart and frank experience of Negros. On such an artificial basis, no real literature can grow.
Zora continued to publish some essays, but ran into money and health problems and died in nineteen sixty after a series of strokes. Right moved to Paris in the late nineteen forties and eventually became a citizen of France. He published dozens of novels, essays, and other nonfiction works well into the late nineteen fifties until dying also in nineteen sixty, due to heart related problems. It's interesting that they both died in nineteen sixty of heart problems.
Yeah, I think there were twin flames.
No, but yeah, so, like I don't know how much you know about like Dora's life after the hollow and issues, But she died like penniless and was buried in an unmarked grave, and Alice Walker had to kind of rediscover her for the public right, and that's how her book came back into print. Because she wasn't just beefing with Langston. And Langston tried to reach out to Zora some more,
and she just would not speak to him anymore. She wasn't just beefing with like say, she wasn't just beefing with Richard right, and she was beef wood to boys like she had all these people who she was just like opposites of. And I say that her legacy hadn't been ruined, but for Alice Walker, we.
Might've just like not known who she is.
So I don't know, maybe her legacy could have been for her friend or just like erase maybe is a better a better way to phrase it, because there were those decades after she died that people really weren't checking for her for her work, even being buried on my grave, you know, just kind of like the disregard for her as a person, let alone an artist and a writer. But I do think, like it is fun to see these reviews coming out, right, I like when the beef is generative?
What do you mean by that?
Give me some art, Give me some.
Art to to showcase the beef.
You want the distract.
I want to distract, don't tweet.
I have something more substantial.
Yeah, I want to know that you've thought about this, that you considered the other person's point of view and you think it's dead wrong and you think they live in a racist swamp.
That dismal one girl. So at the time, this was happening. Zora had her stature. She wasn't. She didn't have that grade of a stature at that point where she was beefing with Richard Wright.
I think it depends on the audience, right, So the other Harlem Renaissance writers, mostly the men, they didn't like what she was doing. As I said, the white audiences loved her book, you know what I'm saying, it loved it. It was Charlotte's stuff really until she signed it back
to Zora nel Hurston. Such a strange agreement. But so white audiences liked it, and then the black Harlem Renaissance men didn't like it because I think they're like more mission driven, you know, like we're gonna make this work that is going towards this greater good of people realizing black people's humanity. And I think we see a lot of that now. Like I said, there's always the same conversations go on and on. It's like, oh, are you writing to better the condition of black people or are
you just creating art? And like sometimes people do get frustrated with people who are like kind of a racial.
Yeah, but I think in a way, you know, the racial uplift work you can also argue that work in that vein is made for white audiences too, because we're trying to convince them our our humanity. We're not trying to, for the most part, convince other black people of our humanity.
I think it's probably fifty to fifty because these people were very close to slavery, right, so you had a relative, most likely that you knew had been enslaved. So if you've been told that you are less than, you're subhuman, you're not as smart, You're gonna believe that on a
certain level too. So I think the even if the people weren't like, you know, running out to go read a du boy's essay, they knew that there was this important black man who wore a sue and kutacral good and went to Harvard and taught at Atlanta University.
So I think it was kind.
Of twofold, like, hey, black people, you are somebody, and hey white people were just as good too, type of thing. And I do think that is kind of like what we see now, Like when I watch a Blackish, I'm like, this is for white people, but then it's like, oh, you see like this black family, now all of them are mixed for real, that's a different subjects. Family.
Let's stay on track here.
On you know ABC.
They live in a nice house, they got good jobs, everybody looking nice, hair done, nails done everything, They got cute clothes, they get along for the most part. It's like the representation of it all like aspirational, Like you know, I ain't lively like that. So I think it's showing like white people that like, oh, white people are human too,
which is like such a low bar. But then also like black people like, oh, this is what you could have, this what you could be, this is what your kids could be.
So do you know what white audiences said about the beefs and how they felt about it? Because the thing that I'm thinking here is how if you're being a respectable negro, you know, you'll hear a lot of people say you can't let them see us doing all this, like all this in fighting, like we need to be unified. We have all these other problems that are against all of us together as a race, and we're doing all
of this in fighting. Do you know, because Zora had a lot of white people in her audience, what they said about these beefs she was having, was she like were her audiences like back up, off my girl, or were they like, oh, look at the blacks, they really are on civilized.
That's a good question. I don't know about the general public. I know, like the people that were in like the Black People's Business and the Harlem Renaissance, like Charlotte and carl And I think it was just kind of like camps and I'm speaking mostly to like her beef with Lenston Hughes, the white people that she was like in like direct community with kind of just took her side. She was more well known than Langston at the time, you know, he was younger, so they took her side.
I don't know what the general public was saying, but that is a good question because that is a common sentiment, like we.
Doing stuff in front of white people.
But yeah, it would have been interesting to see like full blown pieces of art from Zora and Richard coming out of the beef. One thing about Uncle Tom's children. It did get kind of like, oh, this is too sentimental, Like that was like not only Zora Neilhrson was saying that, And so then he wrote Native Son, which was supposed to be like his serious work. So he did kind of respond in that way and kind of changed his approach. But yeah, I love a generative beef. Like I want
to listen to hit him up and who shatya. I want to dissect the lyrics, you know what I'm saying. I want to like get in the booth. I don't want this yap yap right.
Because it shortens the distance between us and who the artist was because we seeing them angry, that's the side of them we might not have seen before.
Yeah, Like you can be angry in the art, but when you're just being unhinged, it's like you're not being thoughtful, You're not being an artist, You're just talking your shit, which you know you're human, so I guess. But I think it's always worth interesting to like put the beef in the art, write your thoughts down, whatever your medium is, if it's paint, paint the beef. This is your PSA to them people.
But I think it's cool too because it really is criticism, you know. Like the quotes were harsh, you know, I do think that they were harsh, you know, and there are other black people who care about Zora and WB du bois to saying these things, and other upstanding people are saying these things they have right, they have weight, you know, and I think, you know, you really have to be considerate about the things you say when you
have rank in the black community. It's like, is it really do I really need to say this out loud in public?
You know?
What is the service that I'm doing for people? But at the same time, you know, I care a lot
about arts criticism as an arts critic myself. Like, I think it is very healthy to have these conversations in public, and it's nice to see people who were really thinking about this and who were afraid to share their opinions on it and not just to be like okay representation, like okay, like I have something to say about it, not really feeling it, and I feel like my opinion has some substance behind it, you know, it's not just floating on thin air, and I want to say it
because it needs to be sid So I appreciate both sides of that and that way too, and it's refreshing and I think healthy to see that kind of criticism, that kind of back and forth happening between black artists.
Yeah, it definitely gives people like me who like to be in the archives something to do in like some tea, some history. But it also shows that hystorical figures were people with emotions, which I feel like sometimes we forget, like there are people with emotions. They weren't just these like great men, great women at all times. You know they're in relationship with people. And when you're in relationship
with people, you're gonna be beefing, you know. So diving through the archives, you'll find many examples of your fased beefing. It's normal.
You're probably beefing with three people at this very moment.
Speak for yourself.
So while it might make us uncomfortable or disappointed to see it happening in real time with artists today, remember that beef has this place in storytelling too. Now it's time for roll credits, the segment where we give credit to a person, place, or thing that we've encountered.
During the week eves. Who are what would you like to give credit to?
I like to give credit to hiking. I really like hiking. I like being outside and fresh air. And there have been some really nice, sunny, crisp cool but not you know, not two cold days and I've been able to spend them outside. It gives me lots of time to think. I find that I've been getting very, very emotional on hikes lately because they remind me of things that make me emotional. But I'm appreciative of it. I'm like, Okay, I was crying the metal yesterday because I like, nobody's here,
so nobody can see me cry. Like this is nice. Like you know, I think crying can be a very insular thing too, and it's like often done indoors. So it's nice to be outside and be like, Okay, look at all this around me, look at what I'm still grateful for. So I appreciate the space that literally being outside the space gives me to like come into my full being and it's a good time.
I like that.
I will give credit to reading books out of order. I just started doing this and because you know, I'm on my nonfiction wave right now. And so I was reading this book and I was trying to read it cover to cover and I was just like, I'm not feeling this chapter. So I skipped it and I was like, well, what chapter will I be lucky? And so I looked at the table context I was like, this sounds like an interesting chapter.
I'm gonna read this.
And now was it a book of essays?
No, it was like a historical thing, but it was kind of going like too deep in the weeds on some things, and I was like, I do not care, and I didn't like feel like, oh, because I didn't know about this treaty, that I am missing out on
knowing something that happened in the nineties. Personally, so I want to give credit to reading books out of order, maybe just picking a chapter or two and getting what you need for the book and not feeling bullied by reading a bunch of stuff that you don't care about.
I'm here for you reading as you would like to. But I must say a response that I would be very uncomfortable with closing the book and being like I finished it.
I would say I finished it. You would just write some chapters.
Oh okay, yeah, okay, yeah, you're announcing this too no to myself. You know, I'm just saying, like, oh, I finished that book. I have marked that off the list. If I missed parts of it, it would just be a personal thing, not anything to like be reconciled with anybody else. Who's what my patrons and my patrons don't need to know that I didn't finish the book. Did you read all of it?
Did you want to do some research?
Nigga? But that's all. I like that though, because you know, you know what you need and what you want when you want it.
See y'all next week.
Bye y'all.
Hi Ma.
On Theme is a production of iHeartRadio and Fairweather Friends Media. This episode was written by Eves Jeffco and Katie Mitchell. It was edited and produced by Tari Harrison. Follow us on Instagram at on Theme Show. You can also send us an email at hello at on Theme dot Show. Head to on Theme dot Show to check out the show notes for episodes. For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcast, or wherever you listen to your favorite shows.