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Show #63 | Roland Lounge, Burbank, California
Guest: KK Harris
May 8, 2017


Here are the job opportunities (or as we like to call them, Grind Opps) from this week's show.


05/08/17

GRIND OPP #1

Position:
Recording Studio Audio Engineer

Industry: Recording

Location: Spokane, WA

Description

New studio in Spokane area seeks experienced engineer.

GET THIS JOB

05/08/17

GRIND OPP #2

Position:
VR Sound Engineer

Industry: Recording

Location: Santa Monica, CA

Description

VR Game developer seeks sound engineer with experience in Virtual Reality.

GET THIS JOB

05/08/17

GRIND OPP #3

Position:
Sound Mixer

Industry: Recording

Location: Logan, UT

Description

Fitness technology company seeks motivated, athletic sound mixer to record workouts worldwide.

GET THIS JOB

05/08/17

GRIND OPP #4

Position:
Radio Production Assistant

Industry: Radio

Location: Highlands, NC

Description

Radio Station seeks experienced radio production assistant.

GET THIS JOB

05/08/17

GRIND OPP #5

Position:
Producer

Industry: Radio

Location: Dayton, OH

Description

Small market station seeks experienced Producer.

GET THIS JOB

05/08/17

GRIND OPP #7

Position:
Associate Producer / Online Editor

Industry: Film

Location: Euless, TX (Dallas Area)

Description

Dallas / Ft. Worth area production company seeks Associate Producer with editing knowledge to join the team.

GET THIS JOB

05/08/17

GRIND OPP #8

Position:
Post Production Assistant

Industry: Film

Location: Woodland Hills, CA

Description

A Woodland Hills based advertising agency is seeking a Post Production Assistant.

GET THIS JOB

05/08/17

GRIND OPP #9

Position:
Theatrical Trailer Editor

Industry: Film

Location: Los Angeles, CA

Description

Hollywood-based creative advertising agency is seeking a talented Theatrical Trailer Editor to join the team in developing entertainment-based Theatrical Trailers.

GET THIS JOB

05/08/17

GRIND OPP #10

Position:
Baker

Industry: Culinary

Location: Los Angeles, CA

Description

Reputable catering Company in LA is seeking a dependable, experienced baker/pastry cook with experience in a wide variety of breads, desserts, cakes, cookies and pastries.

GET THIS JOB

Transcript

Today’s live guest on Connected is KK Harris: dancer, choreographer, instructor and Quintana on the Fox hit show “Empire.”

She will be giving advice on how to turn your passion into income through perfect execution.

Each Monday at 11AM PST, Connected hooks you up LIVE with ten job openings (what we call grind opps) in audio, film and broadcasting. Join hosts DJ IZ and Cloie Wyatt Taylor to get the inside scoop on these jobs.

—-

DJ Iz: Welcome to “Connected.” I’m your host, DJ Iz. I’ve got my lovely co-host, Ms. Cloie and today, we are in the house of Roland and today is another Monday Takeover. We have a special, special guest. Maybe I’m biased, because I know her and I consider her my sister…

Cloie: Well…

DJ Iz: …but we have the lovely Ms. Kay Kay Harris.

Kay Kay: Hey, what’s up?

DJ Iz: What’s up, girl? Good to see you.

Kay Kay: Me, too. I miss you, man. How have you been?

DJ Iz: I miss you, too. I’ve been great. As you could see, we keep it moving and…

Kay Kay: Yeah. You’re great, that’s why.

DJ Iz: No, you’re great. And that’s why…

Cloie: Well, you’ve been pretty great, too, not for nothing.

DJ Iz: Yo, let me tell you, Kay Kay gets busy. I don’t know if you got a chance to review her.

Cloie: Oh, always.

DJ Iz: Yo…

Cloie: Always, because also, this is our first female guest, so yes.

DJ Iz: Yes, absolutely.

Kay Kay: That’s really…

Cloie: Yes.

Kay Kay: That’s super dope to know.

DJ Iz: Yes.

Cloie: Yes…

DJ Iz: Yeah, you are our first.

Cloie: …it is you.

Kay Kay: All right, all right.

DJ Iz: But you know, just…

Kay Kay: I’ve got to make a good impression.

DJ Iz: …so you know the criteria, if you’re going to be here with us on “Connected,” we keep it 100 on “Connected,” right?

Kay Kay: Yeah, okay. Well, that’s…

DJ Iz: So the fact that you’re our first female…because I feel like, you know, our whole thing with here–even with our guests–is, we like to bring people on. It ain’t just about influence or anything, just more or less like your passion and how you go about your passion and how you go out there and really just try to conquer the world, right? Now, as…

Kay Kay: Yeah.

DJ Iz: …maybe as simple as that sounds, as we say, everybody says they love something, right?

Cloie: Yes.

Kay Kay: Mm-hmm.

DJ Iz: But then, how do you go about what you love, you know what I’m saying?

Kay Kay: Right.

DJ Iz: How do you go out there and knock down these walls and get out there and grind? So that’s why you’re here today…

Kay Kay: All right.

DJ Iz: …because you’ve got a wonderful story. Yeah.

Cloie: Because you’re out there doing it.

Kay Kay: I’m here trying to do it.

Cloie: Girl…mama, you’re doing it.

Kay Kay: Girl, I’m trying.

Cloie: So let’s talk about how you and how you even got here. Now, we first met you…everybody fell in love with you on “America’s Best Dance Crew.”

Kay Kay: Yeah, I was such a baby. I was a child. Oh my goodness.

Cloie: Well, we’ve all got to be a child at some point, so…

DJ Iz: But you were killing it as a child.

Cloie: Right?

DJ Iz: Go ahead.

Kay Kay: Thank you.

Cloie: [Inaudible 00:02:30] just like, “Unh, uhn. Bam.”

DJ Iz: Right.

Kay Kay: Oh my goodness, that’s funny.

Cloie: So can you talk a little bit about that experience?

Kay Kay: Yeah. So I mean, ABDC was one of my best and worst experiences…

Cloie: Oh.

Kay Kay: …only because for…I think when you’re a child in the limelight, it’s really hard and I don’t think people understand that and because…I don’t know, like our…for one, our age group–like, our age range–was crazy. We had a nine-year-old to a 17-year-old, so that was weird to begin with. And another thing was that we were only together for a week and then we decided to audition. So we weren’t…we met each other in Hawaii. We didn’t know each other years and years how other crews did, so that was hard for us, because we had to learn how to live with each other.

Cloie: To speak the language, yeah.

Kay Kay: And that was it. We didn’t hang out with each other for years…I don’t know. So it’s just hard, to know…

Cloie: You had no history.

Kay Kay: …yeah, and to get to know all the different personalities aside from all the other crews living in the hotel with you, as well. So it was hard for us. And on top of that, Angel’s mom passed away during the show, so it was just…it was a lot. So it was a great experience, because to be that young and to be performing in front of millions of people and to have challenges and to meet other crews, that was the best part about it, was becoming a family in the family. But it was hard.

Cloie: And how you rally around each other, too.

Kay Kay: Yeah. But it was definitely hard, especially for…I think for the four that were older in our group, because the young girls, you know, they look up to us. And one wrong thing you do, you might not notice it, but they learn that way, so they’ll start to at that way. And then, like…

Cloie: So you also kind of act as a role model?

Kay Kay: Yeah. And then…

Cloie: Wow.

Kay Kay: …like a role model to someone that you’re just now meeting, but you know you’re going to end up being there in the long run. So it’s like, you’ve got to eventually deal with this person. You can’t just walk away from it. So that was hard for me, because I’m used to just being like, “No…”

Cloie: Right.

DJ Iz: Peace.

Kay Kay: Yeah, if I’m not feeling you, I just walk away. But not there, because you can’t walk away from it, because you’re sequestered.

Cloie: And for how long was the shooting?

Kay Kay: Three months, girl.

Cloie: Three months?

Kay Kay: Mm-hmm. We were in a hotel for three months, with school. We did school with each other.

Cloie: What?

Kay Kay: Yeah.

Cloie: Well, that’s how they…on movie sets, yeah. I mean, it’s just like, “Time to go to school,” and they put you to work.

Kay Kay: Yeah. But at least on movie sets, it’s not a competition. So like, at least you’re not going to school with your competitors.

Cloie: Right.

Kay Kay: So…and that’s always awkward…

Cloie: I’ve got the answer.

Kay Kay: …especially because you’re kids, too. And kids are petty.

Cloie: Numbers age.

DJ Iz: Yeah, yeah.

Kay Kay: Kids are so petty, like…

DJ Iz: That’s cool.

Cloie: I mean, that’s crazy, that…

Kay Kay: But it’s amazing. It got me here. It’s…

Cloie: Well…

Kay Kay: …definitely crazy great.

Cloie: Because let’s talk about it now. You’ve performed with Fergie, you’ve performed with…

Kay Kay: Yeah.

Cloie: …Britney–Britneh–you’ve done…I had to do it. I had to do it. I had to do it.

DJ Iz: Britneh.

Cloie: I had to do it. I had to…who’s laughing? It’s fine, I had to do it. I had…I mean, with Usher. You guys have worked together a bunch and you’re also both from here, is that right? Yeah.

Kay Kay: Mm-hmm. Yeah, we from the IE. Yeah.

DJ Iz: Right down the street [inaudible00:05:41]. You’re like, “IE, duck. Hold on, boy. Hold on.”

Kay Kay: Right, “Hold on. Duck.”

Cloie: It’s true. And you just explained a lot to me about the IE. I didn’t know. I didn’t know.

DJ Iz: Yo, the IE is ferocious.

.

Kay Kay: Yeah, it’s definitely not something…

DJ Iz: But just…what I do love about the Inland Empire is, there’s a lot of talent out there.

Kay Kay: There is.

DJ Iz: There’s a lot of talent in the streets.

Kay Kay: There is.

DJ Iz: There’s a lot of talent.

Kay Kay: There’s so much talent, but you know when you have close-minded people…

DJ Iz: Yeah, yeah.

Kay Kay: …that are just like…they settle with life?

Cloie: Yes.

DJ Iz: Yeah.

Kay Kay: So that’s where it stops.

DJ Iz: No, that’s very true, because what I’ve noticed, too–even with the mentality out there–they’re so not about thinking outside of those parameters of…whether it’s San Bernardino, wherever side, Moreno Valley, Rialto, Fontana. And it’s like you go there and it’s like, “No, man. There’s a road out here, for real. You’ve got to go, you know?

Cloie: But you know what? That also goes to…we talk a lot about people that call in…call in…that type in–because it’s all online–and people are like oh, they want to do things, but they don’t know how to get outside of that, what you’re talking about, right now…

DJ Iz: Right.

Cloie: …you know, be it family not being supportive or feeling like people are going to laugh at them or judge them, you know?

Kay Kay: And that’s a personal thing, because I feel like you can’t truly say you can’t do it, you know what I mean? It’s just, you’re just…you don’t want to because of the opinions of others…

Cloie: That’s right.

Kay Kay: …so who are they?

DJ Iz: And that’s the thing, too, like we’re…or what we do on “Connected,” we’re really big on the framework of what that looks like, right? Recognizing something you have in your heart or that you love that you might feel you’re okay at, but want to be better at and then understanding, okay, what are the next steps? Who do I need to talk to, is it a…Do I need to go to school for it, do I need to go to a class for it?

And that’s what really kind of drew me to having you today, is because I look at everything you’ve been able to do in the world of dance and other things and being a choreographer and everything and traveling the world with doing what you love. And it’s so important for us for our viewers to understand kind of like the nuts and bolts of what that is, what it took and how you even first came to the realization that dancing was something you loved, you know?

Kay Kay: Yeah. Well, that’s a crazy thing, actually, because I was a cheerleader. I didn’t dance.

DJ Iz: And I remember you telling me that.

Cloie: But I mean, there are…but that world…I mean, two totally different things with a…

Kay Kay: Totally.

Cloie: …definite crossover, you know?

Kay Kay: It’s easy to cross over, but for me personally, the first reason I wanted to start dancing was because everybody always said something slick about cheerleaders, as far as we couldn’t dance, we look like robotic dancers or something like that. So I was like, “That’s all right, because one day, I’m going to shit on all your heads,” like…

Cloie: Look at that.

DJ Iz: I like it.

Kay Kay: That was one day. But I couldn’t dance back then, so I was just–back then–just staring, like, “Mm…”

Cloie: So what did you do to step out there?

Kay Kay: Well, I actually saw a video of Brian Friedman choreography on YouTube and that was the first thing I saw. And I actually saw…do you know who Taj Riley is?

Cloie: Mm-hmm.

Kay Kay: Taj Riley and Judson Emery. And I was like, “Oh, my God. I’m obsessed with them.” And then, I found out from that video that there’s a plethora of amazing teachers that taught at the Pulse. And then, I went to the Pulse on tour and that’s where I met Cameron, Charlize, Angel and Jaira. Cameron came from Hawaii and we met her all at the Pulse.

Cloie: Okay.

Kay Kay: She brought us back to Hawaii and that’s where we met the other three girls from ABDC for 8 Flavahz.

Cloie: So it…

DJ Iz: Wow.

Cloie: I mean, it really was like…oh, see, that’s just synergy and everything lining up in a very specific way.

Kay Kay: Yeah. Yeah. So I knew Charlize and Angel and Jaira, but I had just met Cameron at Pulse. And then, I met them when she brought us to Hawaii and then, we did ABDC. So we didn’t know each other.

DJ Iz: Right.

Cloie: Just like, “Hey, guys. We’re amazing.”

DJ Iz: And how old were you when you did this, Kay Kay?

Kay Kay: Fifteen. I was 15.

Cloie: Oh, man.

DJ Iz: Fifteen, on the grind?

Kay Kay: Yes, 15.

Cloie: Baby, baby.

DJ Iz: And that’s so great, too, because you know, we’ve had viewers that are like, “You know, I’m in my…”

Cloie: Too young?

DJ Iz: “I’m 40. Is that too old,” or, “…too young?” And it’s like, you know, “Man, you just go for it. Just go for it.”

Kay Kay: Yeah, especially as a kid, because America loves kids. So it’s much easier to be put on as a kid [inaudible 00:09:51], sadly. But it’s so much easier…

DJ Iz: But it’s true, though. That’s real…

Cloie: It’s really true.

DJ Iz: That’s real talk. That’s real talk.

Cloie: It’s really true. So now, talk about how you guys met and how you started working together. Because you said your last show that you did together was at the Staples Center for Usher, yeah?

Kay Kay: Yeah.

DJ Iz: Mm-hmm, at the Staples Center.

Kay Kay: So I met this great individual…

DJ Iz: Whatever.

Kay Kay: …individual. Now, he’s actually freaking amazing, though. When I first…

Cloie: Oh, yeah.

Kay Kay: But when I first met him, yo, I didn’t…I wasn’t thinking nothing like that. I was like, “Okay, this is just Usher’s team, you know? You just got to be nice.” And then, I was like…and then, people started telling me just like, “No, do you know who you’re talking to?” And I was like, “No,” and they’re like, “Oh, that’s why you’re just chilling.” I’m like, “What am I supposed…?” I don’t know how I’m supposed to act. When you don’t know what people be doing, you just be like, “Oh, what’s up?” That’s it.

Cloie: But at the same time, you’re…I think there’s a joy and there’s a beauty in that, because you’re being your authentic self instead of being this put-on thing.

Kay Kay: Yeah, but I wish I would have known. I wish I would have known.

Cloie: Great, fair enough. Fair enough. Yeah.

Kay Kay: I wish I would have known. But no, I met him the…was it the first day, I think?

DJ Iz: I think it was the first…

Kay Kay: I did a…yeah.

DJ Iz: …yeah, the first day you came in.

Kay Kay: The first day I came in. And I was the only new person, even with the dancers, and it was so scary for me. But he was the…and you were the first person to actually talk to me, him and Aaron…

Cloie: I believe it.

Kay Kay: They were like, “Yo, what’s up?” I was like, “Hey, what’s up?” When I just turned 18.

DJ Iz: And I’m going to be honest with you like…you know, I’ve been around Ush since 2004, right? So I’ve seen dancers. I mean, I’ve seen a lot of them. And what really got me about Kay Kay was, she could really bust. I’ve always been able to watch women who can really bust, because I was equating it like, “Damn, she dances like a dude,” you know what I’m saying? And when I saw Kay Kay bust, I was like, “This girl is killing everyone…”

Kay Kay: Oh, sure.

DJ Iz: …because we’re competitors. In that road, we’re competitors…

Kay Kay: Yeah.

DJ Iz: …you know what I’m saying? Whether you’re a musician, a DJ, I don’t care what you are, we… we’re competitors…

Cloie: Yeah.

DJ Iz: …you know what I’m saying? And when Kay Kay came in, dude, Kay Kay…she was smashing. And I was looking at all the others like, “Man, [inaudible 01:11:49]. That is too relaxed.”

Kay Kay: Well, I think I was only doing that, though, because I felt…I really felt like I had something to prove, because I was the only one. So I was like…

Cloie: Sure. Sometimes…

Kay Kay: …”Dang, I need to pull up.”

DJ Iz: But you know what, though? Even outside of that, Kay Kay, I’ve never seen you go at it any less than that, you know? Like…

Kay Kay: [Inaudible 00:12:05].

DJ Iz: …you’re just confident, you know what I’m saying? You’re confident in what you’re doing and you’re great at it, you know what I’m saying? And I think even for me, my finger’s on the pulse whether it’s dance, music, whatever, so I’m always watching, you know what I’m saying? And I remember one time, there was a dance conference or something in San Diego and I had saw you and I was like…I felt proud, because she was up there killing it. And I was like…

Kay Kay: Like a proud…

DJ Iz: …”Yo, I saw you rocking.” Yo, I was like, “Yes, Kay Kay.” But you were smashing, you know what I’m saying? So that’s like what really got me with you, Kay Kay, because it was like you just had an appetite to just go, you know?

Cloie: Yeah…

Kay Kay: Yeah, thank you.

Cloie: …like a fierceness, do you know what I mean? Because…

DJ Iz: Yeah, because you see, in both sides–whether it’s music or dance–you see people come and they’re lacksy-daisy, kind of chilling, not really…you can’t…you don’t really get a sense that their heart is into it, like we always say, “Always do it like you’re doing it for TV,” right?

Kay Kay: Right.

Cloie: Absolutely.

DJ Iz: We have…we’ve developed a much things within the band. It’s just because that… we’re from the street of killers, you know what I’m saying? You’ve got to be great at what you do. So to be able to see that and get that from you was just like…I wanted to come and…and I remember because I was like, “Yo, man, I want to just say hi to you and come talk to you, like, “Man…” Let you know like, “Man, you’re dope,” you know? And it was just great to have you.

Kay Kay: This is a great feeling.

Cloie: Well, and that is the beautiful thing about you, is that you…your energy. You’re just so grounded, do you know what I mean?

Kay Kay: Thanks. Thank you.

Cloie: And dancers can be sometimes, you know, uppity.

Kay Kay: [Inaudible 00:13:32].

Cloie: I can say it, because…right, especially like the ballet world, there’s a whole…you see the girls stretching and popping and this, that and the other and then, they get in the room and then, they can’t dance. But they have all the attitude in the world and sometimes, that’s what sells it. But the fact that you have the goods to back…that you…if you were that uppity…please. Go, girl, because you can rock it. But the fact is, you’re not, that you are this grounded, lovely human being, like…

DJ Iz: And just fun. She just…

Cloie: Do you know what I mean?

DJ Iz: …has a fun spirit.

Cloie: I believe that.

DJ Iz: Yeah. Yeah.

Kay Kay: Thank you, guys.

Cloie: I believe that.

Kay Kay: Shush with all these compliments.

Cloie: I believe…she’s like…

DJ Iz: I mean…it’s the truth, honey.

Cloie: Oh, yeah. So anyway, let’s fan out, let’s fan out. You were also on “Empire.” Let’s talk about it.

Kay Kay: Yeah. Oh, my gosh.

Cloie: Yes, we haven’t even gotten there.

Kay Kay: That was so cool to me, though. But that experience, I cried when I did that.

Cloie: Why?

Kay Kay: Because that was my…

DJ Iz: Milestone?

Kay Kay: Yeah.

DJ Iz: It was like a milestone for you?

Cloie: Oh, okay.

Kay Kay: Yeah, because it was my first speaking role and I was speaking as a dancer, like I was…my character wasn’t changed from what I was. So for it to make…

DJ Iz: It was actually who you are?

Kay Kay: Yeah. Yeah. So for it to make it to give me an opportunity like that, that was…it was nice to me, because that doesn’t happen. Roles happen for dancers…

Cloie: Sure.

Kay Kay: …but not like…

Cloie: You…”We want you to say this thing?”

Kay Kay: Yeah. Like, it’s just so easy. I didn’t even feel like I was acting.

DJ Iz: Let me ask you this, because you’re doing things at an extremely high level, especially things that are really memorable to you as milestones. What are…in the day of Kay Kay, when you’re going to…whether it’s an audition or anything like that…what are some of the things mentally that are the preparation aspect for you?

Kay Kay: Okay. Well, as far as auditions go, I don’t…I’m not really a big fan of auditions, only because I don’t like the process of people’s attention and just the process of it in general. But as far as if I’m getting ready for an audition, first, I have to figure out what I’m wearing. And usually, they’ll have that description in the email, as far as, “Oh, wear all black,” or, “body conscious,” or, “urban hip.” But somehow, you have to figure out…

Cloie: What they mean?

Kay Kay: …what that means. And you have to do it…

Cloie: That’s cryptic.

Kay Kay: …like, bring it out of there and be popping. So that’s the first step. Then, the second step is, does my headshot even look like me right now? Because they’re going to look at that. And then, the third step is, I need to go print this out, because I probably don’t have a headshot and resume. And then, you get to the audition and the line is probably…it’s more than likely across the building. And they’re really ridiculous, like in…because to me, not everyone should be here.

If you know that it’s probably not your best style, as far as choreography goes, or if you just know you probably wouldn’t do this job if you got…you actually got hired. But people just go to experience. And I understand it…

Cloie: [Inaudible 00:16:21].

Kay Kay: …but it’s like you’re wasting people’s time, though, because you’re making the audition two hours longer. Or when they go to the audition and they’re just in the way and they don’t have an agent…

Cloie: No spatial awareness, or…?

Kay Kay: …yeah, or…and they don’t even have agents…

Cloie: Oh, well, that.

Kay Kay: …so they’ll be crashing the audition, because they heard it from their friend. So then, it’s like, “Dang, you’re really in the way now.” And then, I can’t dance…

Cloie: Because you are actually…

DJ Iz: Right.

Cloie: …in my way?

Kay Kay: …literally in the way, yeah. So as far as auditions, I try to avoid them as much as possible, because I don’t like feeling like 10 other girls look like me and we’ve all got to go in the same group and there is only one of us coming out that look like us…that look like me. And then, it’s just too much. And I don’t know, I actually find myself not enjoying industry jobs as much, now that I’m teaching. And I think it’s because…I think it’s because of what the description of the job is.

As far as industry jobs, like we were saying before, your job is to make someone else look good. And frankly, I’m not about to break my body to make someone else look good. I like it, it’s fun to dance, but as far as…you can’t even speak up if you’re hurt, because it’s that danger of, “Oh, well, you can be replaced. So we’ll just…”

Cloie: Higher somebody.

Kay Kay: “…fire you and just get somebody else, because there’s 10 other girls that look like you who were the audition on.” So it’s like, okay, so I can’t even say that I’m hurt or nothing like that, so I’ve just got to rock it out. But when you go teach, those people are coming because there really, truly fuck with you, they really like you, so the treatment is different. As far as food, as far as transportation, hotels. You’re living a doped life as a professional dancer, because you’re traveling with these artists and stuff, but then, when you become the artist…

DJ Iz: A whole different thing. Yeah.

Kay Kay: …it’s a whole different thing. Then, that’s what happens when you’re going out and teaching in these different countries and stuff. They treat you as if you were that artist.

DJ Iz: Yeah. Yeah. And I definitely get with that. Especially, too, I think for you on the connection side, there’s a connection you’re making with these people that are looking to you like, “Kay Kay, man, I’m…” Just to have that type of engagement, you know? And people that are in the room with you because they love what you do and they just want to learn, you know? And you’re kind of…

Cloie: [Inaudible 00:18:41]

DJ Iz: …able kind of guide that…

Kay Kay: It feels great.

DJ Iz: …you know? Yeah, it’s awesome, man. That’s [inaudible 00:16:45].

Cloie: And you’re not breaking your body.

Kay Kay: Yeah, and you’re not bleeding, like…

Cloie: And at the end of the day, you could sit down and be like, “I’m going to five, six, seven, eight it. I’m going to beat it out…”

Kay Kay: Yes.

Cloie: “…but you all are going to do it.” Yes, absolutely.

Kay Kay: Yeah, like…it’s straining. I feel like the audition process in the dance world–as far as entertainment–is very draining, because the answer is, they don’t go further than 35.

DJ Iz: Yeah, that’s true. That’s true.

Kay Kay: It is literally because they’re drained. And then…

Cloie: And your body’s broken.

Kay Kay: …I read that in an article or something and they basically said that we have the same wear-and-tear as an NFL player. So imagine…

Cloie: It just looks prettier.

Kay Kay: We look pretty, that’s the only difference. I’m not trying to be like that, you know. I’m trying to be walking [inaudible 00:19:25]…

DJ Iz: Yeah. And actually be on the walker, like…

Cloie: With my first original knees.

Kay Kay: …with my original knees.

DJ Iz: …and, “In my day, man…in my day, I was killing it.”

Cloie: On a walker at 40. What? But…

Kay Kay: [Inaudible 00:19:35]…

Cloie: Yes. Oh, yes.

Kay Kay: …That’s what’s scary, because…

Cloie: Oh, yes.

Kay Kay: …That really can happen to you as a dancer and you just wanting to be at that job that makes you not take care of yourself, because…

Cloie: Absolutely.

Kay Kay: …you don’t care about yourself, anymore.

Cloie: And also, it speaks to the things, sometimes, that we will allow to happen to us, like…be it pain or all this other stuff…Because you know…which is not right. I’m not saying…it’s an unfortunate thing that happens, is that people undercut themselves all the time, because they know and hey will tell you, “There’s 15 other girls that can do this,” There’s… da, da, da, da, da…”

Kay Kay: Right.

Cloie: …you know what I mean?

Kay Kay: Yeah.

Cloie: It’s hard being a woman in this industry. It’s not…

Kay Kay: Will tell you to your face.

Cloie: …will tell you to your face…or, “You’re not this enough, you’re not that enough,” and blah, blah, blah, blah, blah, blah. Yeah, “But we’re going to take you on.” So…

Kay Kay: Right. And that…

Cloie: …Like you’re doing them a favor, or like…and you…or like…do you know what I’m saying? I said that wrong.

Kay Kay: Yeah.

Cloie:

Kay Kay: That’s how I felt when I was transitioning from being a kid to an adult, as far as dance shows. When you’re a kid working in an industry, people are more lenient, as far as anything. But when you’re an adult, they’ll be like, “What are you doing?” I was…I’ve never been asked that, like, “What are…? You look crazy.” And you’re like, “Wait, but I thought I was doing it right,” and they’d be like, “No, mama. You learn.” And then, you’re just like, “Dang, you still shoot me,” like, “You still shoot that.”

Cloie: Like, the moment has passed and it still gone. No, but it’s…I started off as a kid actor. I was…that’s when I started. I was a teenager. And people…then, that was the whole thing and booking all the time. And then, you get to a certain point and I actually had people tell me, “Oh, it’s too bad you’re not light-skinned,” or, “Oh…” Like, crazy stuff. Crazy stuff that you’re…

Kay Kay: I’ve been told the craziest stuff.

Cloie: Oh, yeah.

Kay Kay: I was even thinking of changing my body, but don’t do it.

Cloie: No.

Kay Kay: It’s not worth it, because then, the job only…

DJ Iz: Never. Never.

Kay Kay: …Last for so long. But I was going to, because I’m very small. I don’t look…I’m 21 and I don’t look 21 at all. I look very young, my body’s small. So as far as being a working woman, that’s very rare. You’re going to be a working teenager. You’re going to play teenage roles and maybe late 18, 19, but not your age. So I was just like, “Dang.”

Cloie: And it’s real, because it just…it speaks to strength of character, too, just to be like, “You know what? The jobs will line up if I line up with me,” and being strong enough to say, “That is not what I need to do.” Unless you want to change it for you, but I…do not have…do not feel like you have to change for an industry. Or if you are going to change for the industry, to do it strong and figure out how to get up under yourself–like strengthen your heart, your soul and your core–so that…

DJ Iz: But I think, too…and this is my personal opinion. According to how you rock, to me, your body is perfect for the way you rock. Think of it like this, Kay Kay. Think if you had big old…you know, gazongas…

Kay Kay: Well, I’m just saying…

Cloie: Wait a…

DJ Iz: …big old booty…

Cloie: [Inaudible 00:22:27].

Kay Kay: But that’s what they’re hiring. Like, for instance…

DJ Iz: But you jam, though…

Kay Kay: I jam, but most of the time as a dancer, that’s not enough. Because you’re a dancer, you guys are booked last, you guys are booked according to your artist. So even take Usher, for instance. It looked weird sometimes with Usher, because he is a grown man. So sometimes, people would even say little things like that, because I looked so young. So that’s a big deal, when they can get a girl that can’t really dance but looks appealing better, so they don’t get as much flak.

DJ Iz: Got you, got you.

Kay Kay: There’s little things like that, that…

DJ Iz: I got you.

Kay Kay: …really matters, as far as hiring. And you won’t get hired, just because I’m too skinny, or because I’m not tall enough. But I’m…my face is older, but my buddy’s not older. Like, little things.

Cloie: So what do you do when…to battle that? Like, how do you contend with…? Because those could create demons, right?

Kay Kay: Oh, yeah.

Cloie: How do you strengthen yourself when you are faced with that criticism, that rejection, that…? Because that’s something that comes up from our viewers.

Kay Kay: Yeah. Honestly, the thing that got me through it was my followers–like, honestly–because they’re the only people that actually continuously boost you up. There’s not a lot of people out here where we live that congratulate you, at all. Everything is…

DJ Iz: And you get…and by the way of saying that, I mean, Kay Kay has…

Cloie: A lot.

DJ Iz: …a tremendous…

Cloie: Amount of followers…

DJ Iz: …amount of followers that engage…you know, it’s one thing to have followers that…you’ve got a lot of followers. But people that actually come in…

Cloie: To live and love her. Yeah.

DJ Iz: …and you know, give views, they’re faithful, you know what I mean? So…

Kay Kay: They’re dope. They’re real ones.

Cloie: Kay Kay Faithfuls. #kaykayfaithfuls.

Kay Kay: Kay Kay Faithfuls. Now, they’re amazing. But they’re really the only thing that kind of keeps me going in this industry, because it’s so fucked up. And you really have to have a really strong backbone, because if you don’t, it’s not the one for you. But if you want it to be your life, it’s almost contradicting. So for me personally, I just…I listen to them, like, “Oh my gosh, you’re so amazing,” “Oh my gosh, you’re so pretty.”

I’ve had so many demons that it’s an accomplishment for me, personally, to be this confident now, because I was never this confident at all with anything I did. So it’s crazy when people are like, “How do you do that?” And I’m just like, “I honestly just got over it.” Because I couldn’t change it, I just got over it and was like, “I’m just going to…”

DJ Iz: You kept going. You kept going.

Kay Kay: Yeah, “I’m just going to be happy,” because I’m not…me being mad at the way that I looked, I can’t change it, you know what I mean?

Cloie: And it’s just…it’s coming from somebody that’s not 21 but once was…

Kay Kay: It’s okay, girl. You look good.

Cloie: …It is…thank you. Thank you. Thank you, I moisturize. It all…when you say you get over it, you’ll really get over it, because life starts mattering in a different sort of way.

DJ Iz: Yeah. And it’s another one of the things like, you know, some people, it might be that one thing that makes you quit doing what you love, or might make you alter or do something different that’s not you. And I think that’s so incredible, just within yourself, to find that within yourself and then find it within the people that actually do look at you as somewhat of a hero or somebody that they value, because it allows them…it’s like…I always look at it as one of those things where it’s like, as much as they do for you internally, you do just the same amount for them.

And that’s the thing. When I look at what you do, Kay Kay, it’s inspiring, because I see how many people you inspire. And I think for “Connected,” it’s really about allowing our viewers and these people that make it a point to tune in every Monday to hear these stories, because they’re battling the same thing, just on a lower level, you know what I’m saying? And it’s like that extra piece of information that says, “Yeah, that’s one way to look at it, but at the end of the day, think of what you can do with what it is you love and possibly change, one day,” you know?

And that gives…that’s like fuel for people. That’s fuel for the vehicle, you know what I’m saying, because you’re doing it at an extremely high level. And when I look at the followers and people that you encompass, it’s like they’re not stragglers. They’re there because they see and they want to, someday, maybe do what you do on that level, you know? So when I see you jamming with Missy or an Usher or everybody that you work with, dude, your gift has made room for you–your gift of dance and your motivation–because this just doesn’t happen accidentally.

This happens intentionally, this happens by you being a student of what it is you love, practicing. I haven’t even asked you the amount of hours you put in, just to practice…

Cloie: A lot. Let’s just say a lot.

DJ Iz: …what it is you do. Kay Kay puts out these videos…

Kay Kay: It’s a lot. It’s a lot.

DJ Iz: …like, I saw this video she put out…I think it was for Valentine’s.

Kay Kay: Oh, yeah. That was a really sexy video.

DJ Iz: But it was dope.

Cloie: Wait…

Kay Kay: That was a really…

Cloie: …on your Instagram, you’re like, “Because I don’t have a Valentine,” so that…was it that one?

Kay Kay: Yeah, because I had a…

DJ Iz: But…

Cloie: Yeah, I was dancing in my heels.

Kay Kay: I had an issue, because I was tired of not having…I still have never had a Valentine.

Cloie: Girl, you don’t need one. Spoiler alert.

Kay Kay: I’ve never had a Valentine.

Cloie: Shop, it all takes a second.

Kay Kay: Anytime I’ve had a boyfriend…

DJ Iz: They’re not worthy, Kay Kay.

Kay Kay: …I’ve never had them long.

DJ Iz: They’re just not worthy. I mean, that’s…

Kay Kay: I don’t know.

DJ Iz: …I hate to say.

Cloie: You could take yourself to dinner.

Kay Kay: Never been Valentine’d. So I was like, “I’m just dancing for myself.”

DJ Iz: But I looked at it and I was like, “Man, that’s dope that you can just do something like that, that looks great, that’s shot great and is artistic and is fly and fresh.” And it’s like, that’s dope, because it’s something you take the time to do, just for people that look and want to be, you know what I’m saying? That takes time, man, that’s…and it’s dope, you know? It was Valentine’s, so yeah, I was like, “Look at Kay Kay. Look at Kay Kay. Look at how juicy…”

Kay Kay: I was playing that video in my room.

Cloie: Listen…

Kay Kay: I was like “Ooh…”

Cloie: Listen, you need to…

[Crosstalk 00:28:14]

DJ Iz: You guys need to [inaudible 00:28:16] the unedited version?

Cloie: Yes.

Kay Kay: And it’s crazy, because all of the videos that I’ve done, I have unedited like, just…

DJ Iz: Yeah, you’ve got all the bonus footage.

Kay Kay: …just clips of him and I just play it. And I have some crazy stuff on there, like some wild stuff.

DJ Iz: But that’s cool. You’re fearless, man. You’re fearless, you know?

Kay Kay: Yeah.

Cloie: You know? And one day, you make like an extended reel for folks.

Kay Kay: Yeah.

Cloie: Yeah, “This is my blah, blah, blah to see the unedited version of da, da, da, da, da.”

Kay Kay: “It’s adults only.”

Cloie: “Adults…”

Kay Kay: [Inaudible 00:28:42].

DJ Iz: So let me ask you this, because I think this is important for…and here’s what’s great, Kay Kay, you’re our first that we’ve had on “Connected” in dance. But here’s where, to me, everything ties together, because for our viewers, everyone has something that they love that they’re aspiring to be, right? So understanding those principles, because they apply to everybody, right? It doesn’t matter–business, music, radio, film–the work is required all the same. So in your world of dancing, wherever you’ve gotten, how much work would you say is required of you, from the practicing to the sacrifice to the late hours, all of that stuff? What’s that been for you?

Kay Kay: Honestly, it took me a while to get in the groove of being self-dedicated to something, because I think…I don’t know, for a long time, I just…

DJ Iz: It was just kind of fun to you?

Kay Kay: Yeah, it was just for fun. But when you take it seriously…my mom actually told me this. She actually was low-key coming for my neck when she told me this, but she was like, “How many hours of work you put in for a week, just dance?” And now, I’m thinking like…you know, you teach for at least an hour and a half, but you only teach maybe once or twice a week and so, that’s really only three hours. That’s not a lot of time.

The average person has 40 hours into their normal job. Their career is 40 hours a week. And so, she was like, “So what do you do with the rest of your 38 hours for your whole week?” She’s like, “Because if this is your career…”

DJ Iz: Right.

Cloie: Well…

Kay Kay: “…you should have 40…” And I was just like, “Dang, Mom,” because I didn’t…

Cloie: “I don’t know what to say.”

Kay Kay: …I didn’t know what to say that.

DJ Iz: To put it in perspective? Yeah.

Kay Kay: Yeah. I didn’t know to…my mom is just always doing stuff like that to make me understand and it really helps me.

DJ Iz: And your mom’s a huge part of your and your sister’s lives.

Kay Kay: Yeah, she is.

DJ Iz: And see, and I identify because my mom’s the same thing for me and my brother, like a rock.

Kay Kay: Yeah. No, she’s a rock, man. She’s the queen. She’s freaking brilliant. But now that she’s always just putting little things in my mind that makes me think, because for me, I won’t…she can tell me something till she’s blue in the face, but I’m not going to do it until I really want to do it.

Cloie: Exactly.

Kay Kay: And that’s so selfish. But…so for a long time, it took me a long time to get in the groove of it, because I was just not listening to her, but I know I should have. But I was like, “This is my career, Mom.”

DJ Iz: Right, right.

Kay Kay: “I’m just now…”

DJ Iz: “At my speed.”

Kay Kay: Yeah. “I’m 18, now. You can’t tell me what to do.” And I was stuck. I was like, “Damn, I know nothing.” I don’t even know time management, because I’m still in school, so it’s like everything…it’s hard, but it’s doable. You just have to be self…have self-determination…

DJ Iz: Self…yeah.

Cloie: Oh, for sure.

Kay Kay: …because if you don’t have it, you’re just going to be like, “Oh, well, it looks like I’m just going to be a lowlife for the rest of my life or get a sugar daddy,” you know? That’s what…

DJ Iz: Right.

Cloie: Oh, well…

Kay Kay: …that’s what girls be…

DJ Iz: Hey, that valid.

Kay Kay: That’s what girls be…

Cloie: It happens.

DJ Iz: It’s valid. Yeah.

Cloie: It happens. It happens.

Kay Kay: …like, “Well, I don’t want to work, so I guess I’ll just go on a date with you.” Like, what?

DJ Iz: Right, right. Right, right.

Cloie: Wait, but let me say that we’re speaking of work. I feel like this is the perfect opportunity to transition into our first grindopp, because we…

Kay Kay: What?

Cloie: …our jobs, because we give away like…

Kay Kay: Yes.

Cloie: …five jobs…well, it’s really 10…

Kay Kay: Oh, yes, yes, yes.

Cloie: …jobs in a week, but we do five on here.

DJ Iz: See what happens when the conversation gets to really get into it?

Cloie: It’s just good.

DJ Iz: I mean, we kind of lose ourselves. So…

Kay Kay: It’s just jobs.

DJ Iz: By the way, we want to remind our viewers to get your questions ready, because we will be doing Q&A with Kay Kay…

Cloie: It’s happening, guys.

DJ Iz: …at the end of the show. So get that going.

Cloie: Do not be shy.

DJ Iz: So hey, before we get into these grindopps, Cloie, and when to let you go ahead and break them off for what they need to have in place.

Cloie: Guys, get your pens, your pencils, your paper, your digital, your texting thumbs, your tablet. Whatever you like to use to take notes, do that. And also, bring your good attitude, because life is not waiting for you.

DJ Iz: You tell them. All right, let’s go.

Cloie: Oh, no.

DJ Iz: The first grindopp for the day…

Cloie: I’m so sorry.

DJ Iz: …is in the field of recording. This is “Recording Studio Audio Engineer” in Spokane. I’m not sure if I say that right, but I should. “New studio in Spokane area seeks for experienced engineer. Lead recording sessions with musicians and other studio clients. Help develop the studio. Mixing and mastering. Use of ProTools and Cubase Pro.” Now, I know Kay Kay is like, “What in the hell is that?” So…

Cloie: Speak to it.

DJ Iz: …the great thing for anybody who’s looking to apply for this job, you already know…as an engineer, you should already know these terms of what to have in place. We always tell people, if you’re going to apply for a job, the goal is to always over-perform and never underperform. So be prepared. Also, too, a quick reminder for those of you who have your resumes in place, you kind of want to have somebody look at them to see whether or not you’re smoke and mirrors or you’ve got some stuff on there that’s actually really cool.

Shoot it to us. Shoot it to us, because those are the things we kind of like to help you build out and get you on the right track. So if we can…there you are, the link is on the screen.

Cloie: Boom, get it.

DJ Iz: That is where you want to send it. And yeah, that was our first grindopp for the day.

Cloie: I love it.

DJ Iz: We were having…I’m so…

Cloie: You said, “Smoke and mirrors…”

DJ Iz: Yeah, smoke and mirrors.

Cloie: [Inaudible 00:33:45] “smoke and mirrors…”

DJ Iz: Have you ever…?

Cloie: …because I was like, “What is that?”

DJ Iz: Because we’ve seen resumes where you’re like…

Cloie: Brilliant.

DJ Iz: …”Did this cat…was he really…?”

Kay Kay: No, people be lying.

DJ Iz: Right?

Kay Kay: People be lying on their resumes.

Cloie: All the time.

DJ Iz: Yeah. And then, when…

Cloie: You did 10 years of what kind of dance? Because…

DJ Iz: …when you get in there, you’re like, “Hey, man. They said you were…” “Oh, well, you know, I was…he was on the first floor, I was on the second.”

Cloie: Right. Oh.

Kay Kay: Or when you’d be like, “Oh, wait. I did this job. I didn’t see you.” [Inaudible 00:32:10].

DJ Iz: Yeah. It’s like that one famous…

Cloie: All the time, all…

DJ Iz: …that Mark Lawrence joke where he was like, “Yeah, man…” This cat was like, “Man, I studied under Bruce Lee. He was on the first floor and I was on the bottom.”

Cloie: Oh.

DJ Iz: You weren’t with Bruce Lee.

Cloie: Oh. I’m not going to lie, I was working on a show one time and I heard one of the gentlemen that was working as an extra…well, I don’t know…he was behind me, but he was just talking really loud about how when he was on set with Johnny. And I’m like, “Johnny, Johnny…” And I didn’t say anything, but the man was talking so loud. And he was like, “Yeah, we were shooting in the Caribbean and blah, blah, blah, blah, blah, blah,” and then, it comes out that he was an extra in “Pirates of the Caribbean.” Shout out, do you, do extra work. But also, wait a minute. Just wait a minute.

DJ Iz: Right, right.

Cloie: Just wait a minute. That’s all.

DJ Iz: Right, right.

Cloie: That’s all. That’s all.

DJ Iz: That’s classic.

Kay Kay: His face will be seen in that little second.

Cloie: It’s great that you worked in the Caribbean, let’s call it what it is.

Kay Kay: Great that you were in the Caribbean.

Cloie: Please. The sun is beautiful, the water is pee-pee warm. Yes.

Kay Kay: Ew.

Cloie: Oh, we have…

DJ Iz: So Cloie, what do we have before we go into grindopp number two?

Cloie: Yeah. We have our student success story. Let’s roll that photo, please, because this week, we’re also about not just highlighting jobs, but opportunities. And this is Ananth Agastya and he is a Dallas phone connection student traded in a high-paying global tech job for filmmaking. We talk about passion and execution and…

DJ Iz: Wow, he went for it.

Kay Kay: Yeah.

Cloie: He totally went for it. And we were talking about his journey in this week’s student success story and that’s going to come out later today in our weekly report. But it was talking about his journey in Hollywood and Bollywood and how he got from where he was to where he wanted to be. So…

Kay Kay: That’s dope.

DJ Iz: Dope. Congrats, man.

Cloie: …shout out to Ananth. Yay.

Kay Kay: Congratulations.

DJ Iz: Now, see, I would have messed his name up terribly…

Cloie: Sure.

DJ Iz: …so I’m glad you…Cloie always… she holds me down here. Cloie holds me down and that’s what I love about it.

Kay Kay: Very good.

Cloie: I thank you. I thank you. I thank you. Now, I think we can move into grindopp number two.

DJ Iz: Let’s do it. Grindopp number two.

Cloie: Ta-da. There we go.

DJ Iz: Grindopp number two is in the field of, again, an engineer. Here we go, “VR Sound Engineer” and this is in Santa Monica, California. Shout out to LA, Santa Monica. Don’t get lost in the sauce in the traffic. “VR game developer seeks sound engineer with experience in virtual reality. Live audio mixing and mic placement. Live audio recording with emphasis on dialogue recording. Use of digital mixing console. Postproduction audio mixing. Editing and conforming sound to picture.” Now, this is a crazy detailed gig.

Cloie: It is.

DJ Iz: So if you’re a VR sound or want to be a VR sound, you’ve got to make sure you have all those pieces together, because this is…this sounds like it could be a great opportunity and a job that you can lock in that might be a little longer than part-time, so…

Cloie: I mean, yeah, because we talk about it all the time. The gaming industry is booming.

DJ Iz: It’s booming.

Kay Kay: It is.

DJ Iz: It’s actually the number one industry right now. Like, man.

Kay Kay: I’m ready to be…turn into a gamer.

DJ Iz: Yeah, right?

Kay Kay: I just want to be a superhero [inaudible 00:37:09].

Cloie: Oh, you’re someone to…I could not…

Kay Kay: I really want to be a superhero.

DJ Iz: What would be…what would your superhero…would it be Kay Kay?

Kay Kay: No.

Cloie: What would your power be?

Kay Kay: I don’t know, but I want to be…

DJ Iz: Her power would be like she would twerk you to, like…

Kay Kay: No.

DJ Iz: …to where you would be like…

Kay Kay: No…

DJ Iz: …paralyzed.

Kay Kay: I wouldn’t be like…

DJ Iz: “I’m going to twerk to paralyze you.”

Kay Kay: What?

Cloie: I’m sorry, what was that answer? What…?

Kay Kay: Twerk to paralyze you.

DJ Iz: Twerk to paralyze you. So when crime’s going on, you just show up and twerk and they’re like…

Kay Kay: And they just freeze.

DJ Iz: …”I can’t move.” And you’re like, “Arrest them.”

Kay Kay: I want to be a mixture of a Power Ranger and Catwoman and Wonder Woman.

Cloie: Yes.

DJ Iz: That’s kind of dope.

Cloie: Yes.

Kay Kay: Like, cat reflexes…

DJ Iz: So obviously, your suit would be extra tight.

Kay Kay: …like a puma.

Cloie: Cat…she can spin into her outfit.

Kay Kay: If Puma–the shoe company–ever did a superhero thing, I want to be the face of it.

Cloie: Puma.

Kay Kay: I would do that.

DJ Iz: You should do a…

Kay Kay: I would be a Puma.

DJ Iz: You should do a [inaudible 00:38:00].

Kay Kay: Yeah, let’s…thanks, Puma.

DJ Iz: I know you rocking, girl, be like…yeah, there you go, be like…

Cloie: Listen.

Kay Kay: I got it.

Cloie: Puma, are you watching? Because you’re late.

DJ Iz: She could pull that off, man.

Cloie: You’re late.

DJ Iz: She could show up and really fight crime…

Kay Kay: And just be like…

DJ Iz: …and just busting [inaudible 00:33:18].

Cloie: [Inaudible 00:38:13.

Kay Kay: …in my Pumas, bro.

Cloie: I’m sorry, what happened that…what are we doing? Oh, grindopp number three.

DJ Iz: Go ahead. I’m going to let you have it, Cloie. Take them down.

Cloie: Me, me, me. Grindopp number three, please: is for a sound mixer in Logan, Utah. It’s for, “Fitness technology company seeking motivated, athletic sound mixer to record workouts worldwide.” I just had such a thought, remind me.

Kay Kay: Yeah.

Cloie: “Must be able to walk and hike several miles a day, picking up unique sounds. Mix and manipulate sounds for use…” it has, “is in commercials,” and, “Select and order new sound equipment.” And again, that’s coming to you out of Logan, Utah.

DJ Iz: Utah.

Cloie: I had such a funny thought about the first part about “a motivated, athletic sound mixer,” because I had a…in my mind, it was like a Richard Simmons, like…but mixing sound, like doing toe touches…

DJ Iz: As you’re walking?

Cloie: …and jumping jacks. You guys…

Kay Kay: As you’re walking?

Cloie: Yeah, as you’re walking.

DJ Iz: You know, it’s funny. I had a thought, though, too, because one of these details, I was like, you know, this sounds like a job where you can actually get lost and…

Cloie: Found.

DJ Iz: …people will be looking for you.

Kay Kay: Yeah, because if you’re just walking miles…

Cloie: On hikes.

DJ Iz: Walking, finding sounds…

Kay Kay: If…be able to walk miles for sounds…

DJ Iz: Right.

Cloie: Yeah. But hopefully, if you got snatched, that was the sound they’re recording so they could find you.

Kay Kay: Brings snacks…

DJ Iz: Like, you…Yeah.

Kay Kay: …just in case your walk was too long.

DJ Iz: Yeah, you literally come back to the job place and your beard is all grown in, just like…

Cloie: Yeah, like “Forrest Gump.”

DJ Iz: …”Forrest Gump,” you know?

Cloie: “I’m tired. I want to go home now.”

DJ Iz: Right.

Cloie: Don’t get me started on that one.

Kay Kay: “I want to go home now.”

Cloie: That’s funny [inaudible 00:39:37] he just stopped and he’s like, “Okay, bye.” That’s your guru. What’s next?

DJ Iz: Well, actually, you know…because we’ve got a lot of technical, sound, kind of video stuff, I know for you, Kay Kay, when you do your stuff, do you usually have a go-to video guy or sound guy?

Kay Kay: Yeah, when I do…well, it depends. When I do concept videos, I usually use the…I use the same guy…

DJ Iz: Got it.

Kay Kay: …because he’s amazeballs.

DJ Iz: He knows your stuff.

Cloie: Yeah.

DJ Iz: Right.

Kay Kay: Yeah, and he’s just freaking dope.

Cloie: And you know his language…y’all speak the same language and…

Kay Kay: Yeah, he’s…he knows…he’s been around dancers so long. I think when the videographer…dancers for some reason, he knows the right…like, for some reason, they get the best…

Cloie: It’s the rhythm.

Kay Kay: …shots, because they have the rhythm of it. Yeah. But when it’s just fun videos…like, if I just want to film something in that state, we can just hit someone up that’s out there that…

DJ Iz: Got you, got you. Okay.

Cloie: That’s awesome.

Kay Kay: Yeah. And…

DJ Iz: Totally, man.

Cloie: Right?

DJ Iz: Totally.

Kay Kay: It’s definitely good to have somebody amazing at videography…

Cloie: Yes.

Kay Kay: …and that’s…

DJ Iz: Absolutely, because when it’s whack, it’s terribly whack, right?

Cloie: Yeah.

Kay Kay: Yeah. And the video could…the videos could make…

DJ Iz: You’re like, “No, man. I was here and you were…”

Kay Kay: …people look so good, though, and then could be so whack. There’s a lot of little viral dances–like videos–going around…

Cloie: Oh, yeah.

Kay Kay: …and then, that dance, they didn’t look like that in person, but…

Cloie: Neither did that person.

Kay Kay: …since they got this angle, they look so sick.

Cloie: And then, they’re calling you like–ring–“Hello? This is Kay Kay. You ready? Great.” “Hello?” You remember that song?

DJ Iz: Oh, man.

Cloie: “No, no. More or less.” No? Okay.

DJ Iz: Ooh, Michelle A. Okay [inaudible 00:41:10].

Cloie: Michelle A.

DJ Iz: Okay, we’re going to move on to grindopp number four.

Cloie: Hit it.

DJ Iz: Grindopp number four is in the field of–bam–“Radio Production Assistant, Highlands, NC.”

Kay Kay: North Carolina.

Cloie: North Cakalaka.

Kay Kay: North Carolina.

DJ Iz: “Radio station seeks experienced radio production assistant. Work closely with on-air staff. Screen phone calls. Responsible for guest relations at station. Ensure that all FCC guidelines are being followed.” FCC is no joke.

Cloie: It is…no [inaudible 00:41:39].

DJ Iz: They’re actually coming for that one cat, the…Steve…

Cloie: Stephen Colbert. Yes.

DJ Iz: Yes, yes.

Cloie: The FCC is like…

DJ Iz: Shout out to my crew, man. Shout out to my crew.

Cloie: …out on…

Kay Kay: What is that?

Cloie: The FCC…it’s like the regulations committee, like…

DJ Iz: Regulations…

Cloie: …Remember Janet Jackson and the…?

Kay Kay: Yeah.

DJ Iz: Tittygate? Yeah.

Kay Kay: Yeah, yeah.

Cloie: They had…that’s who…

DJ Iz: So we…Yeah.

Cloie: …put the delay on the TVs for…everything now has a seven-second delay or whatever it is, sort of because of that.

Kay Kay: Isn’t that weird, they can put a delay on nipple slips, but not of someone killing someone?

Cloie: Well…

DJ Iz: And it’s is on live?

Kay Kay: I’m just thinking, because…

Cloie: …let’s talk about it.

Kay Kay: I just think…sorry, that was really deep.

DJ Iz: That is…that’s a…

Kay Kay: That was really deep, sorry.

DJ Iz: That is a very interesting point. That is a very interesting point. I agree. But however, this dude’s taking a lot of…Steve’s taking a lot of heat because he had some opinions about Trump.

Kay Kay: Oh.

DJ Iz: He’s kind of clowning him every night, right? Like, you know…

Cloie: Like everybody is.

Kay Kay: But it’s Trump. You look at him as…

Cloie: I’m just going to sip my coffee.

Kay Kay: You look at him as doing a messy job.

Cloie: I’m just going to do this right quick. This is not an endorsement. Nobody look at me.

DJ Iz: And on that note, we’re going to move to grindopp number…

Cloie: Our Facebook app.

DJ Iz: Yeah, our Facebook app. So here we go. Can we show our Facebook app?

Kay Kay: He’s doing a messy…doing a messy job.

DJ Iz: Shout out to the Facebook app. Now, I don’t know if you’ve known, but we actually have created a Facebook app that’s implemented in Facebook’s messenger. So for creators of all sorts–I don’t care if it’s dance, film–this is an app that allows you to connect with other people within your area. It’ll locate them for you, you can have a conversation…

Kay Kay: Oh, that’s dope.

DJ Iz: And it’s also…because it’s based on artificial intelligence, so it just is able to work with you, it talks about you, the whole nine. But the really cool thing is, it connects you with other people that might be doing music, or maybe you need music for your next video, or if you’re a songwriter and you need some beats, you connect with…because…

Kay Kay: Oh, that’s smart.

DJ Iz: …I always tell people like…

Cloie: It’s true.

DJ Iz: …I don’t know how easier we can make it for people to connect. We’re here every Monday, so it’s like…now, we have an app, so it’s like, man, just use what’s available to you.

Kay Kay: Well, shoot, I know one thing is that dancers can’t do that a lot of the times, as far as songs go, because everything is always blocked…

DJ Iz: Yeah, yeah.

Kay Kay: …and not cleared. So that’s a dancer issue, right now. That’s a number one issue, is that we promote the songs most, but we don’t get any sort of…

DJ Iz: Yeah, any type…yeah. And that’s a cool thing. So…

Kay Kay: …recognization, or…

DJ Iz: …on the app, you’ll find a lot of people who are aspiring. So they’re new, but they’ve still got some talent, they’ve got some good records. And it’ll let you know this person’s five miles from you, 20 miles.

Kay Kay: Oh, dope.

DJ Iz: And you can also post your work on the app. You can say, “This is…I do this and this is how much I charge if I’m looking for this.” So it’s a great way to connect, you know? So…

Kay Kay: That’s smart. That’s a great idea.

DJ Iz: …one of the questions we always get is like, “Well, you know, how do I get myself out there?” or, “Who do I need to meet?” And it’s like, there’s an app for you. You’ve just got to just apply it. So we always make it a point to remind folks that we have an app.

Cloie: Got to.

Kay Kay: Yeah, use that app. That’s smart.

DJ Iz: Use it and abuse it, man.

Cloie: Kay Kay-endorsed.

Kay Kay: Use it.

Cloie: And this is going to [inaudible 00:44:32].

DJ Iz: So is that our…that was our fifth grindopp for the day, right?

Cloie: We’re about to do our fifth grindopp. We haven’t done it yet.

DJ Iz: Oh, I’m going to let you take it.

Cloie: Oh, I get the fifth grindopp?

DJ Iz: Mm-hmm.

Cloie: Okay, great. Hit it, guys. Fifth grindopp is for a producer in Dayton, Ohio.

DJ Iz: Dayton.

Cloie: Right? A small market station is seeking an experienced producer. Requires excellent writing skills. Job is to create clean, concise content that is balanced and unbiased for daily broadcasts. Find breaking news for on-air broadcasts.” And again, that is coming to you out of Dayton, Ohio. Shout out, Dayton.

DJ Iz: Mm-hmm, Midwest.

Cloie: So, that one’s, for sure, our fifth grindopp. Folks, I think, get your questions in, because…

DJ Iz: Yeah, I want to jump to our questions, so let’s…

Cloie: You want to jump in?

DJ Iz: …so let’s cover the 6 to 10 additional jobs that we have.

Cloie: Let’s do it. All right…

DJ Iz: You want to go outside?

Cloie: I’m not rude, I’m just communicating with the team. Our six additional grindopp–or five–“Radio: on-air personality,” and that’s coming to you out of St. Petersburg, Florida. In film, we have an associate producer that is in Euless, Texas at the Dallas/Fort Worth area. Also in film, we have a postproduction assistant right here in Woodland Hills, California. Shout out to the Valley.

Kay Kay: Oh.

Cloie: Also in LA, we…

Kay Kay: [Inaudible 00:45:43].

Cloie: …a theatrical trailer editor right here in Los Angeles, California. And then, in the field of the culinary arts, we have a baker in LA. Yes, a baker. You bake?

Kay Kay: Yeah.

DJ Iz: Yeah, we do culinary, too. Yeah, we do.

Kay Kay: Are you serious?

DJ Iz: Yeah.

Cloie: What do you bake?

Kay Kay: Yo, I be baking bread.

DJ Iz: “I be baking…”

Kay Kay: No, like…

DJ Iz: “I be baking…”

Cloie: One example is…

Kay Kay: I love to bake, I love to cook.

Cloie: One is like, “I’m the whisk…”

DJ Iz: So you like to cook?

Kay Kay: That’s [inaudible 00:46:07. Yeah.

DJ Iz: That’s dope.

Kay Kay: I be cooking.

Cloie: What’s your favorite thing if you want to impress somebody?

Kay Kay: Well, hold on. Let me see what I’ve got in my tricks.

Cloie: Categories.

DJ Iz: See, my wheels are turning now, because I’m thinking we should do some culinary “Connected” stuff with Kay Kay, because she loves to bake.

Kay Kay: That would be fun.

Cloie: I am so down to eat the food.

DJ Iz: That would be cool.

Kay Kay: It’d be lit.

DJ Iz: Right?

Cloie: Why don’t we…?

DJ Iz: Jams is in the back, you know…

Kay Kay: Yeah.

Cloie: Hold on, communicating with the team.

Kay Kay: Jams, we could have some dancing while you’re…

Cloie: Kay Kay.

Kay Kay: …flipping.

DJ Iz: flipping. That is dope. So…

Cloie: Mm-hmm, and Kay Kay with food.

DJ Iz: …what do you like to bake, Kay Kay?

Kay Kay: Well, bake or cook?

DJ Iz: You tell me.

Cloie: Because they are two different…

Kay Kay: Yeah.

DJ Iz: You tell me.

Kay Kay: Well, I like to…I mean, baking is really hard, though, like…

Cloie: That’s like…

Kay Kay: It’s like…

Cloie: …pure chemistry. That’s like taking these two things, one of these things is not like the other, I’m going to put them together and bam, soufflé, or meringue, which is very hard.

Kay Kay: Yeah, you’re right. I don’t know, baking…I don’t know, I don’t bake nothing crazy. I just bake cupcakes and cookies and stuff like that.

DJ Iz: Hey, and it’s not hard to mess up a cupcake.

Cloie: Thank you.

Kay Kay: Yeah. But as far as cooking, I think I will probably just stick to my Creole food. Because that’s heritage, you know, so I can make that the easiest off the bat, smooth, it’s good and you’d probably…people will probably be on fire, though, because it’s spicy.

DJ Iz: I love spice, so spicy’s…

Cloie: Nobody’s afraid of some…bring it.

DJ Iz: Tums.

Cloie: I’ve got your peppers right here.

DJ Iz: Tums, man. Tums.

Kay Kay: It’s really spicy…but Creole food is spicy, though, really spicy.

Cloie: But flavorful, though. But it’s flavorful…

Kay Kay: Yeah.

Cloie: …it’s not just spicy for spicy’s sake.

Kay Kay: You’re right. No, we be going in.

DJ Iz: We should talk about that, because I’d love to do something on the culinary side with you, Kay Kay.

Cloie: I’d love to do some eating.

Kay Kay: Yeah. It’ll be a lot of fun…

Cloie: I would love to.

Kay Kay: [Inaudible 00:47:44].

DJ Iz: So Kay Kay…

Cloie: Hit it.

DJ Iz: …we have our first question. This is Kinsey [SP] from Orlando, Florida, “When are you dropping “50 Shades of Kay ” and when can you drop part two of “Girl” video?”

Kay Kay: Well, I don’t know what dropping “50 Shades of Kay” means, but…

Cloie: Kinsey, can you clarify?

Kay Kay: “Girl,” I was like…but “Girl” part two, I was actually thinking about filming that. I was going to make “Girl” a prequel, not a sequel, but a prequel that’s backwards.

Cloie: Oh, that’s…love it.

Kay Kay: So the video is supposed to be, I guess, me actually going through it. So I guess the second video, I want it to be of me and like, my boyfriend, maybe. But I don’t know, maybe probably in June when I’m here.

DJ Iz: In June? Okay.

Cloie: So stay tuned, Kinsey.

DJ Iz: Stay tuned. And…

Cloie: Sounds like you’ve got a fan.

DJ Iz: …maybe dial in your question a little more on “50 Shades of Kay.”

Cloie: We’ve got Matt from Philadelphia. He says, “Kay Kay, what advice would you give anyone on how to take the first step in following their dreams and making it a career, just as you did?”

Kay Kay: I think, honestly, the first step would be to knowing what you actually want to get out of your career, because I think a lot of people have an idea of what they want to do, but then, when they start to actually do it, they start to listen to too many people, because…I don’t know, you can say you want to do music, but then, what is music? Music…

Cloie: What is music?

Kay Kay: …do you want to produce music, or do you want to be the artist in music or…like, what you want to be? Do you want to be an engineer? So I think you should figure out what it is you want to do and then, definitely not listen to anyone, as far as negative stuff, because people will really tell you “No” like there’s no tomorrow, just because…

Cloie: Mm-hmm.

Kay Kay: …they’ve been told “No,” you know what I mean? So it’s like this…

DJ Iz: Right, right.

Cloie: And the other thing is how people camouflage it as protection, which is…

Kay Kay: Yeah, like, “We’re just protecting you.” It’s like, “No, you’re just being insulting and bitchy.”

DJ Iz: Right.

Cloie: “I just camouflaged salt and now I’ve got hypertension. Thank you.”

Kay Kay: Such big words.

DJ Iz: We’ve got Becks from Woodland Hills, California, “How do you get a manager, or do you manage yourself?”

Kay Kay: I’ve got a manager…my manager just…I’m blessed to have my manager have known me since I first started dancing. And I was dancing with her daughter, so she managed me because there wasn’t…she originally started managing kids because people didn’t give us the time of day, as far as choreographers and stuff that actually wanted to work with us. So she started to do it upon herself and now, she’s like…

Cloie: Good.

Kay Kay: To this day, people are like, “Kay, can you tell Andrea to…?” “No.” No, we have Andrea doing good over here…

Cloie: We’re good.

Kay Kay: We’re doing good over here.

DJ Iz: Over here.

Cloie: Where were you when…? We’ve got…

Kay Kay: Where were you seven years ago?

DJ Iz: Ago? Exactly. Exactly.

Cloie: So we’ve got Moira from Oakland, California. Wants to know how you go from dancing to acting to doing other stuff and how do you know what you want to do?

Kay Kay: That’s a really great question. I’ve decided to going to acting outside…I guess, the first thing outside of dance, because dance is acting, it’s just not with words. So I thought that would be the easiest route to go.

DJ Iz: That’s dope.

Kay Kay: And then, I thought again and then I thought the music would probably be the best route to go. Because I do dance, but then, it’s like…the thing about music is, when you dance a certain…when you perform a certain way, you…almost, people want to match your dancing with your music. But say you don’t listen to music like that, you just dance really good. So it’s a contradicting situation, because you don’t want to dance to that music, but that’s the music you usually dance to. But like…

Cloie: Yes. I had a…here’s a…this is a quote that got me. It is for connecting acting, singing and dancing, right? Specifically musicals, I think people think they’re corny and all that kind of stuff. I can see why people think that. I personally love them…

Kay Kay: I love them.

Cloie: …love them, but they say the whole…the connection in that is with acting. You don’t have enough words, so you start singing. When you run out of lyrics, that’s when you start dancing. So that’s like…it’s almost like a natural bodily progression of what we do. Anyway, that’s just my thoughts.

Kay Kay: Just naturally…

Cloie: Yeah.

Kay Kay: …triple threats, just…

Cloie: Well…

Kay Kay: …just naturally.

Cloie: Just do it.

DJ Iz: We have Leah from Philly, “How many people do you work with on a day-to-day basis? Are you always busy?”

Cloie: Yes.

Kay Kay: Yeah. How many people? It’s freaking tons. There’s so many different people in this industry, there’s so many different camps, you’re constantly meeting someone new, like constantly.

Cloie: You just got back from Italy, right?

Kay Kay: Yeah.

Cloie: Yeah. So you just got back from…I mean…

Kay Kay: Yeah, I wish I would have stayed home, though, because it just wasn’t for me.

DJ Iz: Now, they’re like…

Kay Kay: That one wasn’t for me.

DJ Iz: …”How could you say that? It was Italy.”

Kay Kay: I know. Isn’t that crazy? I noticed that, too. When I…when people…when I just hear myself talk and people are like, “You’ve traveled,” like, “That’s the craziest…that’s the best thing ever,” and you’re just like, “Dang, but if only you knew how much different it is from America.” It’s cool to see it and experience it, but then, when you realize how spoiled you are and how good you have it back at home, you’d be ready to come home…

DJ Iz: Yeah, no doubt.

Kay Kay: …after a couple of days.

Cloie: Well, because you’re also there and you’re grinding. It’s not like you’re there vacationing.

Kay Kay: Exactly, yeah. So you don’t see a lot that people think you do because you’re out there. And then, people think since you’re out there, that you can just be out there and go to a different country already. And they’re like, “Oh, well, since you’re here, just…” No, we’ve got to go home, like…

Cloie: We’ve got…I can come back tomorrow.

Kay Kay: …we have plans.

DJ Iz: Yeah, we’ve got to leave.

Cloie: So we have Nathaniel from Torrance, California, “What are Usher and Missy E. like in person?”

Kay Kay: I would say both of them are very extremely hard workers, both of them are very old school.

Cloie: Ooh, wait, because you’re going to have to define that to folks.

Kay Kay: No, I can’t…I’ll define it. Old-school, they…everyone has a different way of working. And I think when you are of the new school and you work with old-school people, it’s hard, because you don’t understand what they mean by it, almost, because you’re like, “Okay.” But like…so for me, it was tough to grip that I wasn’t an old-school dancer, I wasn’t…because in both jobs, I was considered the new one. So in my head, I’m already like, “Okay, so this is already choreography that’s going to be hard as hell.” Everybody knows it already. So it’s a great…they’re really great, but they’re freaking intimidating. And it’s scary…

Cloie: Sure.

Kay Kay: …because they’re legends, you know what I mean? It’s not like you’re dancing for someone like on Radio Disney or something like that. This is…these are legends. They’ve been doing this forever and ever and their opinion actually matters, because they fuck with dancers. So they know what it’s like to look bad, they know what it’s like when you already look tired and you’re not supposed to. So you can’t…

Cloie: You’re not emphasizing a set of, like…?

Kay Kay: Yeah. So you can’t get away with a lot of stuff that you could with a lot of other artists. So for me, those two jobs screwed me up the most, because I was so used to just not dancing. Artists don’t perform…they don’t perform any more, so they…you don’t have to work. When you work, you don’t have to work anymore. So when you actually do have to work, it’s like, “Dang…”

Cloie: “I’m tired.”

Kay Kay: “…I’m freaking tired, I’m scared, I don’t know what they’re about to tell me,” because I’m not used to that. So it’s definitely an amazing experience, but it’s one of the most terrifying ones, because they are who they are and you are who you are. You’re a child and they’re like, a god. So it’s like, “Shit.” And they’re a god in the music world. And that’s…I was actually talking to somebody about this the other day, how it’s like we praise actors and musicians and even painters, but like…

Cloie: To a much lesser degree, unfortunately.

Kay Kay: Yeah, but like…and this is just because I’m a dancer. Dancers don’t get praised at all…

Cloie: Nothing.

Kay Kay: …like, at all. You’ll know somebody that painted something before you know somebody that broke their back to make a…

DJ Iz: I agree. Yeah, I agree.

Kay Kay: …an iconic performance.

DJ Iz: I agree.

Kay Kay: That’s wild to me.

Cloie: Yes.

DJ Iz: I totally agree with you.

Kay Kay: We don’t get no credit, none.

Cloie: Rosie Perez, she’s the one…

DJ Iz: And this is the one thing people still love to see and that captivates you…

Kay Kay: Yes.

DJ Iz: Somebody could be busting on the street and you’re like… There’s a crowd, because it still…it captivates you, you know what I’m saying? It’s the one thing that’s…

Cloie: But you might never know their name.

Kay Kay: And it doesn’t matter, because they’re just for entertainment. They don’t…a dancer will never be as big as a musician and why not?

Cloie: Unless you’re in a company. But even at that level, there’s only a very specific…

Kay Kay: Because who is the popping one?

Cloie: Missy Copeland.

Kay Kay: Missy Copeland, that’s it. And she’s a ballerina. She’s not even dancing…well, she’s…trust me…hold on, I shouldn’t have said that, because she can dance. But as far as like hip-hop or anything that’s hard…like, really hard that you can’t teach…because you can teach technique, but you can’t teach soul. You can’t…

Cloie: And also…

DJ Iz: Yeah, soul and style. Yeah, I agree.

Cloie: And those styles, where are the women that are celebrated? Because you get…

Kay Kay: Nowhere.

Cloie: Exactly. You’ve got maybe two dudes, but there’s no women.

Kay Kay: And that’s crazy, but it’s so true. We praise men a lot more.

DJ Iz: Well, let it be known, I praise Kay Kay early on in.

Cloie: You did, you did.

Kay Kay: You did, you did, you did.

DJ Iz: I was like, “Girl…”

Cloie: You did.

DJ Iz: “…I’m with you.”

Cloie: You did.

DJ Iz: “I’m with you. You make me want to play this record, because…just to see you busting.”

Cloie: This is true.

Kay Kay: This is true.

DJ Iz: So we have Jamaal from Atlanta, “It really is all about execution. How do you finish what you start?”

Kay Kay: For me, personally, I just don’t…I’ve never quitted anything in my life. I feel like you should start something if you don’t intend to finish it, because what’s the point of starting it if you’ve still got to finish it? It’s like an unpainted wall. Why would you finish half of the wall and then, you still have the other half to start?

Cloie: You get tired and go home? Mm-hmm.

Kay Kay: You’re just tired. You can’t just not finish it.

DJ Iz: Right, right.

Cloie: That’s true. That’s actually a great analogy.

Kay Kay: It’s just going to look tore up. You’re going to make yourself look [inaudible 00:57:55].

Cloie: To remind you of when you didn’t finish it.

Kay Kay: Yeah, when you didn’t finish it, like, today was the day…

Cloie: That I stopped.

Kay Kay: …that you just…to stop.

Cloie: “I got tired, grabbed my ball and went home.” We have Ononi [SP] from Boulder, Colorado. “Where do you draw your inspiration for dance and other creative stuff?”

Kay Kay: Honestly, when I travel. I don’t know, it’s just maybe because we’re born here, so it’s just like there’s no…I feel like even our…even the people who we come from, there, there’s no excitement about LA…

Cloie: Sure.

Kay Kay: …because we’re right here.

DJ Iz: We’re right here, yeah.

Kay Kay: We can just come here. So I feel like…yeah, I don’t…yeah.

Cloie: So getting outside of your comfort zone, like where you grew up?

Kay Kay: Yeah, it’s…then, when you figure out what you want to do and give yourself deadlines…I don’t know, you just have to get out of that small, close-minded situation.

Cloie: What’s been your favorite city…? Well, let me not say “favorite.” What’s been the city that you have drawn the most inspiration from?

Kay Kay: Ooh. Dancer-wise or culture-wise?

Cloie: Artist-wise. Well, we can just do two, either way.

Kay Kay: I think dancer-wise, I’ve seen the most lit dancers probably in France and Amsterdam.

Cloie: Dig it.

Kay Kay: France and Amsterdam, they be dancing. There’s a lot of Africans there and there’s a lot of mixed, like…because they know what they are. Like you go to America and you’d be like, “What are you, African-American?” You go over there, they’d be like, “Oh, I’m Nigerian,” “I’m…” They know.

Cloie: It’s like a second home.

Kay Kay: And they’re…somehow…

DJ Iz: Style.

Kay Kay: …their style’s still African, but they’ll turn…There’s a [inaudible 00:59:51] that’s called Afro House. So it’ll be our house dancing, but Afrocentric. So it’s like, it’s a different feeling.

DJ Iz: I love hearing Kay Kay’s feet move, right now. I just hear like…

Kay Kay: [Inaudible 00:59:52].

Cloie: And these are for your shoe. I wish we had a shoe cam. And then, what about for culture?

Kay Kay: And for culture, I would probably say…jeez. Well…oh, dang. I have like, four. Maybe my favorite place to visit…let’s do that one, because culture…

Cloie: Sure. I love it.

Kay Kay: …there’s so many great cultures, but my favorite place to visit would have to be Iceland. Yeah, Iceland’s beautiful. And they play amazing music. I thought like…when I went out there, I thought I was about to be stuck with bad food…

Cloie: Every day, you have time forever.

Kay Kay: …folk music or something like that. Not. They play better music than our clubs, our lounges, our everything. I was eating at an Italian restaurant, they were playing R&B music, but back in the day and they all know it. So it’s like all these Icelandic people and they’re like, “Oh, oh.” You’re like, “Oh, dang.”

DJ Iz: Oh, that’s cool.

Kay Kay: They’re down for the cause.

Cloie: Listen. Oh, I like that, “down for the cause.”

Kay Kay: Yeah.

DJ Iz: Rihanna from Orlando says, “How did 8 Flavahz get its name? Do you ever miss competitive dancing?”

Kay Kay: 8 Flavahz got their name…originally, we were called Flavahz Crew and we couldn’t use that name, because it was bought already. So when…

DJ Iz: Damn.

Kay Kay: Yeah. So when we did ABDC, there were eight of us, so they were like, “Oh, just put “8” in front of it and then you can keep it.”

DJ Iz: Oh, dope.

Kay Kay: So they gave us our name.

Cloie: Thank you.

Kay Kay: Yeah. So I was like, “Okay,” because it would’ve sounded weird, like, “7 Flavahz,” “5 Flavahz,” “6 Flavahz…”

Cloie: Now I’m at Baskin-Robbins.

DJ Iz: Right…

Kay Kay: …”8 Flavahz.”

DJ Iz: …31 Flavahz.

Cloie: Right? 31 Flavahz.

Kay Kay: 31 Flavahz.

Cloie: Thank you, ABDC.

Kay Kay: So “8 Flavahz” was really cute, but…what was the second half of that question?

DJ Iz: “Do you miss competitive dancing?”

Kay Kay: No.

DJ Iz: No?

Kay Kay: I don’t, because that’s here every day.

DJ Iz: Right, right.

Cloie: It’s just life.

Kay Kay: It’s here every day and it’s life. LA, you move to LA, it’s a competitive world.

DJ Iz: Milo from San Diego said, “Did your parents encourage your dancing?”

Kay Kay: Well, my mom encouraged me to cheer, because Ashlynn, my older sister danced and that was her thing. And she couldn’t…my mom couldn’t afford to put both of us in it, so once…Ashlynn’s older, so she got that…

Cloie: Sure.

Kay Kay: …little leeway. And so, she put Ashlynn dancing. And you know, how sisters are set up, you can’t do the same thing as your sister. And so, I was like, “Well, I want to be a cheerleader. I’m smaller than you, anyways.”

Cloie: “I will fly all day.”

Kay Kay: Yeah. I was like, “I’m going to fly. I’m going to do this.” And then, Ashlynn, one day just…I guess she was being nice to me, one day and she decided to teach me what she was learning. And that’s when I also saw the video, because she was…

DJ Iz: Yeah, on YouTube?

Kay Kay: …yeah, she was on song team and I was on cheer. So it was one of those situations. So she wanted me to dance, but she didn’t want me to dance. So then, when I started dancing, that was a big problem for us, because we already looked alike, there’s already too much similarities. So then, when I wanted to do what she was doing…wanted to do, she wasn’t having it. But now, she’s cool. She’s cool, now.

DJ Iz: She’s like…

Kay Kay: She’s cool now.

DJ Iz: …”Hey, look. You’re kicking my ass on dancing now, so I’m going to let you have this.”

Kay Kay: Not even. She…for her, it was like…I thought like that for a long time. I was like, “Maybe she’s just…” Because when someone gets a little bit better as a sibling, that’s…

DJ Iz: It is hard, especially for the older one, because my brother’s two years older and there’s things that he’s great at that I’m not and there’s things that…and the things that I kind of touch on that maybe he doesn’t, I start kind of…it’s tough. It’s tough for the older ones.

Cloie: Really?

Kay Kay: Yeah. They don’t like it…yeah, because it’s like…

DJ Iz: Yeah, it’s tough.

Kay Kay: Yeah. And especially, I think, at the level of dancer that I am at now, it’s almost…not almost, it’s more congratulating for her now, rather than, “Why are you dancing?” Because back in the day, it was like, “Well, why are you dancing?”

Cloie: Well, you can also take her places. Not that she can’t take herself, I’m sure she can take herself. And also, it’s like, “Hey, I’m going here. You want to come?” “Yeah.”

Kay Kay: Yeah, yeah. And now, she’s…she be down for the cause.

Cloie: Listen, come and take a class. Wait, this is my favorite question here, because it says, “Hey, Kay Kay. Will, watching from Austin, Texas. What do you think that EDM hip-hop music, new music versus older-generation music which still uses instruments, old-school? Is the pop industry taking over?”

Kay Kay: What?

Cloie: Hold on. Bear with me, Will. Wait a minute. “What do you…?”

Kay Kay: I think I understand what he’s saying.

Cloie: “What you think about new music versus older-generation music?” Let’s say that. Okay. And then, there’s a follow-up. Yes.

Kay Kay: I think that we’re in a trend right now, so we think that new music is really popular, but it’s really not. I was just talking to one of my friends the other day and I was like, “Do we know what he’s saying?”

Cloie: No. Uh-uh.

Kay Kay: Like…because…

DJ Iz: Are we talking about the mumbles?

Kay Kay: Yeah. You can literally say, “Yeah,” and have…be the dopest rapper, right now. And I’m like, “Wait…” Because there’s so many people that had to rap, had to do this for their life. So when I hear stuff now, I’m just like, “Dang.”

DJ Iz: What has it come to? Yeah.

Kay Kay: I guess it’s like…

Cloie: What has it come to?

Kay Kay: It’s almost like people fuck with producers, not even the artists. You mess with the producers more than them, the artists, because the beat sounds cool.

Cloie: And they play that same beat…I tell you, I listened to the radio the other day, which…whatever. And I feel like I heard the same song for 20 minutes, except that it was four or five different songs that all sounded exactly the same.

Kay Kay: Yeah, they…I guess they figured, “If we make songs that sound the same, people are going to like it…”

Cloie: But nobody noticed.

Kay Kay: “…because it sounds like that one that went number one for a minute.”

Cloie: But nobody noticed.

DJ Iz: We’ve got Dino from Honolulu.

Kay Kay: Hey, D.

DJ Iz: And he says, “What’s it like working on “Empire?”

Kay Kay: Working on…well, honestly, it was amazing for me and it was actually really funny to me, because when I first worked on “Empire,” I worked as a dancer. And the treatment is so different, from being a dancer to an actress on the show. And I was like, “What, I got a fireplace in my trailer? What, I got sandwiches instead of crackers?” I don’t know, it’s just…there’s big differences. And so…

DJ Iz: “I made it. I made it.”

Kay Kay: Yeah, like…

Cloie: “I got sandwiches.”

Kay Kay: …when you get your own…

Cloie: “I got protein.”

Kay Kay: Yeah. When you get your own dressing room as a dancer, that’s like, “What?” That’s crazy. So honestly, it was the best job that I’ve ever done, because I’d never been treated like that before.

DJ Iz: Right.

Cloie: So we have two more questions. One is Tricia from Jamaica, Queens, “What’s it like having all these contracts and does your manager handle all of it for you?”

Kay Kay: Contracts are the demons. Try to sign as…least amount of contracts as you can in your entire life and you’ll be great. My manager does manage my life, but I have a lawyer that looks at contracts. You should…I mean, managers do, too, but you should definitely have a lawyer if you…

Cloie: Mm-hmm, legal rep.

DJ Iz: That’s great advice.

Cloie: Legal rep.

Kay Kay: …get in any situations together.

Cloie: And then, last question is Eugene from Garden Grove, “How did you end up working with Hia Hyun [SP] and do you like K-pop?”

Kay Kay: Oh, my gosh. I did that when I was 12.

DJ Iz: They watching you here, Kay Kay.

Cloie: Look, it’s happening.

DJ Iz: They watching you.

Kay Kay: That’s crazy.

Cloie: Hi, Eugene.

Kay Kay: I was such a bad dancer. I could show you guys that video. It’s so bad.

DJ Iz: I refuse to believe you were a bad dancer, Kay Kay.

Kay Kay: No, no, it’s…it was bad.

Cloie: Nobody believes that.

Kay Kay: You guys would be like, “Dang, the glow-up is real.” Do I listen to K-pop? No, I don’t listen to K-pop. Have I worked with K-pop people? Yes. They’re one of the biggest music industries, K-pop and country music. I don’t know why, but yes, it is.

Cloie: Yeah. Well, Eugene is one of your biggest fans…biggest fans.

Kay Kay: Eugene, you’re lit, because you’ve seen the glow-up.

DJ Iz: The glow-up.

Cloie: He’s witnessed the sparkle.

Kay Kay: You could have blackmailed me out here, but you didn’t.

Cloie: Well, it’s all love. It’s all love. Look…

DJ Iz: Litty-boots.

Kay Kay: Yes.

DJ Iz: No, it’s not…I know you say that, so I was like…tell me what “litty-boots” is…

Kay Kay: Litty-boots? Okay.

DJ Iz: …because I love it when you use it. It’s cute when she uses it. She’ll be like, “Litty-boots.”

Kay Kay: So one night, I was actually pretty lit and…

Cloie: Happens.

Kay Kay: …I was…I really felt like a man, though, because you know how men be like, “Yo, I’m lit, man. I’m lit, this feels crazy.” I was like, “I don’t want to say “lit.” It just sounds so…ugh.” I was like…

Cloie: Aggressive?

Kay Kay: …”I’m going to be like “litty” something. Litty…litty…boots. Litty-boots. I’m litty-boots.” And I just started going crazy and I was like, “That’s the word. That’s the word.”

DJ Iz: I love it when she posted like…and she’ll do it and you’ll be like, “That’s funny.” She would be like, “I’m litty-boots.” “Litty-boots,” and #litty-boots.

Kay Kay: It is so weird, because I…

Cloie: Oh.

Kay Kay: It’s weird, because after I started saying that…now, I don’t know if that is…

DJ Iz: Coined it?

Kay Kay: I’m not saying that I’m the first one to ever say it, but it was just a coincidence when everyone started to say it. My friend even said it in one of her songs. She talks like it’s one of her words and I was like, “Dang.”

Cloie: Except that I was there when “litty-boots” got…right?

DJ Iz: You were the…you’re the first one I saw…

Cloie: You coined it.

DJ Iz: …Rock it. When I saw “litty-boots,” I was like, “Litty-boots?” And that was funny for me, because I remember saying, “I wonder if it’s like a lit thing.” But then, I couldn’t really make…because it was “litty-boots,” so I was like…

Cloie: Because it could be anything.

DJ Iz: …it just sounds cute.

Kay Kay: It’s classy. Like when you’re trying to be classy with your girls…

Cloie: Classy drunk.

Kay Kay: …but there’s like…you know you’ve got…”Damn, girl. I’m litty-boots.”

Cloie: Oh, no. Because you don’t want anybody to know? Not…

DJ Iz: Litty-boots. That’s fresh. That’s fresh.

Cloie: Litty-boots.

Kay Kay: My friend says one that’s kind of inappropriate. She says, “litty-titty.”

Cloie: Oh. Well.

Kay Kay: Yeah, she’s like, “It’s litty-titty,” and we’re like…I’m like, “What?”

Cloie: I would say…

Kay Kay: I’ll use different words.

Cloie: Consider both of those stolen.

DJ Iz: So Kay Kay, you know, we loved this, keep you all down. We have tons more questions for you, but I…you know, we’re …

Kay Kay: Dang.

DJ Iz: … we’re at an hour, now. But I just want to say, if there’s anything you’d like to leave with the viewers who are watching today…

Cloie: Yeah, like what are you working on?

DJ Iz: …what you’re working on.

Kay Kay: Yeah. Well, I’m currently working on…I’m trying to see if…I should be able to say this now…

Cloie: Oh, so you…

Kay Kay: …because you know some people will be weird. But I’m starting to act more, so that’s a little…

DJ Iz: Yeah, exactly. Yeah.

Kay Kay: …cliff-hanger.

Cloie: Great. So it’s time for that. Great.

DJ Iz: A little teaser.

Kay Kay: A little teaser.

DJ Iz: Acting.

Cloie: [Inaudible 01:09:48].

Kay Kay: But acting. And I’m really trying to do…well, not trying, but I’m starting to do a lot of creative work, now. I think now that I’ve put out more videos, it’s starting to get to a lot of artists, so they want…they’re are starting to ask me to create concepts for them, which is really cool, because…

DJ Iz: That’s dope.

Kay Kay: …I’ve never been asked that before and that’s…it’s cool to see what you can do to different songs. And then, for a long time, I just…when you listen to the lyrics as a dancer, you want to make that song come to life, so whatever the song is saying. But then, when you get into a different space when you can literally make any visual come to life just using the song as a platform, it’s pretty cool. It’s really dope. So I’m getting into that and…yeah. But I’m really trying to just focus on the acting, right now, because that’s going good for me, right now.

Cloie: Yeah.

DJ Iz: Yeah. No, that’s cool.

Cloie: And where do we keep up with you, if people want to track?

Kay Kay: Oh, on any of my…social media is really…Instagram is usually the main one with any updates, as far as performances or teaching stuff, but Twitter is usually good for me just venting about life. So if you just want to hear me, you can follow that.

DJ Iz: They want to hear you. There you go. Look, we’ve got the link on there.

Cloie: Boom.

DJ Iz: That’s where you’ll find it.

Kay Kay: Oh, [inaudible 01:11:07] my name.

Cloie: I love the graphic.

DJ Iz: That’s where I’m going.

Cloie: We are connected.

DJ Iz: And I want to hear about litty-boots…

Cloie: Right? Litty-boots.

DJ Iz: …you know? That’s…this is where I want to go.

Kay Kay: That’s the word…

Cloie: I love the graphic.

Kay Kay: …and you guys are going…

Cloie: Litty-boots.

Kay Kay: …to be like, “Dang, it’s litty-boots in here, girl.”

Cloie: Litty-boots hour. “Oh, it’s litty-boots hour.”

Kay Kay: Yeah. You go to happy hour, “It’s litty-boots hour, now. So…”

DJ Iz: Litty-boots hour.

Cloie: I’m going to shout this out to you anytime it happens to me, now.

Kay Kay: “…it’s time to get litty, girls.”

Cloie: Anytime it happens, I’m going to shout you out on Insta.

Kay Kay: “It’s litty-boots.”

Cloie: Yes.

Kay Kay: When you’re trying to be secret [inaudible 01:11:31].

DJ Iz: Well, Kay Kay…

Cloie: Secret [inaudible 01:11:33].

DJ Iz: …it was great having you here. Thank you for hanging out with us today.

Kay Kay: Yes, thank you for having me, you guys. It’s dope.

DJ Iz: And you know, I’m always excited to see what you’re doing. I always go to the Gram and I’m like, “Oh, she’s busting. Oh, she’s…here’s a video.” So…

Kay Kay: I stalk you too, man. I stalk…

DJ Iz: Whatever, man. It was…

Kay Kay: But I do.

DJ Iz: …good to hang with you, man. Good to hang with you.

Kay Kay: You’d be stalking people and they don’t even know.

Cloie: No, they don’t even know.

Kay Kay: No.

Cloie: They don’t even know.

DJ Iz: So again, guys…

Kay Kay: Look at the smile.

DJ Iz: I’m going to let you guys just…you guys are having a moment, so…

Kay Kay: I’m sorry.

DJ Iz: But…

Kay Kay: I think we’re done. We’re done, we’re done.

DJ Iz: …thank you all for tuning in with us today. Shout out to Roland, Igor, Chris, Mark, everyone who holds it down for us, our “Connected” crew who makes it all possible. I know you can’t see in here, but they’re behind the…

Kay Kay: Yeah, you guys are awesome.

DJ Iz: …Giles, Mike, Allie, Ryan, Leah…

Kay Kay: Thank you.

DJ Iz: …and everyone else jamming with us. We’ll be here next week. But before we go, Cloie, you want to let them know where they can find us, as well?

Cloie: Roll that graphic, please. This is our social media where you can find us.

DJ Iz: Bam.

Kay Kay: Oh, dope.

Cloie: We are everywhere @IZConnected. Email us your stuff–your resumes, all that good stuff–at [email protected] Come, join us, sign up on the web, RRFEDU.com/connected. Of course, there is our Facebook messenger app. Don’t miss that and bridge the gap. It is RRFEDU.com/connected/app. Next graphic, please.

DJ Iz: Booyaka shot.

Cloie: Boom. To apply for our jobs–remember, they are just for us–it’s rrfedu.com/connected/latest. And of course, for our resources–that’s everything we’ve ever talked about: jobs, everything that can help you–RRFEDU.com/connected/vault. And make sure to check out our weekly newsletter that’s coming a little bit later. It’s RRFEDU.com/weekly-report. That’s it.

DJ Iz: Bam.

Cloie: Two graphics, we got it.

Kay Kay: Two graphics.

Cloie: We got it.

DJ Iz: Well, I’m your host, DJ Iz. Again, my lovely co-host…

Cloie: Hi, guys.

DJ Iz: …Ms. Cloie and our beautiful guest today, Kay Kay Harris.

Kay Kay: Hey.

DJ Iz: And until then…

Kay Kay: Thank you, guys.

DJ Iz: …go get litty-boots…

Kay Kay: Yeah.

DJ Iz: …All right?

Cloie: Responsibly.

Kay Kay: It’s a party.

DJ Iz: Yeah.

Kay Kay: “Issa.” That’s a new thing.

DJ Iz: Issa?

Cloie: Responsibly…litty-boots responsibly?

Kay Kay: “Issa daddy.” That’s what they say.

Cloie: Okay. “It’s a daddy?”

Kay Kay: “Issa daddy.”

Cloie: “Issa daddy?”

Kay Kay: Like, “It’s a…issa.”

DJ Iz: Issa?

Cloie: Issa daddy?

Kay Kay: I-S-S-A.

Cloie: What does that…? What does…?

DJ Iz: Wow.

Kay Kay: Issa daddy. “It’s a daddy…”

Cloie: It’s a daddy?

Kay Kay: …that’s a daddy, that’s a daddy.

Cloie: That’s a daddy?

Kay Kay: Stuff like that.

Cloie: That’s a daddy. Who says that?

DJ Iz: See? The culture is forever changing, guys.

Cloie: Who says that? Who says that?

Kay Kay: It’s gay. Thank you, guys.

DJ Iz: And on that note, we out. Thank you so much.

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