Le prime 186 righe.
What is missing from Me Too?
I--it's difficult for me
to say,
but I don't think
it's a coincidence
that most of the women
who have come forward
in Hollywood
have been white women.
I don't think
it's a coincidence
that they are generally
quite successful.
If we look at the earning power
of people in America,
for example,
at the very top are white men,
and at the very bottom
are women of color,
and that is something
that I think is necessary
to look at when we are talking
about who gets to come forward
and give their own stories
about surviving sexual abuse
or sexual assault.
America picks and chooses
who they're gonna listen to.
Not only does class
have an indicator,
but what that person
looks like has an indicator.
So who we decide to listen to
is totally predicated
on who we see as valuable
in America.
A lot of black women
felt disconnected
from Me Too initially.
They felt like, "That's great
"that this sister is out there,
"and we support her
as an individual,
but this movement
is not for us."
If we're gonna
move this forward,
it can't simply remain
a problem of the beautiful,
the wealthy,
the popular.
This has to be a moment where,
yes, that might lead us,
but we need to be able
to make sure
that a broader group of women
are introduced
into the public consciousness
at the same time.
It is high time
that the lens turns to us
and that we're allowed
to be heard
and, more importantly,
believed.
Where is it?
Okay, so I think I have
to look in my closet.
How could I have lost it
so quickly?
Here it is.
Yeah, this is the demo
for "Junior M.A.F.I.A."
That's insane, right?
Yeah.
With Lil' Kim and--
I think actually
Biggie gave me this,
or Daddy-O must have given me
this demo.
At the time, Biggie was--
let's just call it
a entrepreneur.
So he was working outside,
you know?
He just lived
around the corner,
and he was trying
to be a rapper.
I was trying to be
a rap A&R person.
We were all trying
to be something.
[Gang Starr's
"What I'm Here 4"]
When I lived here,
I worked at Empire
Artist Management.
I was a receptionist
pre-Def Jam.
I was working with Gang Starr,
DJ Premier,
Jeru the Damaja.
This is how I would walk
to the train,
and I specifically walked this
way because Biggie told me,
"Walk down my block
because I run my block
"and everybody knows
you're cool with me,
"so if you walk down my block,
you're not gonna have
any problems."
I mean, it was different.
It was the early '90s.
There were crack vials
everywhere.
It was still, you know,
rough and rugged.
I always wonder
what would have happened
if Biggie had lived.
I feel like Biggie--
Biggie had my back.
Music has always been sort of
this language that I spoke.
Everything from, you know,
the Doors to the Beatles
to Prince to jazz.
You know, my mom was a big
Billie Holiday fan,
so I consumed Billie Holiday
voraciously.
I mean, I would stay up
in the middle of the night
and organize my mom's albums
on the living room floor
and I would just play
the songs in order
and I would chase the fades.
I would turn it up to catch
every last drop of the record
because some of the best stuff
was in the fade.
Hip-hop then also had this
additional appeal to me
as this sort of black movement
that was empowering people
who were otherwise lost
and overlooked,
and I grew up feeling
like that was my mission
as the daughter
of local politicians.
I grew up in the thick
of black D.C.
You know,
knocking on doors,
trying to convert one voter
at a time,
and then hip-hop just combined
two things that I loved:
activism and this sense
of pride with music.
And it seemed like it could
sort of, I thought,
change the world.
Mayor Dixon, are you--
Mrs. Dixon, are you prepared
to take the oath?
I am indeed.
Would you please place
your left hand on the Bible?
When my mom was elected
mayor of D.C.,
I took my junior year off
from Stanford
to help
with her inaugural ball,
and in the process of putting
together her inauguration,
I had the opportunity
to pick the artists.
So I picked Rare Essence,
my favorite go-go band.
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