1
00:00:00,160 --> 00:00:03,000
Speaker 1: Quest Love Supreme is a production of iHeartRadio.

2
00:00:10,000 --> 00:00:13,119
Speaker 2: Ladies and gentlemen. Welcome to West Love Supreme.

3
00:00:14,000 --> 00:00:16,680
Speaker 3: Your host, Quest Love and with Me is the award

4
00:00:16,720 --> 00:00:18,599
Speaker 3: winning team inst of all the teams.

5
00:00:19,079 --> 00:00:19,840
Speaker 2: How else it going?

6
00:00:19,920 --> 00:00:20,079
Speaker 4: Like you?

7
00:00:20,480 --> 00:00:21,800
Speaker 2: You look awfully glowy tod that.

8
00:00:22,360 --> 00:00:24,320
Speaker 5: Oh yeah, I'm on I'm on the new fancy camera

9
00:00:24,360 --> 00:00:27,000
Speaker 5: excuse so I'm feeling I might be feeling myself quite

10
00:00:27,000 --> 00:00:27,440
Speaker 5: a little bit.

11
00:00:27,480 --> 00:00:27,680
Speaker 2: Yeah.

12
00:00:27,680 --> 00:00:29,680
Speaker 3: I was about to say, you got that Lenny Kravitz

13
00:00:30,080 --> 00:00:33,480
Speaker 3: on the show, A little bit about yourself today?

14
00:00:33,520 --> 00:00:34,159
Speaker 2: What is it?

15
00:00:34,760 --> 00:00:36,960
Speaker 5: I knew Fatima was gonna come on here looking correct,

16
00:00:36,960 --> 00:00:38,440
Speaker 5: so I had to make sure I was, you know,

17
00:00:38,800 --> 00:00:39,640
Speaker 5: far with my sense?

18
00:00:40,080 --> 00:00:45,080
Speaker 2: Okay? And what are you wearing this evening, Steve?

19
00:00:45,440 --> 00:00:47,800
Speaker 6: I'm wearing pretty much the same thing as Fatima the time,

20
00:00:47,920 --> 00:00:49,919
Speaker 6: but you have to.

21
00:00:49,840 --> 00:00:56,240
Speaker 4: Take it off the shoulders, oh God, like the surface

22
00:00:56,240 --> 00:00:58,200
Speaker 4: of the shoulder.

23
00:00:58,320 --> 00:00:59,680
Speaker 2: Thanks for tim yea.

24
00:01:00,400 --> 00:01:03,960
Speaker 3: By the way, Steve, my older family members you can

25
00:01:04,040 --> 00:01:06,280
Speaker 3: tell they're older because of what they told me.

26
00:01:06,760 --> 00:01:09,279
Speaker 2: They was like, Yo, how come that boy always smokes? Reefer?

27
00:01:12,640 --> 00:01:13,720
Speaker 2: Wait what was your response?

28
00:01:14,080 --> 00:01:14,120
Speaker 4: No?

29
00:01:14,480 --> 00:01:15,679
Speaker 2: I was laughing at.

30
00:01:15,560 --> 00:01:17,800
Speaker 7: Them because I was like, you didn't tell was good? Once?

31
00:01:17,800 --> 00:01:21,000
Speaker 3: Some Yeah, I was like, wait to hear about me.

32
00:01:21,800 --> 00:01:24,920
Speaker 3: Good to see you in your uh your old spot, Bill.

33
00:01:25,080 --> 00:01:28,200
Speaker 8: Yep, I'm back in the studio. I'm I'm wearing Stitch fixed.

34
00:01:28,200 --> 00:01:30,360
Speaker 8: Thank you very much, little proud from stitch Ficks. I

35
00:01:30,400 --> 00:01:32,440
Speaker 8: don't look like Fatima, but that's okay.

36
00:01:32,840 --> 00:01:33,360
Speaker 4: Uh.

37
00:01:33,400 --> 00:01:33,880
Speaker 2: I'm good.

38
00:01:34,240 --> 00:01:35,080
Speaker 8: I'm happy to be home.

39
00:01:35,520 --> 00:01:38,479
Speaker 2: I was waiting for how you doing. I'm great, you.

40
00:01:38,440 --> 00:01:41,520
Speaker 7: Know, happy anniversary? And Mirror have you anniversary?

41
00:01:41,520 --> 00:01:45,160
Speaker 5: You and Fante and all the okay players have you anniversary?

42
00:01:45,200 --> 00:01:49,160
Speaker 3: That's right, big twenty five. We are twenty five years old.

43
00:01:49,720 --> 00:01:52,440
Speaker 3: Font Tikolo, okay, you got your try sweater on? I

44
00:01:52,440 --> 00:01:55,440
Speaker 3: see yeah, man, yeah, I have to for the tribe. Man,

45
00:01:55,600 --> 00:01:57,760
Speaker 3: we in the present sorority tonight.

46
00:01:58,120 --> 00:02:01,800
Speaker 2: Right, I see? So, speaking of which, ladies and gentlemen.

47
00:02:02,160 --> 00:02:06,240
Speaker 3: Similar to the LL cool J episode in which I

48
00:02:06,280 --> 00:02:11,799
Speaker 3: admit it that maybe I purposely slowed down the pursuit

49
00:02:11,960 --> 00:02:17,040
Speaker 3: of real camaraderie because I knew I wanted my first

50
00:02:17,400 --> 00:02:20,840
Speaker 3: real conversation to be on this platform, you know, And

51
00:02:20,880 --> 00:02:24,200
Speaker 3: that's just not for self serving purposes. I just I

52
00:02:24,280 --> 00:02:27,200
Speaker 3: know that the first month and a half of a

53
00:02:27,280 --> 00:02:30,760
Speaker 3: friendship with me with a fellow industry, peer person is

54
00:02:30,840 --> 00:02:33,680
Speaker 3: kind of going a result to a lot of weird,

55
00:02:33,760 --> 00:02:37,480
Speaker 3: nerdy questions, and I've been told it's rather annoying. So

56
00:02:38,080 --> 00:02:42,160
Speaker 3: that's why this platform exists, and today our guest is

57
00:02:42,200 --> 00:02:43,160
Speaker 3: no exception to that.

58
00:02:43,360 --> 00:02:45,399
Speaker 2: I will say that there's.

59
00:02:45,240 --> 00:02:51,080
Speaker 3: Literally no human being in this industry that I personally

60
00:02:51,880 --> 00:02:55,440
Speaker 3: am curious about the path of their.

61
00:02:55,360 --> 00:03:00,400
Speaker 2: Journey from soup to nuts that they've taken. Tactically.

62
00:03:00,840 --> 00:03:05,720
Speaker 3: Every iconic video worth its grain of salt that has

63
00:03:05,720 --> 00:03:10,720
Speaker 3: been on MTV or BT or you know, now YouTube

64
00:03:10,800 --> 00:03:13,360
Speaker 3: is how we get it has either been you know,

65
00:03:13,680 --> 00:03:16,120
Speaker 3: blessed by her presence. If we're telling back in the

66
00:03:16,200 --> 00:03:21,640
Speaker 3: day later with her expertise in choreography. Later as she

67
00:03:21,720 --> 00:03:25,960
Speaker 3: pivots into directing not to mention any wild moment that

68
00:03:26,000 --> 00:03:29,480
Speaker 3: we've seen with dancing, nine times out of ten you're

69
00:03:29,600 --> 00:03:34,040
Speaker 3: either watching her personal blueprint or I'm almost certain that

70
00:03:34,320 --> 00:03:38,440
Speaker 3: her disciples have you know, have carried the baton.

71
00:03:39,160 --> 00:03:41,240
Speaker 2: I would be remiss if I didn't say.

72
00:03:41,920 --> 00:03:44,760
Speaker 3: That a lot of the praise and the credit that

73
00:03:45,520 --> 00:03:50,280
Speaker 3: I've personally been getting for the Hip Hop fifty celebration,

74
00:03:50,400 --> 00:03:52,880
Speaker 3: things that happened, that the Grammys, and that happened again

75
00:03:52,920 --> 00:03:56,000
Speaker 3: with the special in December. I'm telling you right now,

76
00:03:56,400 --> 00:04:00,360
Speaker 3: our guest today was show enough the anchor or a

77
00:04:00,400 --> 00:04:02,880
Speaker 3: lot of that, Like I got the glory of just like, hey,

78
00:04:02,920 --> 00:04:05,400
Speaker 3: this song and that song and call this guy up

79
00:04:05,440 --> 00:04:06,480
Speaker 3: and clear that sample.

80
00:04:06,760 --> 00:04:10,560
Speaker 2: But in terms of just like dealing with the headaches

81
00:04:10,640 --> 00:04:11,520
Speaker 2: not only.

82
00:04:11,280 --> 00:04:16,120
Speaker 3: As a creator and running her own squad, but you know,

83
00:04:16,839 --> 00:04:19,520
Speaker 3: she damn near had to be a life coach just

84
00:04:21,000 --> 00:04:24,800
Speaker 3: to keep certain group members from corn at each other's throats,

85
00:04:24,800 --> 00:04:27,680
Speaker 3: because you got to understand, like, you know, a lot

86
00:04:27,680 --> 00:04:31,440
Speaker 3: of these group members broke up. You know, most groups

87
00:04:31,480 --> 00:04:35,040
Speaker 3: don't last forty years. So I have so many questions

88
00:04:35,080 --> 00:04:38,080
Speaker 3: to ask our guest today. Please welcome to quest of

89
00:04:38,160 --> 00:04:39,720
Speaker 3: Supreme Fatima Robinson.

90
00:04:40,160 --> 00:04:47,680
Speaker 9: Finally, Oh yes, exactly, all right, I'm gonna ask you

91
00:04:47,720 --> 00:04:50,719
Speaker 9: the question now without giving it all away.

92
00:04:51,360 --> 00:04:54,839
Speaker 2: Yes, I've been kind of open on this platform.

93
00:04:55,000 --> 00:04:57,840
Speaker 3: You know, I mean, nothing I say winds up being

94
00:04:57,880 --> 00:05:00,719
Speaker 3: headlines in any of the blocking sphere whatever. So we're

95
00:05:01,320 --> 00:05:05,400
Speaker 3: even though we're award winning, like we're not gotcha journalism.

96
00:05:05,960 --> 00:05:10,080
Speaker 3: But I've talked about how stressful these situations can be,

97
00:05:11,720 --> 00:05:13,719
Speaker 3: and I've only had to deal with two of them,

98
00:05:14,000 --> 00:05:16,920
Speaker 3: which you know, of course the Hip Hop fifty things,

99
00:05:17,480 --> 00:05:20,200
Speaker 3: But you, on the other hand, have to deal with

100
00:05:20,400 --> 00:05:22,880
Speaker 3: you know. I meant, Lord knows how many Super Bowl

101
00:05:22,960 --> 00:05:26,800
Speaker 3: halftimes you've been involved in every award show that we've seen,

102
00:05:27,680 --> 00:05:31,560
Speaker 3: and walking away from Hip Hop fifty, in which I

103
00:05:31,640 --> 00:05:36,200
Speaker 3: will say that watching it on television, I said to

104
00:05:36,240 --> 00:05:47,120
Speaker 3: myself like, oh.

105
00:05:42,560 --> 00:05:48,279
Speaker 2: But being there that night, it's intense. There was look,

106
00:05:48,320 --> 00:05:49,960
Speaker 2: I'm about full transparency.

107
00:05:50,120 --> 00:05:55,080
Speaker 3: I personally was sort of a block away from depression

108
00:05:56,080 --> 00:05:59,120
Speaker 3: really well, because the thing was, it was like I

109
00:05:59,360 --> 00:06:03,640
Speaker 3: vowed to never subject myself to that level of stress

110
00:06:03,760 --> 00:06:06,720
Speaker 3: ever again in this lifetime. The first time doing the

111
00:06:06,720 --> 00:06:09,320
Speaker 3: fifteen minute Grammy thing, when I landed it in New York,

112
00:06:09,400 --> 00:06:12,800
Speaker 3: I lost a tooth fell out. I went straight to

113
00:06:12,960 --> 00:06:18,240
Speaker 3: the dentist, and part of my resistance to coming back

114
00:06:18,279 --> 00:06:22,039
Speaker 3: to it for a two hour version was no, like,

115
00:06:22,120 --> 00:06:24,080
Speaker 3: why would I ever want to do that to myself?

116
00:06:24,360 --> 00:06:26,720
Speaker 3: But the thing is is that I only have to

117
00:06:26,760 --> 00:06:30,160
Speaker 3: experience that twice. I'm almost certain you have to deal

118
00:06:30,200 --> 00:06:35,000
Speaker 3: with that eight to nine times a year. Yeah, Ward

119
00:06:35,000 --> 00:06:40,919
Speaker 3: show every So my first question to you why even bother, like,

120
00:06:41,120 --> 00:06:42,479
Speaker 3: why why do you do this?

121
00:06:42,880 --> 00:06:47,960
Speaker 4: Why my gosh, no, it's the best. I love finding

122
00:06:48,000 --> 00:06:50,640
Speaker 4: the solution to the problem. I get off on that.

123
00:06:51,400 --> 00:06:54,440
Speaker 4: So because I get off on that, I'm like, bring

124
00:06:54,480 --> 00:06:56,960
Speaker 4: it to me, Like I love when it's like a

125
00:06:57,080 --> 00:07:00,400
Speaker 4: fire and I'm like, oh, put that fire out, fire

126
00:07:00,480 --> 00:07:04,480
Speaker 4: another fire, put it out, put it out. I love it.

127
00:07:04,560 --> 00:07:05,479
Speaker 4: I live for that.

128
00:07:06,640 --> 00:07:09,280
Speaker 3: I was going to say, And I've shared the story

129
00:07:09,279 --> 00:07:14,840
Speaker 3: about us having an emergency some six minutes oh yeah,

130
00:07:14,880 --> 00:07:19,920
Speaker 3: six minutes before we're live on the air and everything's

131
00:07:19,960 --> 00:07:23,680
Speaker 3: falling apart, and I looked at you and you just

132
00:07:24,480 --> 00:07:26,640
Speaker 3: you did the zen thing that I've never seen before,

133
00:07:26,720 --> 00:07:29,880
Speaker 3: and I was just like, I gotta know what Fatima

134
00:07:30,080 --> 00:07:34,280
Speaker 3: is doing in her life because I was having a

135
00:07:34,320 --> 00:07:37,040
Speaker 3: pan even after it was over. I had a minor

136
00:07:37,160 --> 00:07:41,160
Speaker 3: panic attack at the end of the first Grammys thing.

137
00:07:42,760 --> 00:07:46,040
Speaker 2: Because I was unaware that Uzzi came on and saved us.

138
00:07:46,520 --> 00:07:48,800
Speaker 4: Yeah, so well he didn't, Yeah he.

139
00:07:48,840 --> 00:07:51,120
Speaker 3: That was I mean not he put a nice cherry

140
00:07:51,200 --> 00:07:54,560
Speaker 3: at the end of the But you really.

141
00:07:54,320 --> 00:07:57,160
Speaker 4: Fought for that moment to happen, which was really great,

142
00:07:57,760 --> 00:08:00,880
Speaker 4: And you know the other moments I had ever experienced

143
00:08:00,880 --> 00:08:04,760
Speaker 4: something like that, someone dropping out on live TV while

144
00:08:04,760 --> 00:08:07,960
Speaker 4: we were actually in the moment of it that was

145
00:08:08,040 --> 00:08:10,680
Speaker 4: new to me. But at a certain point it just

146
00:08:10,760 --> 00:08:13,400
Speaker 4: with hip hop, nothing is surprising. And I have to

147
00:08:13,440 --> 00:08:16,960
Speaker 4: tell a lot of these executives, like, you know, they'll be,

148
00:08:17,400 --> 00:08:19,600
Speaker 4: oh my god, this is happening, and this is happening,

149
00:08:19,600 --> 00:08:22,240
Speaker 4: and I'm like, it's hip hop. It's gonna be okay,

150
00:08:22,920 --> 00:08:24,960
Speaker 4: just give it a moment. We're gonna figure it out,

151
00:08:25,160 --> 00:08:29,240
Speaker 4: you know. And it's just I grew up with hip hop.

152
00:08:29,360 --> 00:08:33,280
Speaker 4: It's what I know. It's how I've been trained, and

153
00:08:33,440 --> 00:08:36,680
Speaker 4: you know, we always figure it out.

154
00:08:36,920 --> 00:08:39,080
Speaker 5: Can I just ask out on a number sense? We're

155
00:08:39,120 --> 00:08:41,880
Speaker 5: talking about how many artists and how many dancers for

156
00:08:41,960 --> 00:08:43,640
Speaker 5: the Hip Hop fifty fifth the Grammy.

157
00:08:45,120 --> 00:08:46,520
Speaker 2: I only had to deal with the artists. She has

158
00:08:46,559 --> 00:08:48,080
Speaker 2: to deal with the artists and the dancers.

159
00:08:48,120 --> 00:08:54,160
Speaker 4: That's why I'm asking artists, dancers, managers, wardrobe, lighting, production design.

160
00:08:54,800 --> 00:08:56,439
Speaker 4: I gotta answer all the questions.

161
00:08:56,800 --> 00:08:59,479
Speaker 7: Oh so that's hundreds of people, Okay, yeah, Yeah.

162
00:09:00,000 --> 00:09:02,120
Speaker 2: Started at the beginning. Where are you from? Where were

163
00:09:02,160 --> 00:09:02,600
Speaker 2: you born?

164
00:09:03,480 --> 00:09:07,440
Speaker 4: I was born in Little Rock, Arkansas, and I moved

165
00:09:07,480 --> 00:09:09,959
Speaker 4: to LA when I was five years old. Oh wow,

166
00:09:10,480 --> 00:09:13,520
Speaker 4: yeah wow, Little Rock, Arkansas. And every summer I go

167
00:09:13,559 --> 00:09:16,480
Speaker 4: back to Little Rock and be with my family there.

168
00:09:16,960 --> 00:09:18,280
Speaker 7: What part of LA did you move to?

169
00:09:18,760 --> 00:09:22,079
Speaker 4: I lived everywhere we first landed in Compton. I lived

170
00:09:22,080 --> 00:09:25,840
Speaker 4: in Inglewood, in Harthorn and El Segondo and San Pedro,

171
00:09:26,120 --> 00:09:28,960
Speaker 4: and I lived all over the place in La.

172
00:09:29,800 --> 00:09:31,520
Speaker 2: See, I thought you straight up Brooklyn.

173
00:09:31,920 --> 00:09:36,760
Speaker 4: Everybody. Everybody thinks I'm from New York, but no, and

174
00:09:36,800 --> 00:09:40,160
Speaker 4: I really not. Until like five years ago, I really

175
00:09:40,240 --> 00:09:43,080
Speaker 4: rode for LA. But now I just ride for California

176
00:09:43,240 --> 00:09:47,800
Speaker 4: because I love Ohi and I'm just out of city.

177
00:09:48,440 --> 00:09:49,440
Speaker 2: Can you sell me on that?

178
00:09:49,480 --> 00:09:51,800
Speaker 3: Because a lot of my friends are moving to Ohi

179
00:09:52,280 --> 00:09:55,840
Speaker 3: and I want to know what's up there before.

180
00:09:55,960 --> 00:09:57,959
Speaker 7: It's light over there? Is that what you're about to say?

181
00:09:58,000 --> 00:09:58,720
Speaker 7: That's what it looks like.

182
00:09:58,960 --> 00:10:00,480
Speaker 4: I was going to take you guys out to look

183
00:10:00,520 --> 00:10:02,920
Speaker 4: at the mountains, and I was checking to see if

184
00:10:02,920 --> 00:10:05,200
Speaker 4: the sunset, But the clouds are really low right now,

185
00:10:05,200 --> 00:10:08,480
Speaker 4: they're covering the mountains. It's beautiful here, and it's just

186
00:10:09,920 --> 00:10:13,720
Speaker 4: a wonderful war text of good energy.

187
00:10:14,120 --> 00:10:14,320
Speaker 5: You know.

188
00:10:14,440 --> 00:10:17,160
Speaker 4: It's called the Valley of the Moon, and the moon

189
00:10:17,400 --> 00:10:21,880
Speaker 4: hits really beautiful here. It's not that far from La

190
00:10:23,120 --> 00:10:25,560
Speaker 4: only an hour and a half, but it's in nature

191
00:10:25,640 --> 00:10:27,000
Speaker 4: and it's just gorgeous.

192
00:10:27,640 --> 00:10:27,920
Speaker 2: See.

193
00:10:27,960 --> 00:10:31,400
Speaker 3: My only concern is that as a person who insisted

194
00:10:31,400 --> 00:10:33,600
Speaker 3: on getting on the first flight, and most of my

195
00:10:33,679 --> 00:10:34,400
Speaker 3: flights are.

196
00:10:35,880 --> 00:10:36,880
Speaker 2: Five am flights.

197
00:10:37,280 --> 00:10:40,080
Speaker 3: Yeah, and that basically means that I would have to

198
00:10:40,160 --> 00:10:42,560
Speaker 3: leave your house at like one in the morning just

199
00:10:42,600 --> 00:10:43,960
Speaker 3: to get the Lax by three.

200
00:10:44,320 --> 00:10:45,079
Speaker 7: Is that your airport?

201
00:10:45,120 --> 00:10:45,600
Speaker 2: That's not right?

202
00:10:46,320 --> 00:10:49,800
Speaker 4: Well, there's Santa Barber Airport, but there's not as many

203
00:10:49,880 --> 00:10:52,679
Speaker 4: flights out, a lot of more connections, you know, so

204
00:10:52,720 --> 00:10:53,920
Speaker 4: it's easier to just go out of.

205
00:10:53,960 --> 00:10:55,880
Speaker 7: Lax sacrifice the peace.

206
00:10:56,600 --> 00:10:58,160
Speaker 4: We in the peace time of life.

207
00:10:58,679 --> 00:11:00,520
Speaker 2: All right, you're selling me on it. Yeah.

208
00:11:00,559 --> 00:11:03,920
Speaker 3: A lot of my friends just up and left New York,

209
00:11:04,600 --> 00:11:06,960
Speaker 3: LA and they all went to OHI, And I'm like,

210
00:11:06,960 --> 00:11:09,280
Speaker 3: what the hell is that OHI that I don't know about?

211
00:11:10,679 --> 00:11:13,920
Speaker 2: Is it like more like a hippie commune or no?

212
00:11:14,040 --> 00:11:16,200
Speaker 4: I mean there were a lot of hippies that came

213
00:11:16,280 --> 00:11:19,080
Speaker 4: here back in the day. It's really changing over there's

214
00:11:19,160 --> 00:11:23,800
Speaker 4: really great restaurants and stuff. It's just you know, you

215
00:11:24,679 --> 00:11:28,040
Speaker 4: it's it's just being in the country. But there's also

216
00:11:28,200 --> 00:11:31,240
Speaker 4: really amazing people here. So you have really great dinner

217
00:11:31,280 --> 00:11:35,680
Speaker 4: parties at friends' houses and you know, you can you know,

218
00:11:35,760 --> 00:11:40,120
Speaker 4: see horses walking down the street and go on hikes,

219
00:11:40,240 --> 00:11:43,640
Speaker 4: and it's just a better quality of life, you know.

220
00:11:49,559 --> 00:11:52,160
Speaker 3: I would like to know if you can remember this, like,

221
00:11:52,200 --> 00:11:56,560
Speaker 3: what is the first creative thing that you remember putting together?

222
00:11:57,880 --> 00:12:01,839
Speaker 4: The first creative thing I remember putting together. It would

223
00:12:01,880 --> 00:12:05,680
Speaker 4: probably be I have two younger sisters, and so when

224
00:12:05,720 --> 00:12:10,199
Speaker 4: my mom would have guests over, we were the entertainment.

225
00:12:11,160 --> 00:12:14,800
Speaker 4: So I would put together dance moves on my sisters.

226
00:12:15,000 --> 00:12:18,200
Speaker 4: And that was probably the first creative because I would

227
00:12:18,559 --> 00:12:22,320
Speaker 4: you know, I would dress us and we would put

228
00:12:22,400 --> 00:12:24,840
Speaker 4: towels on our head because I thought I was Darsel

229
00:12:24,960 --> 00:12:25,959
Speaker 4: from Solid.

230
00:12:25,559 --> 00:12:30,440
Speaker 2: Gold Away day.

231
00:12:30,920 --> 00:12:34,520
Speaker 4: You couldn't tell me nothing, you know, so we get

232
00:12:34,520 --> 00:12:36,800
Speaker 4: in her heels and we were the you know, the

233
00:12:36,840 --> 00:12:39,840
Speaker 4: whole performance. And that when I did Dream Girls, it

234
00:12:39,920 --> 00:12:43,200
Speaker 4: was such a trip because I felt like I was

235
00:12:43,280 --> 00:12:45,280
Speaker 4: doing the poses that I used to do with my

236
00:12:45,320 --> 00:12:46,520
Speaker 4: two younger sisters.

237
00:12:47,200 --> 00:12:49,360
Speaker 5: Yoh, that's so interesting. You just gave me a whole

238
00:12:49,920 --> 00:12:54,160
Speaker 5: memory of like little Girls. We used to choreograph things

239
00:12:54,240 --> 00:12:58,280
Speaker 5: on the playground, like I remember steps doing things to

240
00:12:58,320 --> 00:13:01,280
Speaker 5: like Lisa Lisa and colch Jam and that was like

241
00:13:01,360 --> 00:13:03,600
Speaker 5: the thing that just hit me with a memory.

242
00:13:03,640 --> 00:13:07,560
Speaker 4: That's yeah, totally that that was it.

243
00:13:07,880 --> 00:13:10,720
Speaker 3: This this is the third time that someone's randomly dropped

244
00:13:10,760 --> 00:13:12,800
Speaker 3: Darcel Wayne's name.

245
00:13:13,760 --> 00:13:15,079
Speaker 2: You gotta find this woman.

246
00:13:15,120 --> 00:13:17,400
Speaker 4: Because I'm in contact with her.

247
00:13:17,880 --> 00:13:19,200
Speaker 7: What of course you are?

248
00:13:20,160 --> 00:13:21,400
Speaker 5: Oh, I can't wait to get to this list of

249
00:13:21,480 --> 00:13:22,760
Speaker 5: dancers she's still in contact with.

250
00:13:22,880 --> 00:13:23,640
Speaker 2: Yes, I know that.

251
00:13:23,800 --> 00:13:27,000
Speaker 3: You know, we we hold Sheryl's song of Soul train

252
00:13:27,120 --> 00:13:30,880
Speaker 3: up in high honor, but you know we we also

253
00:13:31,000 --> 00:13:35,360
Speaker 3: had Darcel Wayne too, And she doesn't get enough props

254
00:13:35,360 --> 00:13:38,040
Speaker 3: because she definitely carried all of solid gold on her

255
00:13:38,120 --> 00:13:39,600
Speaker 3: back for a number of years.

256
00:13:40,080 --> 00:13:44,040
Speaker 2: Yes, they even got a second black dancer, so they.

257
00:13:43,920 --> 00:13:48,720
Speaker 4: Actually created the in sag they created the principal dancer

258
00:13:48,800 --> 00:13:53,280
Speaker 4: because of her. Oh, and principal dancers get paid different

259
00:13:53,320 --> 00:13:57,600
Speaker 4: than the and so because she was so amazing and

260
00:13:57,640 --> 00:14:01,040
Speaker 4: such an individual, and they kept giving her solo, they said,

261
00:14:01,080 --> 00:14:03,400
Speaker 4: we have to figure this out, and she's she created

262
00:14:03,480 --> 00:14:04,440
Speaker 4: the principal dancer.

263
00:14:05,679 --> 00:14:09,880
Speaker 3: Yeah, not knowing that you're from California, I want to

264
00:14:09,920 --> 00:14:13,200
Speaker 3: know what your life and dance was before you became

265
00:14:13,320 --> 00:14:17,360
Speaker 3: a professional dancer. So yeah, you basically just walk us through,

266
00:14:18,559 --> 00:14:22,000
Speaker 3: like where would you hang in California, Like, were you

267
00:14:22,040 --> 00:14:23,280
Speaker 3: an Uncle Jam person?

268
00:14:23,400 --> 00:14:24,280
Speaker 2: Where you like?

269
00:14:24,600 --> 00:14:28,000
Speaker 4: Definitely I was too young for Uncle Jam's army, but

270
00:14:28,080 --> 00:14:31,840
Speaker 4: I listened to all that Egyptian lover and all of that.

271
00:14:33,160 --> 00:14:37,880
Speaker 4: I would go to, you know, at every high school

272
00:14:37,880 --> 00:14:40,320
Speaker 4: they had dance competition, so I would enter the dance

273
00:14:40,360 --> 00:14:43,640
Speaker 4: competitions and win there. But what really did it for

274
00:14:43,720 --> 00:14:47,720
Speaker 4: me is I graduated high school at sixteen and I

275
00:14:47,760 --> 00:14:51,040
Speaker 4: started going to this club Paradise twenty four where they

276
00:14:51,040 --> 00:14:56,520
Speaker 4: would have dance contests and one year, girls from who

277
00:14:56,640 --> 00:14:58,880
Speaker 4: danced for BBD straight Ahead they won. It was a

278
00:14:58,920 --> 00:15:02,360
Speaker 4: five thousand dollars damce, so everybody would enter the next

279
00:15:02,440 --> 00:15:08,600
Speaker 4: year it was it was they were called gt I

280
00:15:08,720 --> 00:15:11,520
Speaker 4: at the time, and that was far side. Later on

281
00:15:12,800 --> 00:15:16,720
Speaker 4: we won, We won my dance tree called a Feminine Touch.

282
00:15:16,920 --> 00:15:19,600
Speaker 4: We won that year and that's where John John Singleton

283
00:15:19,680 --> 00:15:22,760
Speaker 4: saw us when that year and came backstage and was like,

284
00:15:23,080 --> 00:15:24,920
Speaker 4: I'm gonna put you all in my movie. I'm gonna

285
00:15:24,960 --> 00:15:27,520
Speaker 4: put you all the movie. We were like, yeah, whatever,

286
00:15:28,200 --> 00:15:30,320
Speaker 4: and he ended up putting us in Boys in the

287
00:15:30,320 --> 00:15:31,479
Speaker 4: Hood Is Extras.

288
00:15:31,840 --> 00:15:32,320
Speaker 2: What scene?

289
00:15:32,320 --> 00:15:32,680
Speaker 4: What was it?

290
00:15:33,280 --> 00:15:33,680
Speaker 2: What's scene?

291
00:15:34,200 --> 00:15:35,160
Speaker 4: The barbecue scene?

292
00:15:35,640 --> 00:15:41,360
Speaker 3: Ah, Okay, yeah, okay, So the relationship with John obviously

293
00:15:41,480 --> 00:15:44,960
Speaker 3: let you remember the time later on correct, correct.

294
00:15:44,600 --> 00:15:47,600
Speaker 4: When he kept asking for choreographer. He kept coming up

295
00:15:47,640 --> 00:15:50,320
Speaker 4: with my name and he's like, I know that girl

296
00:15:51,000 --> 00:15:52,640
Speaker 4: and call for that.

297
00:15:52,960 --> 00:15:56,160
Speaker 10: Yeah, And had you ever choreographed anything prior to that?

298
00:15:56,680 --> 00:15:56,800
Speaker 2: Oh?

299
00:15:56,880 --> 00:15:59,240
Speaker 4: Yeah. So when back in the day, when you hooked

300
00:15:59,280 --> 00:16:03,000
Speaker 4: up with the hip hop artists, you naturally just made

301
00:16:03,080 --> 00:16:05,960
Speaker 4: up their steps. We didn't know that there was an

302
00:16:06,000 --> 00:16:10,640
Speaker 4: actual job called choreographer. We you got with Big Daddy Kane,

303
00:16:10,720 --> 00:16:13,480
Speaker 4: like I used to dance with him with Scooba and scrap,

304
00:16:14,000 --> 00:16:16,680
Speaker 4: you know, we and we would we would kind of

305
00:16:17,560 --> 00:16:19,840
Speaker 4: we had the market locked down because it was Big

306
00:16:19,960 --> 00:16:22,000
Speaker 4: Les and Josie in New York and it was me

307
00:16:22,080 --> 00:16:24,160
Speaker 4: and Titi in l A. And so they would call

308
00:16:24,240 --> 00:16:26,520
Speaker 4: us be like, oh heavy d you looking for dancers.

309
00:16:26,720 --> 00:16:29,680
Speaker 4: So we would fly out on fake tickets and then

310
00:16:29,840 --> 00:16:35,520
Speaker 4: land in New York and then dance for he Fake

311
00:16:35,560 --> 00:16:39,280
Speaker 4: tickets is when you didn't have to have and show

312
00:16:39,320 --> 00:16:42,800
Speaker 4: an ID and you can just be you can that,

313
00:16:42,920 --> 00:16:47,840
Speaker 4: said John Moses, and you give them the ticket. Oh,

314
00:16:47,920 --> 00:16:49,520
Speaker 4: back in the day, you guys didn't know that.

315
00:16:50,840 --> 00:16:58,120
Speaker 3: Forget Huey Lewis once told us about just like sneaking

316
00:16:58,160 --> 00:17:01,000
Speaker 3: on the plane and like, well.

317
00:17:00,880 --> 00:17:03,360
Speaker 5: I mean everything was hand written back then too.

318
00:17:03,200 --> 00:17:06,679
Speaker 4: So everything. Yeah, we you know somebody there was a

319
00:17:06,720 --> 00:17:09,320
Speaker 4: guy who had a credit card scheme and we'd pay him,

320
00:17:09,400 --> 00:17:11,320
Speaker 4: you know, one hundred dollars, he'd get us a ticket.

321
00:17:11,400 --> 00:17:14,280
Speaker 4: It was just a whole It was the wild wild

322
00:17:14,320 --> 00:17:17,120
Speaker 4: West back in the day. But we would land there

323
00:17:17,160 --> 00:17:19,800
Speaker 4: and then we'd dance for heavy and then we call them,

324
00:17:20,040 --> 00:17:22,359
Speaker 4: you know, hey, so and so is looking for dancers

325
00:17:22,359 --> 00:17:24,240
Speaker 4: in LA, and then they do the same thing and

326
00:17:25,040 --> 00:17:26,159
Speaker 4: come to La.

327
00:17:26,280 --> 00:17:28,840
Speaker 5: So wait, so let me was this no conversation You

328
00:17:28,880 --> 00:17:30,960
Speaker 5: said you guys didn't know you were doing choreography, but

329
00:17:31,040 --> 00:17:33,840
Speaker 5: like even for like the R and B videos with

330
00:17:34,240 --> 00:17:37,320
Speaker 5: some of those choreographers, there was no conversation about in

331
00:17:37,359 --> 00:17:39,080
Speaker 5: between the No.

332
00:17:39,560 --> 00:17:44,439
Speaker 4: They would literally I remember, like you know, when I

333
00:17:44,520 --> 00:17:46,879
Speaker 4: danced the big Daddy came, we'd stay at his house

334
00:17:46,920 --> 00:17:50,080
Speaker 4: and the bodyguard would come and come on. It's rehearsal.

335
00:17:50,200 --> 00:17:53,840
Speaker 4: We rehearsed his basement and you know, and we'd make

336
00:17:53,920 --> 00:17:57,719
Speaker 4: up the routine and we'd go on stage and you know,

337
00:17:57,960 --> 00:18:00,480
Speaker 4: we would do our number and we were happy, and

338
00:18:00,520 --> 00:18:04,359
Speaker 4: no one questioned where the dance was supposed to come from,

339
00:18:04,440 --> 00:18:07,240
Speaker 4: because there was no place for it to come from

340
00:18:07,520 --> 00:18:09,760
Speaker 4: other than us, Because there was no unless you were

341
00:18:09,760 --> 00:18:11,680
Speaker 4: in the clubs. You didn't know how to dance hip

342
00:18:11,720 --> 00:18:17,280
Speaker 4: hop unless you were watching MTV or video jukebox and

343
00:18:17,320 --> 00:18:20,160
Speaker 4: recording the steps and like learning at home. Like there

344
00:18:20,240 --> 00:18:23,760
Speaker 4: was no place there was. All the choreographers were jazz.

345
00:18:23,880 --> 00:18:28,520
Speaker 4: That was Michael Peters and Debbie. They weren't mess That's

346
00:18:28,520 --> 00:18:33,640
Speaker 4: what I was wondering. They were not messing with us. Okay, No,

347
00:18:33,760 --> 00:18:36,920
Speaker 4: it was just two different worlds. So by the time

348
00:18:37,000 --> 00:18:40,280
Speaker 4: I got to Michael, he was so excited about this

349
00:18:40,600 --> 00:18:43,639
Speaker 4: hip hop dance he had been seeing and hearing about.

350
00:18:43,960 --> 00:18:45,960
Speaker 4: He was like, I want to learn it all.

351
00:18:47,280 --> 00:18:47,800
Speaker 2: So dope.

352
00:18:49,000 --> 00:18:52,679
Speaker 3: I sort of correlated with video directors. I mean, I

353
00:18:52,680 --> 00:18:57,680
Speaker 3: would say that maybe Lionel Martin was the kind of

354
00:18:57,720 --> 00:19:02,240
Speaker 3: the first generation of hip hop directors that would feature

355
00:19:02,359 --> 00:19:05,440
Speaker 3: dancers and whatnot. So like we take it for granted

356
00:19:05,480 --> 00:19:08,640
Speaker 3: now where I mean, it's not that I see dancers

357
00:19:08,680 --> 00:19:12,639
Speaker 3: all that much in this environment, but who, in your

358
00:19:12,680 --> 00:19:18,600
Speaker 3: opinion like really kickstarted the concept of like, okay, I

359
00:19:18,680 --> 00:19:21,959
Speaker 3: need two dances in order to make my package complete, Like,

360
00:19:22,280 --> 00:19:25,080
Speaker 3: as far as you're concerned, Yeah, I don't.

361
00:19:24,960 --> 00:19:29,320
Speaker 4: Know who who first did it. You know, it was dance.

362
00:19:29,480 --> 00:19:33,080
Speaker 4: Was just part of the culture, like everybody had two

363
00:19:33,160 --> 00:19:35,840
Speaker 4: dances with them. And let me tell you my Lionel

364
00:19:35,880 --> 00:19:39,520
Speaker 4: Martin story. I auditioned for him and it was here

365
00:19:39,520 --> 00:19:46,800
Speaker 4: in La and it was at his hotel. And when

366
00:19:46,840 --> 00:19:50,879
Speaker 4: I got there, there were two girls there. One's mother

367
00:19:51,000 --> 00:19:56,040
Speaker 4: had talked her and to being the choreographer, and you know,

368
00:19:56,280 --> 00:20:02,880
Speaker 4: he explained the treatment to us. He then went, she said, well,

369
00:20:03,080 --> 00:20:05,240
Speaker 4: let me see you guys dance, and one girl kind

370
00:20:05,280 --> 00:20:08,040
Speaker 4: of complained about the carpet and stuff, and another girl

371
00:20:08,080 --> 00:20:12,359
Speaker 4: complained about the tape. Player was like, sped the song

372
00:20:12,480 --> 00:20:14,639
Speaker 4: up and she said, oh, it won't be so fast.

373
00:20:14,760 --> 00:20:17,760
Speaker 4: And I got up and just bust whatever I knew,

374
00:20:18,480 --> 00:20:21,159
Speaker 4: and he stopped the music and he pointed at me

375
00:20:21,440 --> 00:20:24,639
Speaker 4: and said, you're going to be the choreographer and you

376
00:20:24,680 --> 00:20:27,040
Speaker 4: two are going to be the dances because you adapted

377
00:20:27,080 --> 00:20:31,080
Speaker 4: to the situation the best. And I was like okay.

378
00:20:31,600 --> 00:20:35,439
Speaker 4: And literally Rosie Perez had to tell me how she poked.

379
00:20:35,560 --> 00:20:38,520
Speaker 4: She called me out the blue and was like, you

380
00:20:38,720 --> 00:20:41,320
Speaker 4: have to call your sofa a choreographer and you have

381
00:20:41,400 --> 00:20:45,280
Speaker 4: to charge for that, and I'm just like ah, So

382
00:20:45,320 --> 00:20:47,040
Speaker 4: I went and looked up how to spell the words.

383
00:20:47,040 --> 00:20:48,159
Speaker 4: I didn't even know how to spell it.

384
00:20:50,040 --> 00:20:52,080
Speaker 7: Did she helped me figure out how much to charge.

385
00:20:53,280 --> 00:20:54,800
Speaker 4: Well, then I got an agent to help me.

386
00:20:58,280 --> 00:21:04,600
Speaker 3: How hard was it to navigate toxicity treatment in the

387
00:21:04,720 --> 00:21:09,680
Speaker 3: late eighties and early shit, if I really want to

388
00:21:09,760 --> 00:21:13,720
Speaker 3: keep it a butt, maybe up until until twenty nineteen,

389
00:21:14,040 --> 00:21:19,240
Speaker 3: now twenty three, yesterday, yesterday, tomorrow and tomorrow.

390
00:21:19,320 --> 00:21:23,120
Speaker 4: Okay, yeah, I mean it was tougher when I was younger.

391
00:21:24,359 --> 00:21:27,199
Speaker 4: You know, I got my shirt snatched off from a

392
00:21:27,320 --> 00:21:30,320
Speaker 4: rapper while I was on tour with Big Daddy Kane

393
00:21:30,400 --> 00:21:32,880
Speaker 4: and jay Z at the time was his hype man,

394
00:21:32,960 --> 00:21:35,560
Speaker 4: and he had to calm me down and you know,

395
00:21:35,920 --> 00:21:41,520
Speaker 4: make sure I was okay. So it was wild, but

396
00:21:42,440 --> 00:21:45,760
Speaker 4: most guys, you know, most guys were respectful. I think

397
00:21:45,800 --> 00:21:50,119
Speaker 4: when alcohol too much, alcohol and drugs kind of got involved,

398
00:21:50,160 --> 00:21:52,400
Speaker 4: and that's where you just had to watch the room.

399
00:21:52,880 --> 00:21:53,040
Speaker 3: You know.

400
00:21:53,080 --> 00:21:55,880
Speaker 4: It was all fun and games until you know, someone

401
00:21:56,400 --> 00:21:58,199
Speaker 4: drank a little too much and then you had to

402
00:21:58,240 --> 00:22:00,680
Speaker 4: be like, okay, I think it's time to exit. I

403
00:22:00,760 --> 00:22:04,119
Speaker 4: think I'm you know, so it was really just about

404
00:22:04,240 --> 00:22:09,080
Speaker 4: being aware of your surroundings and not just not doing

405
00:22:09,200 --> 00:22:09,840
Speaker 4: dumb stuff.

406
00:22:10,000 --> 00:22:13,359
Speaker 7: You know, how does that translate as the mother hitting it?

407
00:22:13,400 --> 00:22:16,199
Speaker 5: Because as a choreographer from the outside, it always it

408
00:22:16,240 --> 00:22:18,639
Speaker 5: also feels like you're somewhat of a mother hen to

409
00:22:18,720 --> 00:22:22,560
Speaker 5: all the other dancers. So how do you deal with

410
00:22:23,280 --> 00:22:25,960
Speaker 5: I guess I want say, mentoring them in that way

411
00:22:26,680 --> 00:22:28,680
Speaker 5: or protecting them in that way.

412
00:22:29,440 --> 00:22:30,760
Speaker 3: I mean, the only way to describe it is like

413
00:22:30,760 --> 00:22:35,640
Speaker 3: a Beth hand partisan, like someone a figurehead to make

414
00:22:35,680 --> 00:22:36,919
Speaker 3: sure that you guys are okay.

415
00:22:38,320 --> 00:22:43,720
Speaker 4: No, no, we've been looking out for ourselves, looking out

416
00:22:43,760 --> 00:22:44,520
Speaker 4: for ourselves.

417
00:22:44,760 --> 00:22:46,399
Speaker 5: Did you have to become that person? That's what I

418
00:22:46,440 --> 00:22:48,119
Speaker 5: was asking, like, did you have to become that person

419
00:22:48,160 --> 00:22:50,359
Speaker 5: for dancers at a certain point in your career?

420
00:22:50,840 --> 00:22:54,119
Speaker 4: Yeah? I think I think we all look out for

421
00:22:54,240 --> 00:22:59,600
Speaker 4: each other. And yeah, I mean there's times where the

422
00:22:59,720 --> 00:23:01,840
Speaker 4: dance just do need someone to speak up for them.

423
00:23:01,920 --> 00:23:04,840
Speaker 4: So I do you know, I often do that, But

424
00:23:05,240 --> 00:23:08,240
Speaker 4: I think now it's such a well doiled machine. I

425
00:23:08,359 --> 00:23:11,679
Speaker 4: kind of already have preempting the things that could happen,

426
00:23:11,800 --> 00:23:14,879
Speaker 4: and I you know, we we have writers, we have

427
00:23:15,080 --> 00:23:17,800
Speaker 4: things that you know, to make sure that they're comfortable

428
00:23:17,840 --> 00:23:21,840
Speaker 4: in the room and all that kind of stuff. So yeah,

429
00:23:21,880 --> 00:23:24,960
Speaker 4: but in the beginning, in the beginning, in the beginning

430
00:23:25,000 --> 00:23:29,880
Speaker 4: of it, you know, we didn't have nothing. We were

431
00:23:30,119 --> 00:23:31,480
Speaker 4: just figuring it out.

432
00:23:31,720 --> 00:23:34,280
Speaker 2: Uh, were dancers unionized back then?

433
00:23:35,240 --> 00:23:37,879
Speaker 4: No, they were. You were in SAG, but you had

434
00:23:37,920 --> 00:23:40,600
Speaker 4: to do a certain amount of TV work to get

435
00:23:40,600 --> 00:23:45,080
Speaker 4: into SAG, and eventually we all did because of great

436
00:23:45,119 --> 00:23:48,119
Speaker 4: shows like the Arsenio Hall Show and in Living Color

437
00:23:48,280 --> 00:23:50,800
Speaker 4: and stuff like that, we would, you know, we would

438
00:23:50,800 --> 00:23:55,080
Speaker 4: get put into the union, which was awesome. Yeah, but

439
00:23:55,280 --> 00:23:58,200
Speaker 4: see music videos and stuff, none of those were unionized,

440
00:23:58,280 --> 00:24:01,520
Speaker 4: so that was like a slide scale of a rate.

441
00:24:01,800 --> 00:24:04,800
Speaker 4: You only got that union work whenever you did TV

442
00:24:05,040 --> 00:24:07,320
Speaker 4: and things like that. But if you were on tour,

443
00:24:07,800 --> 00:24:09,720
Speaker 4: you know, it was kind of you were fighting for

444
00:24:09,760 --> 00:24:11,280
Speaker 4: what your weekly rate was going to be.

445
00:24:11,920 --> 00:24:12,320
Speaker 2: I see.

446
00:24:13,040 --> 00:24:16,800
Speaker 3: So again, like if you're with a I don't know

447
00:24:16,840 --> 00:24:21,360
Speaker 3: who in the late eighties and early nineties was Jankie

448
00:24:21,359 --> 00:24:23,600
Speaker 3: in terms of like did we get our checks yet?

449
00:24:23,600 --> 00:24:25,280
Speaker 2: Did we get Yeah?

450
00:24:25,760 --> 00:24:26,080
Speaker 4: Brown?

451
00:24:28,359 --> 00:24:29,840
Speaker 2: What this sort I'm asking though?

452
00:24:30,160 --> 00:24:32,080
Speaker 3: Would you have to deal with Lou Silas or would

453
00:24:32,080 --> 00:24:34,280
Speaker 3: you have to deal with Bobby Brown or his managers

454
00:24:34,359 --> 00:24:35,000
Speaker 3: or yeah.

455
00:24:34,840 --> 00:24:37,679
Speaker 4: We would have to deal with managers. I'd have to

456
00:24:37,680 --> 00:24:40,480
Speaker 4: deal with I remember we he flew us out because

457
00:24:40,720 --> 00:24:44,000
Speaker 4: he was really territorial with his dancers. And so we

458
00:24:44,000 --> 00:24:46,359
Speaker 4: were in Atlanta and we were living in a wing

459
00:24:46,440 --> 00:24:49,280
Speaker 4: of the house and you know, he was dating Whitney

460
00:24:49,359 --> 00:24:51,240
Speaker 4: and I just remember like he gave us a three

461
00:24:51,320 --> 00:24:53,520
Speaker 4: hundred z to drive. So it went off to all

462
00:24:53,560 --> 00:24:56,719
Speaker 4: the clubs and it was great. But I was like,

463
00:24:56,960 --> 00:24:59,600
Speaker 4: you know, cool, we'll come down, but we have bills,

464
00:24:59,600 --> 00:25:01,680
Speaker 4: so you have the pair like our carnos and stuff.

465
00:25:01,720 --> 00:25:04,160
Speaker 4: And he's like yeah, yeah, yeah. And so the cards

466
00:25:04,240 --> 00:25:06,239
Speaker 4: came around and he didn't pay, and I was like,

467
00:25:06,560 --> 00:25:10,040
Speaker 4: we gotta go packed up those bags. And I was like,

468
00:25:10,080 --> 00:25:11,760
Speaker 4: there's a certain mixed a lot of video we got

469
00:25:11,760 --> 00:25:17,159
Speaker 4: audition for late we did missed. We missed the audition,

470
00:25:17,280 --> 00:25:18,720
Speaker 4: but it was baby got back.

471
00:25:19,119 --> 00:25:29,399
Speaker 11: What no, yeah, yeah, but yeah, it's it's all kinds

472
00:25:29,440 --> 00:25:30,000
Speaker 11: of stories.

473
00:25:30,080 --> 00:25:30,280
Speaker 4: Man.

474
00:25:30,800 --> 00:25:33,280
Speaker 5: I'm sorry, quick dancer check in. You said Bobby Brown,

475
00:25:33,600 --> 00:25:34,080
Speaker 5: remember that.

476
00:25:35,760 --> 00:25:37,680
Speaker 7: They had the faid.

477
00:25:40,520 --> 00:25:44,280
Speaker 12: So that was that was That's who that way, that

478
00:25:44,359 --> 00:25:46,600
Speaker 12: was who that was there was his dances.

479
00:25:47,840 --> 00:25:49,840
Speaker 7: I was just curious about I was.

480
00:25:49,840 --> 00:25:51,440
Speaker 2: Gonna say with the Bobby album.

481
00:25:51,480 --> 00:25:54,119
Speaker 3: Though, you guys said that Soultray in episode where it

482
00:25:54,200 --> 00:25:55,200
Speaker 3: was like twenty.

483
00:25:55,200 --> 00:25:57,600
Speaker 2: On stage, correct, I'm one of those.

484
00:25:59,480 --> 00:26:03,199
Speaker 3: I just I can't even imagine the time period in

485
00:26:03,240 --> 00:26:07,080
Speaker 3: which no one thought about budget or everything was just

486
00:26:08,480 --> 00:26:11,840
Speaker 3: load and giant and big and all those things.

487
00:26:12,160 --> 00:26:14,480
Speaker 2: Yeah, well, what would.

488
00:26:14,280 --> 00:26:18,280
Speaker 3: You what would you say is your first real professional

489
00:26:18,320 --> 00:26:21,399
Speaker 3: for ray into music videos?

490
00:26:21,760 --> 00:26:24,520
Speaker 4: Definitely remember the time. I mean I was twenty one

491
00:26:24,560 --> 00:26:25,399
Speaker 4: when I did that.

492
00:26:25,280 --> 00:26:27,359
Speaker 2: One, So that was your first video?

493
00:26:28,000 --> 00:26:31,560
Speaker 4: No, that was my first, Like that was what put

494
00:26:31,680 --> 00:26:35,080
Speaker 4: my name into a lot of people's mouths. You know,

495
00:26:35,560 --> 00:26:39,119
Speaker 4: I was choreographing beforehand, but when I did that, because

496
00:26:39,160 --> 00:26:42,160
Speaker 4: that was a event that people sat down with their

497
00:26:42,240 --> 00:26:47,440
Speaker 4: families and watched together, you know, it was definitely something

498
00:26:47,520 --> 00:26:51,199
Speaker 4: that was I didn't even I don't think going into it.

499
00:26:51,280 --> 00:26:54,679
Speaker 4: I was so excited to work with Michael. I loved

500
00:26:54,760 --> 00:26:57,159
Speaker 4: him growing up. Our birthdays were the same day. I

501
00:26:57,160 --> 00:26:59,760
Speaker 4: wanted to send them flowers when his hair cut on fire,

502
00:27:00,240 --> 00:27:03,000
Speaker 4: begging my mom please. You know, I was in love

503
00:27:03,040 --> 00:27:05,679
Speaker 4: with him like that, and so to do this video

504
00:27:05,960 --> 00:27:09,720
Speaker 4: was really I had to kind of, you know, grow

505
00:27:09,840 --> 00:27:13,240
Speaker 4: up really quickly in that moment and but it was

506
00:27:13,280 --> 00:27:17,119
Speaker 4: really when it came out, was just like wow. But

507
00:27:17,440 --> 00:27:19,680
Speaker 4: the wild part about it is I had to go

508
00:27:19,800 --> 00:27:22,840
Speaker 4: back to dancing, you know, for the Mary J. Bliges

509
00:27:22,880 --> 00:27:25,199
Speaker 4: and the R and B and hip hop artists that

510
00:27:25,240 --> 00:27:27,720
Speaker 4: I knew of the past. I could have like had

511
00:27:27,800 --> 00:27:30,240
Speaker 4: ego and then like, oh, I'm at the top, where

512
00:27:30,320 --> 00:27:33,000
Speaker 4: do I go now? And I went right back to

513
00:27:33,240 --> 00:27:33,720
Speaker 4: hip hop.

514
00:27:34,480 --> 00:27:37,000
Speaker 3: He described the whole process, like how long did it

515
00:27:37,040 --> 00:27:37,920
Speaker 3: take the phone call?

516
00:27:38,040 --> 00:27:41,359
Speaker 2: And how how did you map out what? What was

517
00:27:41,400 --> 00:27:41,879
Speaker 2: it going to be?

518
00:27:43,240 --> 00:27:47,000
Speaker 4: Well? John called me and you know, he was describing

519
00:27:47,040 --> 00:27:49,639
Speaker 4: the video and how it's going to be Egyptian and

520
00:27:49,680 --> 00:27:52,760
Speaker 4: he has a mom and Eddie Murphy and Magic Johnson

521
00:27:52,960 --> 00:27:56,600
Speaker 4: and I'm like hmmm, and he's going through the whole concept.

522
00:27:56,640 --> 00:28:00,560
Speaker 4: I'm like mm hmm, okay, wow, it sounds great. And

523
00:28:00,680 --> 00:28:02,680
Speaker 4: we go to get off the phone. I was like, wait, wait, wait,

524
00:28:02,760 --> 00:28:09,200
Speaker 4: who's the artist? And he says, I guess he thought

525
00:28:09,200 --> 00:28:11,720
Speaker 4: I read the trades or something or just happened, you know,

526
00:28:11,880 --> 00:28:14,639
Speaker 4: I knew, and he said it's Michael Jackson, and I

527
00:28:14,720 --> 00:28:17,520
Speaker 4: went okay, okay, and then I got off the phone.

528
00:28:17,520 --> 00:28:17,880
Speaker 7: I was like.

529
00:28:21,720 --> 00:28:23,640
Speaker 4: I was running around my house.

530
00:28:24,359 --> 00:28:25,800
Speaker 5: Now when he ran it down to you, did he

531
00:28:25,880 --> 00:28:27,280
Speaker 5: say that it was going to start with like the

532
00:28:27,320 --> 00:28:31,440
Speaker 5: recreation of the Coming to America situation? Because I really

533
00:28:31,440 --> 00:28:33,080
Speaker 5: want to know from the nitty to the gritty about

534
00:28:33,080 --> 00:28:34,320
Speaker 5: this video that was.

535
00:28:34,280 --> 00:28:36,640
Speaker 4: Already in there, and it's funny. I was cleaning out

536
00:28:36,720 --> 00:28:42,480
Speaker 4: my storage and it was scripted and it had storyboards

537
00:28:42,520 --> 00:28:46,120
Speaker 4: to it. You know, I have the original script of

538
00:28:46,160 --> 00:28:49,400
Speaker 4: the Remember the Time video that I kept all these years.

539
00:28:49,720 --> 00:28:51,760
Speaker 7: Did the John Singleton thing you see?

540
00:28:51,760 --> 00:28:55,720
Speaker 5: That would have been so dope to see? So okay, okay,

541
00:28:55,920 --> 00:28:58,280
Speaker 5: go Ahea'm sorry. I have major questions about remember that?

542
00:28:59,040 --> 00:29:01,640
Speaker 2: So, like how many days did you have to prepare?

543
00:29:02,600 --> 00:29:07,080
Speaker 3: Like how do you even figure out like what Egyptian

544
00:29:07,160 --> 00:29:08,000
Speaker 3: moves to do?

545
00:29:08,160 --> 00:29:09,320
Speaker 2: And the offer story.

546
00:29:09,600 --> 00:29:11,800
Speaker 4: Well, because at the time I had been going back

547
00:29:11,840 --> 00:29:13,880
Speaker 4: and forth working in New York, going to the clubs

548
00:29:13,880 --> 00:29:16,920
Speaker 4: in New York, clubs in La I really I loved

549
00:29:17,760 --> 00:29:21,000
Speaker 4: do to Stretch and Henry and like all those dancers,

550
00:29:21,000 --> 00:29:22,840
Speaker 4: and I knew I wanted them to be a part

551
00:29:22,880 --> 00:29:25,320
Speaker 4: of it because they brought a whole nother flavor to it.

552
00:29:26,200 --> 00:29:28,360
Speaker 4: And so you know, we had auditions.

553
00:29:28,440 --> 00:29:32,640
Speaker 2: By the way, they're from the Latin Quarter yes.

554
00:29:35,120 --> 00:29:38,560
Speaker 4: We had auditions and it was hundreds of dancers down

555
00:29:38,560 --> 00:29:41,120
Speaker 4: the street, and I just I couldn't believe it. I

556
00:29:41,120 --> 00:29:45,680
Speaker 4: had never been involved in something so big. It was

557
00:29:45,720 --> 00:29:48,080
Speaker 4: the first time I had hired so many dancers. I

558
00:29:48,080 --> 00:29:52,400
Speaker 4: think we hired fifty dancers, and you know, you do

559
00:29:52,480 --> 00:29:55,960
Speaker 4: the auditions from there, you whittle it down.

560
00:29:56,200 --> 00:29:57,200
Speaker 7: Hold on, let me pause you.

561
00:29:57,280 --> 00:30:00,000
Speaker 5: Right before you talked about the dancers, however, you made

562
00:30:00,280 --> 00:30:05,920
Speaker 5: sure that there were specific dancers in the building for sure.

563
00:30:06,200 --> 00:30:09,760
Speaker 4: Can you talk about it? Well, I definitely wanted all

564
00:30:09,800 --> 00:30:12,840
Speaker 4: the hip hop dancers who were doing things at the time,

565
00:30:13,080 --> 00:30:18,280
Speaker 4: you know, Josie and Leslie and Hitch, my dance partner,

566
00:30:18,480 --> 00:30:20,760
Speaker 4: and then some of the girls who danced for Bobby

567
00:30:20,960 --> 00:30:22,960
Speaker 4: was in there with us, and then Stretch brought his

568
00:30:23,040 --> 00:30:26,520
Speaker 4: whole crew with loose joints and all the all the

569
00:30:27,360 --> 00:30:30,000
Speaker 4: dancers you know, came because we wanted it to feel

570
00:30:30,040 --> 00:30:35,120
Speaker 4: authentic to our our vibe, you know, and we just

571
00:30:35,200 --> 00:30:39,520
Speaker 4: had fun. You know, Michael doesn't like to count when

572
00:30:39,560 --> 00:30:42,760
Speaker 4: you dance. He likes to emulate the beat. He brings

573
00:30:42,760 --> 00:30:46,480
Speaker 4: in this big speaker, so you really feel the music

574
00:30:46,560 --> 00:30:50,080
Speaker 4: in your chest and so you know, you instead of

575
00:30:50,160 --> 00:30:54,520
Speaker 4: counting like one, two, three, four, five and six seven.

576
00:30:54,840 --> 00:31:01,240
Speaker 4: You have to like you have to, you know, emulate

577
00:31:01,280 --> 00:31:05,800
Speaker 4: the beat. And I love that. And he really set

578
00:31:05,840 --> 00:31:08,320
Speaker 4: the tone for my professionalism.

579
00:31:08,840 --> 00:31:09,040
Speaker 5: You know.

580
00:31:09,720 --> 00:31:12,600
Speaker 4: He was just such a perfectionist, and you know we

581
00:31:12,600 --> 00:31:18,080
Speaker 4: were urgos. You know how virgos are guys, Michael Beyonce like,

582
00:31:18,480 --> 00:31:23,680
Speaker 4: we're all we're like perfectionist freaks. So it was wonderful.

583
00:31:29,080 --> 00:31:34,840
Speaker 3: I watched Michael work out with Casper and Jeffrey Daniels,

584
00:31:34,880 --> 00:31:38,600
Speaker 3: Casper and I forget the third person that's in that

585
00:31:39,640 --> 00:31:43,000
Speaker 3: that trilogy when they were working on the Bad Video,

586
00:31:43,080 --> 00:31:44,240
Speaker 3: Like they all worked together.

587
00:31:44,320 --> 00:31:45,560
Speaker 2: They were trying out ideas.

588
00:31:45,600 --> 00:31:48,080
Speaker 3: Mich was set up with the tripod and they were

589
00:31:48,200 --> 00:31:54,680
Speaker 3: just basically dance battle and piecemeal what was going to happen? Yeah, One,

590
00:31:54,880 --> 00:31:58,080
Speaker 3: how are you putting that together? Two, the dancers that

591
00:31:58,120 --> 00:32:01,840
Speaker 3: you're choosing, Like, if I'm assuming what I call the

592
00:32:01,880 --> 00:32:05,720
Speaker 3: five six, seven eighths, like anyone from like the Lester

593
00:32:05,760 --> 00:32:10,200
Speaker 3: Wilson School of dancing, the previous Michael generation, Lester Wilson,

594
00:32:10,560 --> 00:32:16,240
Speaker 3: Michael Peters, like professional Broadway choreographers. If you're dealing with

595
00:32:16,960 --> 00:32:20,520
Speaker 3: dancers who are more in street oriented, how does the

596
00:32:20,560 --> 00:32:24,600
Speaker 3: memory work because even when I'm giving songs, like I

597
00:32:24,600 --> 00:32:27,200
Speaker 3: gotta listen to that shit like at least twenty times before,

598
00:32:27,880 --> 00:32:29,200
Speaker 3: Like are you videotaping it?

599
00:32:29,840 --> 00:32:32,360
Speaker 2: Yeah? Way, yeah.

600
00:32:32,400 --> 00:32:34,720
Speaker 4: We didn't really have that back in the day. No,

601
00:32:34,960 --> 00:32:39,800
Speaker 4: we we used to have. Gosh how many we may

602
00:32:39,840 --> 00:32:42,840
Speaker 4: have had, like a whole week of rehearsal with that,

603
00:32:42,920 --> 00:32:46,480
Speaker 4: whereas now I maybe get a week of rehearsal to

604
00:32:46,520 --> 00:32:50,120
Speaker 4: do a whole damn show, you know. Oh yeah, I know,

605
00:32:50,760 --> 00:32:54,880
Speaker 4: things move slower. Back then we were working with we

606
00:32:54,880 --> 00:32:57,280
Speaker 4: were working with cassette tapes. You have to rewind the

607
00:32:57,400 --> 00:32:59,280
Speaker 4: music play.

608
00:33:00,080 --> 00:33:00,200
Speaker 2: Know.

609
00:33:00,640 --> 00:33:07,120
Speaker 4: I laugh at dancers now because everything is so digital fast,

610
00:33:07,200 --> 00:33:11,000
Speaker 4: like you have to everything is quit like this instant,

611
00:33:11,640 --> 00:33:15,840
Speaker 4: and so it was just a different pace. And what

612
00:33:15,880 --> 00:33:18,800
Speaker 4: I loved is Michael was just down to learn, Like

613
00:33:18,880 --> 00:33:23,760
Speaker 4: he wasn't trying to like do what he's done in

614
00:33:23,800 --> 00:33:27,920
Speaker 4: the past. He wanted to get all of because he

615
00:33:27,960 --> 00:33:31,200
Speaker 4: couldn't go to clubs to see where this dance was

616
00:33:31,240 --> 00:33:37,800
Speaker 4: all being done. We turned the dance studio into a

617
00:33:38,160 --> 00:33:40,640
Speaker 4: club so that he can experience that. You know, we

618
00:33:40,680 --> 00:33:43,440
Speaker 4: put on other music and hang out and just have

619
00:33:43,600 --> 00:33:44,680
Speaker 4: fun and dance.

620
00:33:45,240 --> 00:33:48,360
Speaker 2: Well, y'all like dance, circle, battle and all that stuff, just.

621
00:33:48,320 --> 00:33:51,080
Speaker 4: Dance yet all of it. He loved it.

622
00:33:51,480 --> 00:33:54,320
Speaker 10: I wanted to ask for team, what your comment earlier about,

623
00:33:54,880 --> 00:33:59,080
Speaker 10: you know, how now everything moves faster. What effect do

624
00:33:59,160 --> 00:34:02,200
Speaker 10: you see like took and social media having on a dance.

625
00:34:03,840 --> 00:34:08,600
Speaker 4: I actually love it because it keeps dance alive. You know,

626
00:34:09,560 --> 00:34:13,320
Speaker 4: it used to be, you know, dance steps were getting

627
00:34:13,360 --> 00:34:16,400
Speaker 4: shared in the clubs, or dance steps were getting shared

628
00:34:16,440 --> 00:34:20,360
Speaker 4: at barbecues, you know, as we were younger. But now

629
00:34:20,440 --> 00:34:24,120
Speaker 4: I love that dance steps are getting shared on platforms

630
00:34:24,160 --> 00:34:27,400
Speaker 4: like TikTok. It's definitely easier for me in my life.

631
00:34:27,440 --> 00:34:31,200
Speaker 4: Like I can literally sit with my team and we

632
00:34:31,239 --> 00:34:35,120
Speaker 4: can laugh and learn all life. It is so much

633
00:34:35,200 --> 00:34:37,920
Speaker 4: fun to go through all the dances and what's happening

634
00:34:38,000 --> 00:34:40,359
Speaker 4: right now, what the kids are doing. Like the fact

635
00:34:40,440 --> 00:34:45,040
Speaker 4: that I have an insight to that through my phone

636
00:34:45,320 --> 00:34:48,200
Speaker 4: is so amazing. So I feel like it allows me

637
00:34:48,239 --> 00:34:51,200
Speaker 4: to stay current. No, and I love it.

638
00:34:51,640 --> 00:34:55,040
Speaker 10: Do you have any in your personal life free time?

639
00:34:55,200 --> 00:34:58,200
Speaker 10: Is there any particular style of dance that you like,

640
00:34:58,560 --> 00:35:03,120
Speaker 10: you know, if it's salsa or you know, anything like ballroom,

641
00:35:03,200 --> 00:35:04,160
Speaker 10: anything like that.

642
00:35:04,920 --> 00:35:10,080
Speaker 4: You know, I used to take different styles of dances

643
00:35:10,120 --> 00:35:14,720
Speaker 4: to go with my natural movement. Like for the Aliya video,

644
00:35:15,160 --> 00:35:19,200
Speaker 4: I took flamenco classes to go with that. I felt

645
00:35:19,280 --> 00:35:22,960
Speaker 4: like argue that somebody. I felt like Timberland's beats had

646
00:35:23,360 --> 00:35:27,239
Speaker 4: that flamenco sound to it. I did a tangle with

647
00:35:27,360 --> 00:35:38,040
Speaker 4: doctor Dre before. So I've used to take classes right right, So,

648
00:35:38,600 --> 00:35:43,560
Speaker 4: but now I'm not doing all that. I got assistance,

649
00:35:43,920 --> 00:35:46,719
Speaker 4: I got, you know, people I lean on for I'm

650
00:35:46,880 --> 00:35:50,880
Speaker 4: you know, it's like an athlete, Like my body is sore,

651
00:35:51,960 --> 00:35:55,400
Speaker 4: you know, I like, I'm just too stepping. I'm like,

652
00:35:55,960 --> 00:35:58,080
Speaker 4: I'm like, I'm telling people, I'm gonna do this once.

653
00:35:58,120 --> 00:35:59,160
Speaker 4: You better watch.

654
00:36:00,760 --> 00:36:01,360
Speaker 2: Two steps.

655
00:36:01,920 --> 00:36:04,359
Speaker 4: My sister's drill it and drill it and drilling. I'm

656
00:36:04,360 --> 00:36:08,600
Speaker 4: not doing all that. But every now and then I

657
00:36:08,640 --> 00:36:11,799
Speaker 4: get to go to clubs or especially if i'm if

658
00:36:11,840 --> 00:36:15,040
Speaker 4: I'm outside of l A, I definitely still love to

659
00:36:16,360 --> 00:36:20,080
Speaker 4: feel what's going on, what people are responding to musically,

660
00:36:20,280 --> 00:36:22,680
Speaker 4: and how they're moving in the clubs and stuff. So

661
00:36:22,960 --> 00:36:24,960
Speaker 4: I still go out every now and then just to

662
00:36:25,080 --> 00:36:26,440
Speaker 4: check it out.

663
00:36:26,719 --> 00:36:30,319
Speaker 3: Like once you jump into that pool and the only

664
00:36:30,760 --> 00:36:34,879
Speaker 3: compare it to is DJing like I'm now realizing that

665
00:36:35,000 --> 00:36:39,040
Speaker 3: I'm now three generations removed from the music that I'm

666
00:36:39,120 --> 00:36:44,040
Speaker 3: used to. So it's almost like now I'm just studying,

667
00:36:45,160 --> 00:36:47,960
Speaker 3: like I'm now the DJ I hate, where like I

668
00:36:48,000 --> 00:36:50,920
Speaker 3: will go to a night club and shazam everything and

669
00:36:51,080 --> 00:36:55,239
Speaker 3: study what the kids are listening to. That sort of thing.

670
00:36:55,640 --> 00:37:00,560
Speaker 3: For you, though, how are you able to know what's

671
00:37:00,600 --> 00:37:04,120
Speaker 3: ahead of the curve, Because I'm also certain that you're

672
00:37:04,160 --> 00:37:07,719
Speaker 3: dealing with looking in your rearview mirror at like, oh,

673
00:37:07,800 --> 00:37:10,440
Speaker 3: who's behind me? Like who might get that job or

674
00:37:11,239 --> 00:37:12,000
Speaker 3: that sort of thing.

675
00:37:12,560 --> 00:37:16,120
Speaker 4: Yeah, no, I'm not worried about what nobody else is doing.

676
00:37:16,160 --> 00:37:19,879
Speaker 4: And I actually train them and then they I train

677
00:37:19,960 --> 00:37:23,320
Speaker 4: them and let them go. And so all my proteges

678
00:37:23,360 --> 00:37:25,680
Speaker 4: are like, you know, AJ came from my camp, who

679
00:37:25,719 --> 00:37:29,640
Speaker 4: did usher? Charm came from my camp? Who did you know?

680
00:37:30,000 --> 00:37:33,759
Speaker 4: Does do on weekend? And all the folks and so

681
00:37:33,800 --> 00:37:37,040
Speaker 4: Sean Bankhead came up under me, and so it's it's

682
00:37:37,680 --> 00:37:40,200
Speaker 4: I love doing that, I love being a mentor and

683
00:37:40,239 --> 00:37:42,960
Speaker 4: all that and go. But really, for me, that's the

684
00:37:43,640 --> 00:37:46,879
Speaker 4: I think that a mirror is like you're tapped in

685
00:37:47,040 --> 00:37:50,360
Speaker 4: and you stay curious, and so am I you know,

686
00:37:50,480 --> 00:37:53,640
Speaker 4: I'm tapped in. I know when things are shifting, when

687
00:37:53,719 --> 00:37:57,399
Speaker 4: culture is shifting. When like I see it, I can

688
00:37:57,560 --> 00:37:59,799
Speaker 4: sniff it out, you know, and I'm like, ooh, what's that?

689
00:38:00,239 --> 00:38:03,239
Speaker 4: Oh what are they doing? You know? And so for

690
00:38:03,400 --> 00:38:08,720
Speaker 4: me even and I also I also hire specialty people

691
00:38:08,840 --> 00:38:11,440
Speaker 4: in that, Like I just did Burner Boys, so I

692
00:38:11,480 --> 00:38:14,640
Speaker 4: made sure they brought somebody in from Nigeria with them.

693
00:38:15,080 --> 00:38:17,840
Speaker 4: And then I brought this girl in from New York

694
00:38:17,880 --> 00:38:21,920
Speaker 4: who she's a young girl who's she's African American, but

695
00:38:22,200 --> 00:38:26,200
Speaker 4: she came in and just knew all the afrobeat dances.

696
00:38:26,239 --> 00:38:28,440
Speaker 4: So that was our warm up. Our warm up was

697
00:38:28,480 --> 00:38:31,719
Speaker 4: all the afrobeat steps and I let her lead the

698
00:38:31,800 --> 00:38:33,799
Speaker 4: warm up. And so really I kind of bring the

699
00:38:33,880 --> 00:38:37,200
Speaker 4: club to me. And then that way all the dancers

700
00:38:37,239 --> 00:38:40,000
Speaker 4: like show me what's new, and they, you know, keep me,

701
00:38:40,640 --> 00:38:41,800
Speaker 4: they keep me fresh.

702
00:38:42,120 --> 00:38:44,840
Speaker 5: When did you really become the fan of dance to

703
00:38:44,840 --> 00:38:48,000
Speaker 5: where you started exploring in your journey. I watched the

704
00:38:48,239 --> 00:38:50,560
Speaker 5: interview where you were talking about doing one of the

705
00:38:50,560 --> 00:38:53,160
Speaker 5: Black Eyed Peas videos and you look into the Indian

706
00:38:53,680 --> 00:38:56,560
Speaker 5: and Thai dance. But I'm curious because you mentioned that,

707
00:38:56,680 --> 00:38:59,080
Speaker 5: like you didn't study it and you just went to work.

708
00:38:59,320 --> 00:39:02,560
Speaker 5: So at some point you started opening your mind too.

709
00:39:03,160 --> 00:39:06,239
Speaker 4: Yeah. One thing that I wanted to do from the

710
00:39:06,360 --> 00:39:10,560
Speaker 4: very beginning is I went to an event. It's so funny,

711
00:39:10,640 --> 00:39:13,560
Speaker 4: this is so wild. I just gave mister Copeland an

712
00:39:13,600 --> 00:39:17,919
Speaker 4: award the other night, and when she came out into

713
00:39:17,960 --> 00:39:20,879
Speaker 4: the stage, she did a bow to me, and I

714
00:39:20,920 --> 00:39:25,439
Speaker 4: almost lost it because when I was younger, I would

715
00:39:25,480 --> 00:39:28,680
Speaker 4: go to events like that and people would introduce me

716
00:39:28,719 --> 00:39:31,000
Speaker 4: as a choreographer and someone would say, oh, where did

717
00:39:31,040 --> 00:39:33,399
Speaker 4: you Where did you study? And I'm like, oh, I'm

718
00:39:33,440 --> 00:39:35,839
Speaker 4: self taught. I'm a hip hop choreographer, and they're like oh,

719
00:39:36,920 --> 00:39:39,520
Speaker 4: and they walk away from me. And they just didn't

720
00:39:39,560 --> 00:39:42,520
Speaker 4: see hip hop as a true art form of dance.

721
00:39:42,960 --> 00:39:46,160
Speaker 4: And so I was on a mission of how that

722
00:39:46,360 --> 00:39:50,160
Speaker 4: was my goal, Like people were gonna appreciate hip hop

723
00:39:50,400 --> 00:39:54,640
Speaker 4: the same way they appreciate all these other dances styles

724
00:39:54,680 --> 00:39:58,480
Speaker 4: that have been here forever. Because once I the minute

725
00:39:58,480 --> 00:40:01,600
Speaker 4: I entered into the and minute I decided I was

726
00:40:01,640 --> 00:40:03,880
Speaker 4: going to be a choreographer, I started going to African

727
00:40:03,960 --> 00:40:07,200
Speaker 4: dance class and that's when I realized how close hip

728
00:40:07,239 --> 00:40:11,520
Speaker 4: hop was to our lineage of African dance that actually

729
00:40:11,640 --> 00:40:13,400
Speaker 4: we would do moves and I'm like, oh my god,

730
00:40:13,480 --> 00:40:16,040
Speaker 4: it's the same thing, but it had meaning to it

731
00:40:16,120 --> 00:40:22,680
Speaker 4: and all the things. So for me, exploring other styles

732
00:40:22,719 --> 00:40:26,800
Speaker 4: of dance, other styles of street dance to me as well,

733
00:40:27,640 --> 00:40:30,759
Speaker 4: just to mix with my version of street dance. And

734
00:40:30,800 --> 00:40:33,080
Speaker 4: one of the reasons too, why I'm a choreographer is

735
00:40:33,080 --> 00:40:37,560
Speaker 4: because I wasn't I'm self taught. I did not come

736
00:40:37,640 --> 00:40:40,000
Speaker 4: up trained, so it was harder for me to catch

737
00:40:40,040 --> 00:40:44,120
Speaker 4: on to routines. Tony Basil gave me my first audition

738
00:40:44,360 --> 00:40:48,560
Speaker 4: for Young MC when I was seventeen years old, and.

739
00:40:49,880 --> 00:40:51,680
Speaker 2: Yeah, was it bust the whole.

740
00:40:53,120 --> 00:40:56,640
Speaker 4: It was. I believe I was auditioning for the tour.

741
00:40:57,719 --> 00:41:00,120
Speaker 4: I did bust the move Yeah, but she was and

742
00:41:00,200 --> 00:41:04,400
Speaker 4: all the hip hop clubs back in the day strong

743
00:41:04,560 --> 00:41:11,160
Speaker 4: and so so I just really I wanted to venture

744
00:41:11,239 --> 00:41:14,120
Speaker 4: out and learn new things, like I took belly dancing

745
00:41:14,200 --> 00:41:17,320
Speaker 4: because hip hop is so you know, it's so hard

746
00:41:17,560 --> 00:41:21,600
Speaker 4: and you know and tough, and you know the movement.

747
00:41:21,719 --> 00:41:25,359
Speaker 4: I wanted to soften my movement up and learn how

748
00:41:25,400 --> 00:41:29,840
Speaker 4: to teach a female artist how to be pretty and soft.

749
00:41:29,840 --> 00:41:32,680
Speaker 4: So I took belly dancing classes where the arms and

750
00:41:32,719 --> 00:41:35,960
Speaker 4: the hands were so elegant and beautiful. You know, I

751
00:41:36,000 --> 00:41:39,840
Speaker 4: wanted to offset it with hip hop. So that was

752
00:41:39,960 --> 00:41:43,400
Speaker 4: just something that I decided to do because I wanted to,

753
00:41:44,080 --> 00:41:49,200
Speaker 4: you know, explore different ways of movement.

754
00:41:49,920 --> 00:41:54,120
Speaker 3: Were you able to form any sort of bonding with

755
00:41:55,200 --> 00:41:57,920
Speaker 3: like the Bill T. Joneses, or the Paul Kelly's, or

756
00:41:57,960 --> 00:42:02,280
Speaker 3: the Charlie Atkins or the Jameson like.

757
00:42:03,400 --> 00:42:06,319
Speaker 5: James When did they bow down and say you even

758
00:42:06,880 --> 00:42:08,719
Speaker 5: Jeffrey Holder, like Jeffree.

759
00:42:08,440 --> 00:42:11,200
Speaker 4: Older, Jeffree Holder.

760
00:42:10,880 --> 00:42:13,160
Speaker 7: Jeffree Holder, Were you ever?

761
00:42:14,160 --> 00:42:14,319
Speaker 4: No?

762
00:42:14,960 --> 00:42:17,040
Speaker 2: Is it hard to penetrate that that club?

763
00:42:17,880 --> 00:42:19,719
Speaker 4: It was a it was a club, and they were

764
00:42:19,760 --> 00:42:21,640
Speaker 4: not feeling they weren't thinking about me.

765
00:42:21,920 --> 00:42:23,800
Speaker 7: This is but you know, this is strange.

766
00:42:23,960 --> 00:42:26,520
Speaker 4: No, I was gonna say, I see Michael Peters driving

767
00:42:26,560 --> 00:42:27,360
Speaker 4: every now and then.

768
00:42:27,239 --> 00:42:32,520
Speaker 12: I'd be like, you're taking their jobs away from the

769
00:42:32,600 --> 00:42:34,960
Speaker 12: But did you know, like Michael Peters whole like hip

770
00:42:34,960 --> 00:42:39,360
Speaker 12: hop connection and then for sure in the whole Prodigy.

771
00:42:38,880 --> 00:42:42,399
Speaker 7: Thing and Ben Veren and the things, I didn't even

772
00:42:42,400 --> 00:42:44,840
Speaker 7: be Yeah, okay, So that's just it's just interesting that.

773
00:42:44,840 --> 00:42:46,680
Speaker 5: They didn't connect me, even with Debbie Allen in a

774
00:42:46,719 --> 00:42:49,239
Speaker 5: different world and Jasmine Gott and all the things you

775
00:42:49,239 --> 00:42:49,480
Speaker 5: would have.

776
00:42:49,600 --> 00:42:52,640
Speaker 4: Jasmine was a friend of mine, Jasmin connected with me,

777
00:42:53,000 --> 00:42:54,239
Speaker 4: Jasmine connected with me.

778
00:42:55,640 --> 00:43:03,480
Speaker 2: You directed that Try May video. That's try.

779
00:43:07,800 --> 00:43:11,759
Speaker 3: All right, We know you the smartest motherfucker filler cut

780
00:43:11,800 --> 00:43:14,760
Speaker 3: man that that was the one.

781
00:43:18,080 --> 00:43:21,359
Speaker 4: Let go. No. I was young, and it wasn't even

782
00:43:21,400 --> 00:43:24,080
Speaker 4: like I was taking their jobs. They just weren't in

783
00:43:24,120 --> 00:43:26,520
Speaker 4: the world of hip hop. I was going to jack

784
00:43:26,560 --> 00:43:30,200
Speaker 4: the rappers and and making a real with my There

785
00:43:30,280 --> 00:43:32,920
Speaker 4: was the host of this show called Putting on the Hits,

786
00:43:33,080 --> 00:43:37,239
Speaker 4: Yes back. He used to make reels for actors and

787
00:43:37,280 --> 00:43:39,240
Speaker 4: I found him and I had n't make a Corey

788
00:43:39,320 --> 00:43:42,400
Speaker 4: a Dancer reel for me. And I would go to

789
00:43:42,480 --> 00:43:45,040
Speaker 4: jack the rappers and hand it out to the executives

790
00:43:45,080 --> 00:43:47,879
Speaker 4: and stuff. These people weren't in this world at all.

791
00:43:48,000 --> 00:43:51,560
Speaker 4: They do They didn't know anything about.

792
00:43:51,239 --> 00:43:54,279
Speaker 5: So could you talk about then your relationship with Rosie then,

793
00:43:54,280 --> 00:43:55,359
Speaker 5: because you did mention her.

794
00:43:55,719 --> 00:44:00,840
Speaker 4: Yeah. So Rosie was right before me, and you know Rosie.

795
00:44:01,520 --> 00:44:07,040
Speaker 4: She before Paradise, there was a club funk what was

796
00:44:07,080 --> 00:44:11,480
Speaker 4: it called reggae funk or funky reggae some So that's

797
00:44:11,520 --> 00:44:14,880
Speaker 4: where Spike Lee saw her dancing in the club and

798
00:44:15,000 --> 00:44:18,640
Speaker 4: put her in you know, do the right thing. So

799
00:44:19,480 --> 00:44:21,520
Speaker 4: we kind of had a little bit of the same

800
00:44:21,640 --> 00:44:26,840
Speaker 4: journey in a way. And because she did in Living Color,

801
00:44:26,960 --> 00:44:29,920
Speaker 4: like she was on the posts of hip hop and

802
00:44:30,000 --> 00:44:33,040
Speaker 4: she was in it. So she was the one person

803
00:44:33,160 --> 00:44:36,040
Speaker 4: that would you know, call me out of the blue

804
00:44:36,160 --> 00:44:40,280
Speaker 4: or that person that I can you know, ask questions two.

805
00:44:41,000 --> 00:44:42,200
Speaker 4: So it was Rosie for me.

806
00:44:43,080 --> 00:44:45,200
Speaker 3: Have you ever been in this situation in which you're

807
00:44:45,320 --> 00:44:51,799
Speaker 3: finding out oh maybe maybe like an hour before that

808
00:44:51,960 --> 00:44:54,800
Speaker 3: your client might have two left feet?

809
00:44:56,400 --> 00:44:59,920
Speaker 4: No, you have rehearsals, So you find that out in rehearsal,

810
00:45:00,320 --> 00:45:02,439
Speaker 4: and then you just know how to build it all

811
00:45:02,480 --> 00:45:05,879
Speaker 4: around them. But what I do best is pull out

812
00:45:07,200 --> 00:45:09,759
Speaker 4: things that they just didn't even realize that they had

813
00:45:09,840 --> 00:45:16,240
Speaker 4: in them. And I I'm really good at designing things

814
00:45:16,280 --> 00:45:19,239
Speaker 4: around people. But some people don't you know, don't want

815
00:45:19,239 --> 00:45:21,920
Speaker 4: to dance and don't feel it, you know, And so

816
00:45:22,000 --> 00:45:25,239
Speaker 4: I don't push and make people dance. I kind of

817
00:45:25,640 --> 00:45:29,200
Speaker 4: I'm focused on the entire show and not like trying

818
00:45:29,200 --> 00:45:30,960
Speaker 4: to force you to do something you don't.

819
00:45:30,760 --> 00:45:34,399
Speaker 2: Want to do. All right, my last remember the time question?

820
00:45:34,480 --> 00:45:37,319
Speaker 3: Because I always wanted to know how much leeway does

821
00:45:37,320 --> 00:45:40,520
Speaker 3: the artist have to go freestyle because they also have

822
00:45:40,560 --> 00:45:42,040
Speaker 3: to be the artist and stand out front.

823
00:45:42,560 --> 00:45:44,799
Speaker 2: Yeah, And so you know, when.

824
00:45:44,719 --> 00:45:47,279
Speaker 3: I watch remember the time, I'll see him do it

825
00:45:47,280 --> 00:45:50,120
Speaker 3: for half a second, and then I'll see him going

826
00:45:50,120 --> 00:45:55,040
Speaker 3: to his regular Michael Jackson stick. And occasionally I remember

827
00:45:55,239 --> 00:45:58,799
Speaker 3: specifically that point it was like half a second way

828
00:45:59,200 --> 00:46:02,200
Speaker 3: Michael started doing the yeah, when he was doing like

829
00:46:02,200 --> 00:46:04,520
Speaker 3: the prep or something, and I was like, oh, he

830
00:46:04,600 --> 00:46:08,800
Speaker 3: knows modern dancing, because you know, again, like Michael Jackson

831
00:46:08,880 --> 00:46:10,799
Speaker 3: is such a unique dancer. All of his moves are

832
00:46:10,840 --> 00:46:14,480
Speaker 3: his own. Yeah, to be shocked that he knows how

833
00:46:14,480 --> 00:46:16,680
Speaker 3: to do the rebok or the prep or.

834
00:46:18,520 --> 00:46:21,120
Speaker 2: Him right, but he's there for half a second.

835
00:46:21,160 --> 00:46:23,399
Speaker 3: I always wanted to know, is it a thing where

836
00:46:23,400 --> 00:46:25,279
Speaker 3: you're just like, look, you stand in the center, do

837
00:46:25,320 --> 00:46:27,080
Speaker 3: what you do and we'll dance around you.

838
00:46:27,840 --> 00:46:29,319
Speaker 2: Or is he like, no, I want to do the

839
00:46:29,400 --> 00:46:30,719
Speaker 2: dances that you guys are doing.

840
00:46:31,440 --> 00:46:33,680
Speaker 4: Yeah. No, Michael wanted to do what we were doing,

841
00:46:33,840 --> 00:46:37,000
Speaker 4: so he was pretty fully choreographed. He had a moment

842
00:46:37,040 --> 00:46:38,880
Speaker 4: of we broke out into his thing, but he was

843
00:46:38,960 --> 00:46:41,680
Speaker 4: pretty choreographed the whole video.

844
00:46:43,000 --> 00:46:45,960
Speaker 3: You know, it's it's him. So how do you get

845
00:46:46,080 --> 00:46:48,480
Speaker 3: over just the inhale exhale.

846
00:46:49,920 --> 00:46:53,720
Speaker 4: He's normal because you just know you have a job

847
00:46:53,840 --> 00:46:56,840
Speaker 4: to do, and you know this is like a pivotal

848
00:46:56,880 --> 00:47:01,400
Speaker 4: point in your growth and in everything. You just put

849
00:47:01,440 --> 00:47:04,680
Speaker 4: all that aside, at least for me, that's what I did.

850
00:47:04,920 --> 00:47:07,000
Speaker 4: And you go in and you do the job you

851
00:47:07,040 --> 00:47:07,759
Speaker 4: were hired for.

852
00:47:08,360 --> 00:47:14,960
Speaker 3: You know, there's going to be a hell of a

853
00:47:15,040 --> 00:47:17,600
Speaker 3: pivot question that asked. But I have to know the

854
00:47:17,600 --> 00:47:20,840
Speaker 3: answer to this question. Tell me, how were you not

855
00:47:21,120 --> 00:47:23,400
Speaker 3: on airplane after Rock the Boat was finished?

856
00:47:24,280 --> 00:47:28,160
Speaker 4: That is a really good question because we were pretty

857
00:47:28,160 --> 00:47:33,120
Speaker 4: inseparable and I hung out with her a lot. It's

858
00:47:33,200 --> 00:47:37,760
Speaker 4: funny there was a record label guy had the only

859
00:47:37,880 --> 00:47:41,400
Speaker 4: phone that worked there. This was early, early on with

860
00:47:41,560 --> 00:47:44,560
Speaker 4: cell phone, so when you were out of the country

861
00:47:44,600 --> 00:47:49,480
Speaker 4: they didn't work. And I called my family this video

862
00:47:49,520 --> 00:47:52,839
Speaker 4: had come up, so last minute Rocked the Boat that

863
00:47:53,000 --> 00:47:57,839
Speaker 4: I was missing my grandparents' fiftieth wedding anniversary, and so

864
00:47:58,360 --> 00:48:04,279
Speaker 4: I everyone was in Arkansas and I was going to

865
00:48:04,360 --> 00:48:07,759
Speaker 4: go back to Atlanta, where I had a home, and

866
00:48:08,480 --> 00:48:15,319
Speaker 4: I used his phone to call my family and they

867
00:48:15,360 --> 00:48:18,000
Speaker 4: were all still in Arkansas. No one had gone back

868
00:48:18,040 --> 00:48:21,319
Speaker 4: to Atlanta, and we had had such a good time

869
00:48:21,360 --> 00:48:24,359
Speaker 4: on the beach the night before the bonfire and all

870
00:48:24,400 --> 00:48:26,480
Speaker 4: that that I just decided to stay.

871
00:48:27,080 --> 00:48:28,080
Speaker 2: Wow. Wow.

872
00:48:28,840 --> 00:48:33,000
Speaker 3: And but in normal circumstances, you would have been on

873
00:48:33,080 --> 00:48:33,759
Speaker 3: that flight back.

874
00:48:34,239 --> 00:48:36,320
Speaker 4: I was supposed to be on the plane.

875
00:48:36,640 --> 00:48:38,720
Speaker 7: How long did it take you to answer this question

876
00:48:38,800 --> 00:48:39,520
Speaker 7: with such ease?

877
00:48:40,880 --> 00:48:45,399
Speaker 4: I mean, it's been so long's yeah, I don't, I don't.

878
00:48:45,480 --> 00:48:48,560
Speaker 4: I haven't gotten asked some of Leah's stuff in a

879
00:48:48,600 --> 00:48:54,319
Speaker 4: long time. But I'm I'm healed over that. It was

880
00:48:54,560 --> 00:48:58,399
Speaker 4: a tough thing to go through, especially because I took

881
00:48:58,440 --> 00:49:03,359
Speaker 4: the phone call of it all happening and I had

882
00:49:03,360 --> 00:49:06,560
Speaker 4: to call her mother, which was really and I had

883
00:49:07,160 --> 00:49:10,920
Speaker 4: my son was one years old, and to have to

884
00:49:11,000 --> 00:49:15,160
Speaker 4: call a mother and tell her something like that was

885
00:49:15,480 --> 00:49:18,720
Speaker 4: just it was a lot.

886
00:49:19,880 --> 00:49:23,960
Speaker 3: Yeah, I hype had to stop for a good period

887
00:49:23,960 --> 00:49:25,160
Speaker 3: of time just to process.

888
00:49:25,320 --> 00:49:27,480
Speaker 2: Like, how long did it take you to process.

889
00:49:27,040 --> 00:49:32,040
Speaker 4: Just to yeah? I think I kind of went heading

890
00:49:32,239 --> 00:49:36,080
Speaker 4: to work and tried to like just suppress it. And

891
00:49:36,120 --> 00:49:38,080
Speaker 4: I think it was later in life, but I also

892
00:49:38,840 --> 00:49:43,200
Speaker 4: I started to realize how I responded to death. I

893
00:49:43,280 --> 00:49:46,760
Speaker 4: was very I would shut down when it came to death.

894
00:49:46,800 --> 00:49:49,800
Speaker 4: And I didn't want to go to funerals ever, and

895
00:49:49,160 --> 00:49:53,480
Speaker 4: I would just have this very cold, shutdown thing when

896
00:49:53,480 --> 00:49:56,720
Speaker 4: it came to people dying. And so at a certain

897
00:49:56,760 --> 00:49:59,160
Speaker 4: point I had to deal with that because I knew

898
00:49:59,200 --> 00:50:04,400
Speaker 4: it was surrounded that situation. Is I like, I shut

899
00:50:04,400 --> 00:50:08,000
Speaker 4: off something inside of myself in order to like keep

900
00:50:08,040 --> 00:50:12,080
Speaker 4: moving forward, because you know, a lot of times, even too,

901
00:50:12,520 --> 00:50:16,960
Speaker 4: people would come up to the street and want to

902
00:50:17,000 --> 00:50:19,040
Speaker 4: give me a hug, and like I would see it

903
00:50:19,080 --> 00:50:21,239
Speaker 4: in the eyes of so many people that I was

904
00:50:21,280 --> 00:50:26,000
Speaker 4: around because I was, you know, just so close to her.

905
00:50:26,080 --> 00:50:30,239
Speaker 4: They just they just wanted a hug. And I understood it,

906
00:50:30,280 --> 00:50:31,840
Speaker 4: but it was really tough.

907
00:50:32,160 --> 00:50:35,920
Speaker 10: You know, what was the working relationship like with the

908
00:50:36,000 --> 00:50:38,239
Speaker 10: Lee when you said we mentioned Billy dance, and that's

909
00:50:38,280 --> 00:50:42,200
Speaker 10: what made me think, Yeah, so like yeah, what was

910
00:50:42,200 --> 00:50:43,680
Speaker 10: that creative kind of partnership?

911
00:50:43,800 --> 00:50:48,840
Speaker 4: Yeah, Lely was we were like synchronized swimming. If I

912
00:50:48,880 --> 00:50:51,640
Speaker 4: could be an artist, I would have been her. Like

913
00:50:51,719 --> 00:50:56,120
Speaker 4: I gave her everything, all of me, because it was

914
00:50:56,200 --> 00:51:00,000
Speaker 4: she was just so wonderful. Her voice was so incredible.

915
00:51:00,160 --> 00:51:04,920
Speaker 4: She was such an amazing dancer, but such an amazing person,

916
00:51:05,320 --> 00:51:08,640
Speaker 4: you know, And that's what was so hard about it.

917
00:51:08,680 --> 00:51:13,200
Speaker 4: It's just she was really really great and just so

918
00:51:13,400 --> 00:51:16,320
Speaker 4: young and had so much ahead of her, like we were.

919
00:51:16,880 --> 00:51:19,040
Speaker 4: I said goodbye to her and I was like, I'll

920
00:51:19,040 --> 00:51:20,920
Speaker 4: see you in La because we were taking our meeting

921
00:51:21,000 --> 00:51:23,480
Speaker 4: on the movie Sparkle that she was about to do.

922
00:51:23,360 --> 00:51:27,920
Speaker 2: And wow, oh wow, Yeah, I didn't know she was

923
00:51:27,920 --> 00:51:28,840
Speaker 2: going to start in Sparkle.

924
00:51:29,239 --> 00:51:34,399
Speaker 4: Yeah wow, No, it's just things lined up, and so

925
00:51:34,800 --> 00:51:38,080
Speaker 4: it was. It was. She was truly a special being.

926
00:51:38,960 --> 00:51:41,800
Speaker 5: What was your most favorite thing that y'all created together?

927
00:51:43,320 --> 00:51:46,360
Speaker 4: I mean I liked it all. I really did like

928
00:51:46,440 --> 00:51:49,880
Speaker 4: it all. Are you got somebody? It's so great? You know,

929
00:51:50,160 --> 00:51:50,760
Speaker 4: try again?

930
00:51:51,000 --> 00:51:55,440
Speaker 2: Like it just resolution was actually my favorite videos.

931
00:51:55,520 --> 00:51:59,480
Speaker 4: Really you need a resolution, You.

932
00:51:59,440 --> 00:52:01,000
Speaker 2: Need a Yeah.

933
00:52:01,440 --> 00:52:03,520
Speaker 3: It was a new herd, not like your kid's sister,

934
00:52:03,640 --> 00:52:07,000
Speaker 3: and like it was like a sophisticated snake and the whole.

935
00:52:08,200 --> 00:52:13,719
Speaker 4: Yeah. Yeah, I don't know. I loved performing one in

936
00:52:13,760 --> 00:52:18,440
Speaker 4: a million. I love those beats, like Timberland made you

937
00:52:18,520 --> 00:52:20,440
Speaker 4: just dance in a different way, you know when he

938
00:52:20,760 --> 00:52:24,120
Speaker 4: when he produced Aliyah and came on the scene. It

939
00:52:24,200 --> 00:52:27,160
Speaker 4: was like that's when Dan shifted.

940
00:52:27,440 --> 00:52:27,640
Speaker 11: You know.

941
00:52:28,000 --> 00:52:31,280
Speaker 4: The beats were so incredible and you have to figure

942
00:52:31,280 --> 00:52:35,640
Speaker 4: out how to hit all those beats and you know,

943
00:52:35,960 --> 00:52:40,239
Speaker 4: so fly, But yeah, I was. I have all this

944
00:52:40,719 --> 00:52:45,280
Speaker 4: old footage because I've digitized now some of my stuff,

945
00:52:45,320 --> 00:52:48,400
Speaker 4: so I've been looking through and I have like rehearsal

946
00:52:48,480 --> 00:52:53,400
Speaker 4: footage and audition footage. I have footage just no one's

947
00:52:53,480 --> 00:52:57,600
Speaker 4: ever seen before of us back in the day. I know,

948
00:52:57,680 --> 00:52:58,120
Speaker 4: a mirror.

949
00:52:58,280 --> 00:53:02,320
Speaker 2: I had documented every choreographed, no.

950
00:53:02,000 --> 00:53:06,280
Speaker 4: Not everything, the earlier stuff. I had this video camera

951
00:53:06,360 --> 00:53:09,160
Speaker 4: everywhere I went, and then I kind of dropped off

952
00:53:10,200 --> 00:53:12,800
Speaker 4: and then you know, now my assistance and I we

953
00:53:12,960 --> 00:53:16,000
Speaker 4: kind of try and document it as much as.

954
00:53:16,160 --> 00:53:17,240
Speaker 2: But document everything.

955
00:53:17,360 --> 00:53:21,000
Speaker 3: Yes, no, I know I'm assuming that your first pivot

956
00:53:21,120 --> 00:53:24,160
Speaker 3: was directing. But is there a stop in between choreographing

957
00:53:24,640 --> 00:53:25,760
Speaker 3: and directing.

958
00:53:26,560 --> 00:53:30,759
Speaker 4: Yes, definitely. So for me, I always dance with the

959
00:53:30,840 --> 00:53:33,800
Speaker 4: artists that I worked with, So when Alia's videos, I'm dancing,

960
00:53:34,239 --> 00:53:36,680
Speaker 4: and a certain point I had to step out of

961
00:53:36,920 --> 00:53:40,319
Speaker 4: being a dancer and just be the choreographer so I

962
00:53:40,320 --> 00:53:44,359
Speaker 4: could see the bigger picture of everything. And that was

963
00:53:44,400 --> 00:53:47,520
Speaker 4: hard for me because I love to dance, but also

964
00:53:48,520 --> 00:53:53,400
Speaker 4: it was it was just a transition, and but once

965
00:53:53,480 --> 00:53:56,560
Speaker 4: I did it and stepped out, it really allowed me

966
00:53:57,239 --> 00:54:01,560
Speaker 4: to start understanding how so many other things make the

967
00:54:01,640 --> 00:54:06,160
Speaker 4: choreography so much better, wardrobe and lighting and props and

968
00:54:06,239 --> 00:54:08,880
Speaker 4: all of that. So I stepped out of there first.

969
00:54:09,560 --> 00:54:13,440
Speaker 4: And then when I was twenty five, I you know,

970
00:54:13,560 --> 00:54:16,040
Speaker 4: John would always try and get me in front of

971
00:54:16,080 --> 00:54:18,279
Speaker 4: the camera. A lot a lot of people were trying

972
00:54:18,280 --> 00:54:19,440
Speaker 4: to get me in front of the camera, and I

973
00:54:19,520 --> 00:54:22,560
Speaker 4: just wasn't. I go on auditions and I just wasn't

974
00:54:22,600 --> 00:54:25,759
Speaker 4: comfortable acting. It just didn't come from the heart like

975
00:54:25,880 --> 00:54:29,560
Speaker 4: dance did. And but I loved being behind the scenes.

976
00:54:29,560 --> 00:54:31,279
Speaker 4: So I went and took this course at New York's

977
00:54:31,320 --> 00:54:37,240
Speaker 4: Film Academy, and that's when I decided doing that course.

978
00:54:37,280 --> 00:54:39,960
Speaker 4: It was just an eight week, like ten hour a

979
00:54:40,040 --> 00:54:43,400
Speaker 4: day course. I was the one in class who had

980
00:54:43,440 --> 00:54:46,160
Speaker 4: been on so many sets and was like, Oh, that's

981
00:54:46,200 --> 00:54:49,359
Speaker 4: what that means, and that oh I understand now, Oh

982
00:54:49,440 --> 00:54:50,840
Speaker 4: that's why that takes so long.

983
00:54:51,320 --> 00:54:51,480
Speaker 5: You know.

984
00:54:51,520 --> 00:54:56,879
Speaker 4: It was such like, Oh, I get it. And from

985
00:54:56,920 --> 00:54:59,319
Speaker 4: there I just went, Ah, that's what I want to do.

986
00:54:59,400 --> 00:55:01,600
Speaker 4: I want to do. I want to be behind the camera.

987
00:55:02,120 --> 00:55:05,400
Speaker 4: And my first video was mister Vegas Headtime. That's the

988
00:55:05,440 --> 00:55:06,520
Speaker 4: first video I directed.

989
00:55:12,320 --> 00:55:12,960
Speaker 2: Wow.

990
00:55:13,480 --> 00:55:19,680
Speaker 10: Wow, Yeah, So about one thing you talked about. You know,

991
00:55:19,800 --> 00:55:23,440
Speaker 10: when you turn twenty five, what is the average life span?

992
00:55:25,000 --> 00:55:31,040
Speaker 4: Good question. Yeah, girls go to around thirty six, thirty seven.

993
00:55:31,880 --> 00:55:34,719
Speaker 4: You know, some push it a little longer, but they

994
00:55:34,760 --> 00:55:37,680
Speaker 4: have to really do a lot of repair on their

995
00:55:37,719 --> 00:55:42,359
Speaker 4: bodies after sports. Yeah, it's the same way. And then

996
00:55:42,480 --> 00:55:45,799
Speaker 4: guys can go to like forty to forty you know,

997
00:55:46,040 --> 00:55:48,800
Speaker 4: up in there in their forties. You know, there's something

998
00:55:48,800 --> 00:55:54,960
Speaker 4: that go longer. But yeah, I definitely around thirty six.

999
00:55:55,120 --> 00:55:58,839
Speaker 4: I was like, yeah, I'm good on this.

1000
00:56:00,080 --> 00:56:03,800
Speaker 10: Other question about one of your uh Mary J Blige,

1001
00:56:03,840 --> 00:56:07,239
Speaker 10: because you whatever, are you responsible for the Mary J

1002
00:56:07,560 --> 00:56:08,480
Speaker 10: bo the Mary?

1003
00:56:08,600 --> 00:56:11,440
Speaker 2: Yes? Awesome question.

1004
00:56:12,160 --> 00:56:22,800
Speaker 4: Awesome, No, that's Mary. That's that's all Mary.

1005
00:56:22,800 --> 00:56:27,160
Speaker 3: That's the greatest question to ask of this damn podcast,

1006
00:56:28,760 --> 00:56:31,839
Speaker 3: one hundred years of podcast. I wouldn't I wouldn't even

1007
00:56:32,200 --> 00:56:37,319
Speaker 3: thought to ask that question. Maybe two or three weeks ago,

1008
00:56:38,040 --> 00:56:42,400
Speaker 3: did you happen to see the Saturday Night Live clip

1009
00:56:43,160 --> 00:56:46,719
Speaker 3: in which Julius Styles came on Weekend Update to recreate

1010
00:56:47,080 --> 00:56:48,280
Speaker 3: or save the last dance?

1011
00:56:48,880 --> 00:56:50,439
Speaker 7: Oh my god?

1012
00:56:50,680 --> 00:56:56,600
Speaker 3: Oh yeah it was well, I know you choreographed that, yeah, but.

1013
00:56:56,920 --> 00:56:57,680
Speaker 4: I didn't even know that.

1014
00:56:58,719 --> 00:57:05,360
Speaker 2: Dude. Every thing. She's done everything president.

1015
00:57:06,320 --> 00:57:08,040
Speaker 4: Yeah, I did that one year.

1016
00:57:08,800 --> 00:57:12,160
Speaker 3: Yeah, they know, they like it's it's It was a

1017
00:57:12,239 --> 00:57:15,120
Speaker 3: thing in which one of the cast members, you know,

1018
00:57:15,320 --> 00:57:18,360
Speaker 3: was was doing an ode to it, and then suddenly

1019
00:57:18,480 --> 00:57:20,479
Speaker 3: Julia walked so next to her, and then they started

1020
00:57:20,480 --> 00:57:21,840
Speaker 3: doing it, dance together and on that stuff.

1021
00:57:24,280 --> 00:57:26,840
Speaker 4: Yeah, yeah, yeah, I can't wait to see that. I'm

1022
00:57:26,840 --> 00:57:27,760
Speaker 4: gonna look that up.

1023
00:57:28,240 --> 00:57:31,600
Speaker 3: Was that was that the first movie you've done? Your

1024
00:57:31,600 --> 00:57:34,600
Speaker 3: first feature film?

1025
00:57:36,160 --> 00:57:41,120
Speaker 4: What's that my first feature? I think so, other than

1026
00:57:41,320 --> 00:57:46,080
Speaker 4: like dancing for stuff, uh, to choreograph, I think maybe

1027
00:57:46,080 --> 00:57:51,280
Speaker 4: that was my first feature choreographing. I was responsible for

1028
00:57:51,320 --> 00:57:52,960
Speaker 4: her having a little head wrap on.

1029
00:57:54,600 --> 00:57:59,240
Speaker 5: So we blame you for that that. Okay, you're lucky,

1030
00:57:59,240 --> 00:58:02,080
Speaker 5: it's twenty five I don't know, Okay, twenty five years.

1031
00:58:02,120 --> 00:58:04,720
Speaker 2: Don't even act like you weren't. You weren't watching.

1032
00:58:06,040 --> 00:58:07,560
Speaker 5: Watch you know, I didn't watch that video. I was

1033
00:58:07,600 --> 00:58:08,680
Speaker 5: way too militant back then.

1034
00:58:08,680 --> 00:58:10,760
Speaker 7: I was the word you were mmmmmm.

1035
00:58:11,360 --> 00:58:13,560
Speaker 5: But I appreciated it for what it was. That was

1036
00:58:14,520 --> 00:58:18,320
Speaker 5: okay washing fatima, There.

1037
00:58:18,160 --> 00:58:21,440
Speaker 4: We go, There we go. It also gave permission to

1038
00:58:21,640 --> 00:58:26,680
Speaker 4: a lot of young kids who were loving hip hop

1039
00:58:26,880 --> 00:58:30,960
Speaker 4: in their homes. To like actually get out and pursue

1040
00:58:31,520 --> 00:58:34,080
Speaker 4: hip hop dance. You know, it was one of the

1041
00:58:34,160 --> 00:58:38,160
Speaker 4: steps that I had to take to get hip hop

1042
00:58:38,240 --> 00:58:40,800
Speaker 4: dance to be seen as a true art form of dance.

1043
00:58:40,800 --> 00:58:43,440
Speaker 4: And that movie was huge and made.

1044
00:58:43,280 --> 00:58:45,560
Speaker 5: For the reason to Hit the Suburbs. You're the reason

1045
00:58:45,760 --> 00:58:46,720
Speaker 5: hit the Suburbs.

1046
00:58:46,920 --> 00:58:50,280
Speaker 4: Suburb between that and the Bakshi Boys, I take you know,

1047
00:58:50,400 --> 00:58:56,040
Speaker 4: full responsibility. Oh, you did right, I did all that

1048
00:58:56,080 --> 00:58:57,280
Speaker 4: boys stuff.

1049
00:58:57,480 --> 00:59:05,120
Speaker 2: YEH, don't don't know, dude.

1050
00:59:05,160 --> 00:59:08,600
Speaker 3: She also see I thought the first video she directed

1051
00:59:08,720 --> 00:59:09,320
Speaker 3: was My Humps.

1052
00:59:09,600 --> 00:59:11,880
Speaker 2: I thought that was the first video you directed.

1053
00:59:12,280 --> 00:59:16,120
Speaker 3: But no, I know that basically you're the go to

1054
00:59:16,280 --> 00:59:19,760
Speaker 3: You're the first step with anyone with a with a budget.

1055
00:59:20,520 --> 00:59:23,960
Speaker 3: Can you tell me three videos that you had to

1056
00:59:24,000 --> 00:59:28,200
Speaker 3: say no to that later became like sort of iconic level,

1057
00:59:28,280 --> 00:59:34,360
Speaker 3: like have you said notice something that.

1058
00:59:32,080 --> 00:59:34,720
Speaker 2: That you regretted saying no to? Well, she missed the

1059
00:59:34,760 --> 00:59:37,919
Speaker 2: audition for Baby Got Back. That was tough.

1060
00:59:38,240 --> 00:59:41,960
Speaker 4: But I remember I was not too long ago looking

1061
00:59:42,040 --> 00:59:46,960
Speaker 4: through for an email and saw something in my or

1062
00:59:47,000 --> 00:59:50,760
Speaker 4: from my agent, and I clicked on it and it

1063
00:59:50,920 --> 00:59:54,280
Speaker 4: said there's a movie that they want you to come

1064
00:59:54,320 --> 00:59:58,000
Speaker 4: take a meeting for something like La La Land and

1065
00:59:58,080 --> 01:00:01,680
Speaker 4: my res fond Maris response was I'm way too busy.

1066
01:00:01,680 --> 01:00:08,880
Speaker 4: I can't do that right now. And I forwarded back

1067
01:00:08,920 --> 01:00:11,520
Speaker 4: to my agent like can you believe I said that.

1068
01:00:13,480 --> 01:00:16,480
Speaker 8: Yeah, can we talk about musicals for a second, but

1069
01:00:17,080 --> 01:00:20,920
Speaker 8: just can we parlay into the Color Purple show? I

1070
01:00:20,960 --> 01:00:23,120
Speaker 8: was just I was thinking, like the average music videos

1071
01:00:23,160 --> 01:00:25,520
Speaker 8: like three and a half minutes long, Like the Color

1072
01:00:25,560 --> 01:00:28,280
Speaker 8: Purple is three and a half hours long, Like what

1073
01:00:28,400 --> 01:00:32,560
Speaker 8: is the what is your mindset choreographically and or storytelling

1074
01:00:32,600 --> 01:00:35,960
Speaker 8: wise to make a complete arc of that whole thing.

1075
01:00:35,960 --> 01:00:39,840
Speaker 8: I'm always amazed at how choreographers and or composers under

1076
01:00:39,840 --> 01:00:41,720
Speaker 8: whoever just sort of make all of that sort of

1077
01:00:41,720 --> 01:00:44,160
Speaker 8: happen and conceive of it like one thing. You know,

1078
01:00:44,160 --> 01:00:46,480
Speaker 8: there's so many different numbers and so many different moves

1079
01:00:46,480 --> 01:00:47,960
Speaker 8: and so many different things, but it does feel like

1080
01:00:48,240 --> 01:00:49,800
Speaker 8: a canon in itself anyway.

1081
01:00:50,400 --> 01:00:53,920
Speaker 4: Speak to that, Yeah, I mean you start with the script,

1082
01:00:54,280 --> 01:00:58,000
Speaker 4: you know, and with Color Purple, because they had done

1083
01:00:58,040 --> 01:01:01,920
Speaker 4: it as a Broadway play, there was music, but Blitz

1084
01:01:02,120 --> 01:01:06,680
Speaker 4: really went in there and you know, worked with a

1085
01:01:06,720 --> 01:01:10,880
Speaker 4: lot of incredible artists and elevated the music so that

1086
01:01:10,960 --> 01:01:14,400
Speaker 4: it you know, it had a little more modern feeling

1087
01:01:14,560 --> 01:01:18,400
Speaker 4: to it, and because in particular color Purple is a

1088
01:01:18,440 --> 01:01:21,200
Speaker 4: period piece, there's not a lot of dance out there

1089
01:01:21,480 --> 01:01:25,440
Speaker 4: to even emulate like what would be done then. But

1090
01:01:25,960 --> 01:01:28,520
Speaker 4: I kind of took the creative liberty to say, you know,

1091
01:01:28,600 --> 01:01:34,360
Speaker 4: it all comes from African dance, and if we you know,

1092
01:01:34,440 --> 01:01:40,400
Speaker 4: you can look back and find bits of every modern

1093
01:01:40,480 --> 01:01:43,960
Speaker 4: dance that we do now in African dance. And so

1094
01:01:44,640 --> 01:01:49,360
Speaker 4: I just kind of gave each number, you know, a feeling,

1095
01:01:49,680 --> 01:01:55,960
Speaker 4: a mood, a joy of a kindred brotherhood for like

1096
01:01:56,240 --> 01:01:59,200
Speaker 4: uh huh, you know when they were building the house

1097
01:01:59,280 --> 01:02:03,320
Speaker 4: and all the working together and that was nice. That's

1098
01:02:03,400 --> 01:02:07,240
Speaker 4: going back to you know, step in when men are

1099
01:02:07,280 --> 01:02:12,960
Speaker 4: all stepping other and fraternity. I just kind of went

1100
01:02:13,000 --> 01:02:17,160
Speaker 4: through a bunch of different, you know, styles of Black dance.

1101
01:02:17,200 --> 01:02:22,240
Speaker 4: But then also I kind of we're so expressive as people,

1102
01:02:22,840 --> 01:02:26,080
Speaker 4: and you know, like when you get into hell No

1103
01:02:26,320 --> 01:02:29,200
Speaker 4: with Danielle Brooks and at the end when the ladies

1104
01:02:29,200 --> 01:02:31,160
Speaker 4: all kind of gang up on her and then they

1105
01:02:31,200 --> 01:02:33,760
Speaker 4: all roll ay neck. You know, when a black woman

1106
01:02:33,840 --> 01:02:36,440
Speaker 4: starts rolling her neck and she has had it up

1107
01:02:36,440 --> 01:02:39,360
Speaker 4: to here with your ass. So it was kind of

1108
01:02:39,760 --> 01:02:42,880
Speaker 4: you know, I took just our even natural movements that

1109
01:02:42,920 --> 01:02:46,640
Speaker 4: we do, you know, and made them into dances. And

1110
01:02:46,680 --> 01:02:50,280
Speaker 4: so it's a it's a journey when you're doing musical

1111
01:02:50,440 --> 01:02:53,120
Speaker 4: like that because it's a lot of hard work and

1112
01:02:53,280 --> 01:02:58,040
Speaker 4: each number needs its own special attention. And you know,

1113
01:02:59,240 --> 01:03:01,560
Speaker 4: our goal for that movie, and I think we really

1114
01:03:01,640 --> 01:03:05,440
Speaker 4: accomplished it is like how do you get out? How

1115
01:03:05,440 --> 01:03:08,640
Speaker 4: do you start the music and start the dance so

1116
01:03:08,720 --> 01:03:12,960
Speaker 4: it's not jarring and it's not taking you out of library.

1117
01:03:13,560 --> 01:03:16,400
Speaker 4: So that that was the important for me. It was

1118
01:03:16,440 --> 01:03:19,280
Speaker 4: when I walked into the room, story led first, and

1119
01:03:19,320 --> 01:03:22,840
Speaker 4: then the dance had to support the story and a

1120
01:03:22,880 --> 01:03:26,320
Speaker 4: lot of times, you know, people were just dancing to

1121
01:03:26,400 --> 01:03:29,240
Speaker 4: be dancing, and that's not what I was trying to do.

1122
01:03:29,360 --> 01:03:32,240
Speaker 4: The story it had to all make sense, you know,

1123
01:03:32,360 --> 01:03:34,640
Speaker 4: if we were it should was coming to town and

1124
01:03:34,720 --> 01:03:37,000
Speaker 4: what is that town gonna look like back in the

1125
01:03:37,080 --> 01:03:39,160
Speaker 4: day where that town should have a shoe shop and

1126
01:03:39,200 --> 01:03:41,439
Speaker 4: then it's gonna have a barber shop and then they're

1127
01:03:41,800 --> 01:03:45,080
Speaker 4: you know, they got the groceries stand outside like and

1128
01:03:45,120 --> 01:03:47,920
Speaker 4: I create all that stuff in the rehearsal studio with

1129
01:03:47,960 --> 01:03:51,120
Speaker 4: the skeleton crew of dancers and give them something, but

1130
01:03:51,560 --> 01:03:54,400
Speaker 4: where I am now in my career, even with this one,

1131
01:03:54,840 --> 01:03:58,960
Speaker 4: in particular for color purple. We choreographed it and then

1132
01:03:59,160 --> 01:04:02,880
Speaker 4: shot it way I wanted to look, with close ups

1133
01:04:02,920 --> 01:04:05,840
Speaker 4: of the feet and overheads and you know, all the

1134
01:04:05,920 --> 01:04:08,840
Speaker 4: things and editor and then I gave it to the

1135
01:04:08,920 --> 01:04:13,400
Speaker 4: directors like here's russall. But you know, that's what choreographers,

1136
01:04:13,560 --> 01:04:16,920
Speaker 4: the good choreographers, that's what we do when we get hired.

1137
01:04:17,000 --> 01:04:21,560
Speaker 4: We're just natural directors, really, and I love that I

1138
01:04:21,640 --> 01:04:25,360
Speaker 4: had a director who trust in that vision. But I

1139
01:04:25,440 --> 01:04:27,960
Speaker 4: have this great story to say. You know, Blitz told

1140
01:04:27,960 --> 01:04:31,160
Speaker 4: me and Ghana when he was in high school, they

1141
01:04:31,200 --> 01:04:34,080
Speaker 4: had a talent show and eighty percent of the people

1142
01:04:34,760 --> 01:04:38,960
Speaker 4: did for their talent Aliyah's are you? That's somebody him

1143
01:04:39,200 --> 01:04:44,800
Speaker 4: and I know, and so he just vowed to work

1144
01:04:44,840 --> 01:04:47,960
Speaker 4: with me one day. And I just feel like Aliyah

1145
01:04:48,520 --> 01:04:51,040
Speaker 4: put us together, and it's so wonderful.

1146
01:04:51,480 --> 01:04:53,960
Speaker 5: It was wonderful to see your touch on that movie,

1147
01:04:54,000 --> 01:04:58,400
Speaker 5: because no matter what the dance was, you also still

1148
01:04:58,480 --> 01:05:13,960
Speaker 5: felt hip hop always, always, always.

1149
01:05:10,880 --> 01:05:14,560
Speaker 3: I'm gonna play a rapid fire around with you, Okay,

1150
01:05:15,560 --> 01:05:18,440
Speaker 3: which client of yours is the fastest learner?

1151
01:05:19,640 --> 01:05:21,200
Speaker 4: Aliyah was the fastest learner.

1152
01:05:21,960 --> 01:05:27,160
Speaker 3: Which client of yours is the most I won't say

1153
01:05:27,200 --> 01:05:30,120
Speaker 3: anal retentive perfectionist?

1154
01:05:31,200 --> 01:05:33,560
Speaker 2: Which kind of yours wants to rehearse their spontaneity?

1155
01:05:34,320 --> 01:05:37,440
Speaker 4: Beyonce is perfectionist, meaning.

1156
01:05:37,200 --> 01:05:39,240
Speaker 3: You have to go through over and over and over

1157
01:05:39,280 --> 01:05:42,760
Speaker 3: again to muscle memory or no, she catches.

1158
01:05:42,400 --> 01:05:45,640
Speaker 4: On quick too, but she's just perfectionist. Like she goes

1159
01:05:45,720 --> 01:05:48,720
Speaker 4: back and like we go back and work on it

1160
01:05:48,760 --> 01:05:51,400
Speaker 4: and work on it, and you know she's still working

1161
01:05:51,440 --> 01:05:54,200
Speaker 4: on the show. Is renaissance was going on and she

1162
01:05:54,320 --> 01:05:57,640
Speaker 4: still had rehearsals. Wow like that?

1163
01:05:59,000 --> 01:06:03,400
Speaker 2: Wow, okay, superstar? Yeah all that I see?

1164
01:06:03,840 --> 01:06:07,160
Speaker 3: Which client who's not no dancing is so, you like,

1165
01:06:08,040 --> 01:06:10,560
Speaker 3: is really under selling their talent of dancing?

1166
01:06:11,880 --> 01:06:13,840
Speaker 4: Buster Rhymes can dance his ass off?

1167
01:06:15,720 --> 01:06:17,959
Speaker 2: He can't, Yep, I don't.

1168
01:06:19,280 --> 01:06:22,440
Speaker 4: Eyes can see the last that last when they're in

1169
01:06:22,480 --> 01:06:26,800
Speaker 4: the black lights. See he's dancing and he came to

1170
01:06:26,920 --> 01:06:30,160
Speaker 4: rehearsal and he learned steps and he was like he

1171
01:06:30,240 --> 01:06:32,880
Speaker 4: threw his his two way across the room. Was like,

1172
01:06:32,920 --> 01:06:39,160
Speaker 4: I'm Michael Jackson up in here, dances ass off. And

1173
01:06:39,240 --> 01:06:40,640
Speaker 4: you know who else can dance good?

1174
01:06:42,040 --> 01:06:43,360
Speaker 7: Yes she can?

1175
01:06:44,240 --> 01:06:44,600
Speaker 2: She can.

1176
01:06:44,960 --> 01:06:46,640
Speaker 7: We just wrapped these things down and we get to

1177
01:06:46,680 --> 01:06:47,640
Speaker 7: going well.

1178
01:06:47,680 --> 01:06:50,320
Speaker 3: I was going to ask, who is your shyest client,

1179
01:06:50,400 --> 01:06:53,840
Speaker 3: because dancing is a that's that's a form of vulnerability

1180
01:06:53,960 --> 01:06:57,400
Speaker 3: that you know, because you're always worrying on like people

1181
01:06:57,440 --> 01:06:57,880
Speaker 3: watching me.

1182
01:06:57,920 --> 01:07:00,480
Speaker 2: And I mean, that's what got to give it up

1183
01:07:00,560 --> 01:07:05,720
Speaker 2: is about I'm afraid to dance in public. Client.

1184
01:07:07,280 --> 01:07:11,880
Speaker 4: I don't know. Shy is really.

1185
01:07:12,920 --> 01:07:14,120
Speaker 2: So no one ever held back.

1186
01:07:14,880 --> 01:07:19,520
Speaker 4: No, I feel like people, if you could dance, you

1187
01:07:19,680 --> 01:07:25,240
Speaker 4: kind of get shy. Isn't the word I don't know, shy, reluctant.

1188
01:07:25,400 --> 01:07:29,520
Speaker 4: I wouldn't even call it reluctant. Like I love working

1189
01:07:29,560 --> 01:07:35,600
Speaker 4: with Kendrick because he loves movement and dance and respects it.

1190
01:07:36,200 --> 01:07:40,000
Speaker 4: But he's not necessarily out there trying to do steps

1191
01:07:40,040 --> 01:07:42,880
Speaker 4: with the dancers. He's going to bring his own energy

1192
01:07:42,920 --> 01:07:45,560
Speaker 4: and vibe to it, and then I build around it,

1193
01:07:45,600 --> 01:07:47,160
Speaker 4: and then we sit and look at it, and then

1194
01:07:47,200 --> 01:07:50,760
Speaker 4: we build together. You know. I love giving him a

1195
01:07:51,720 --> 01:07:55,480
Speaker 4: little template to go off for him to respond to

1196
01:07:55,840 --> 01:07:57,959
Speaker 4: and then you know, do something great.

1197
01:07:58,080 --> 01:08:00,800
Speaker 7: He can give us an example, super Bowld.

1198
01:08:01,040 --> 01:08:05,800
Speaker 4: They gave me an image of all those boxes and

1199
01:08:06,400 --> 01:08:08,760
Speaker 4: it was then overhead shot of the boxes and it

1200
01:08:08,840 --> 01:08:10,720
Speaker 4: was like, that's kind of what we want to create.

1201
01:08:10,760 --> 01:08:13,000
Speaker 4: And so then from there I got to use my

1202
01:08:13,080 --> 01:08:16,160
Speaker 4: imagination or how do these boxes come to life? How

1203
01:08:16,160 --> 01:08:18,640
Speaker 4: do we get the boxes off the stage? Do we

1204
01:08:18,720 --> 01:08:20,679
Speaker 4: stay with the boxes? And we do it? Like where

1205
01:08:20,680 --> 01:08:23,920
Speaker 4: does he live inside of the boxes? And you know

1206
01:08:24,000 --> 01:08:27,880
Speaker 4: all of that, and so I love I love how

1207
01:08:27,920 --> 01:08:31,720
Speaker 4: his mind works and things, but I wouldn't call all right.

1208
01:08:31,760 --> 01:08:33,800
Speaker 3: So I always think of this the next time you

1209
01:08:33,880 --> 01:08:38,840
Speaker 3: watch jay Z's Can I Get a I was absolutely

1210
01:08:38,880 --> 01:08:43,200
Speaker 3: amazed that he basically just stands in place in the

1211
01:08:43,240 --> 01:08:47,200
Speaker 3: middle and only moves his arms in his shoulders. Yeah,

1212
01:08:47,280 --> 01:08:50,000
Speaker 3: I mean the entire world is dancing around him. And

1213
01:08:50,040 --> 01:08:53,160
Speaker 3: I always wanted to know what happens when you're giving

1214
01:08:54,120 --> 01:08:57,160
Speaker 3: a client that, like do you have to figure out

1215
01:08:57,160 --> 01:08:59,599
Speaker 3: the math formula? Like how much the supplement? Like okay,

1216
01:08:59,640 --> 01:09:02,720
Speaker 3: they're not given me much in terms of because the

1217
01:09:02,720 --> 01:09:04,519
Speaker 3: thing is, we do tend to think of jay Z

1218
01:09:04,760 --> 01:09:09,839
Speaker 3: as a charismatic, but it's almost like in that DeNiro

1219
01:09:09,960 --> 01:09:12,360
Speaker 3: level where he holds back from that charisma.

1220
01:09:14,880 --> 01:09:18,679
Speaker 4: Yeah no, yeah, some people I respect that. Some people

1221
01:09:18,880 --> 01:09:21,920
Speaker 4: just don't want to dance. You know, I'm not here

1222
01:09:21,960 --> 01:09:23,680
Speaker 4: to make everybody dance.

1223
01:09:24,080 --> 01:09:27,760
Speaker 2: You know, So what's your favorite medium? Then?

1224
01:09:28,120 --> 01:09:32,240
Speaker 3: Because you've done commercials, on videos, you've done half times,

1225
01:09:32,280 --> 01:09:34,920
Speaker 3: you've done award shows.

1226
01:09:35,120 --> 01:09:37,160
Speaker 2: Yes, what is your favorite medium?

1227
01:09:38,600 --> 01:09:44,240
Speaker 4: Age performances like concerts and why concerts are my favorite? Like,

1228
01:09:44,439 --> 01:09:48,720
Speaker 4: you know, when I the Renaissance was was amazing And

1229
01:09:49,840 --> 01:09:56,759
Speaker 4: I love the way you can manipulate the arena, stadium,

1230
01:09:56,840 --> 01:10:01,839
Speaker 4: whatever you're in theater, with the new with the dance,

1231
01:10:02,160 --> 01:10:06,559
Speaker 4: with the way the songs are laid out. Like I

1232
01:10:06,760 --> 01:10:11,960
Speaker 4: just love watching people have such a wonderful time live

1233
01:10:12,040 --> 01:10:15,799
Speaker 4: and it always takes me back to my childhood of Jackson.

1234
01:10:15,920 --> 01:10:20,360
Speaker 4: Five was my first tour, and I remember like laying

1235
01:10:20,400 --> 01:10:24,040
Speaker 4: out my clothes a week in advance and like just

1236
01:10:24,120 --> 01:10:27,160
Speaker 4: the preparation to it. And I remember having the seat

1237
01:10:27,280 --> 01:10:30,880
Speaker 4: way up, way up there, and that was my seat

1238
01:10:30,920 --> 01:10:33,559
Speaker 4: and they were super small, but I was up there

1239
01:10:33,760 --> 01:10:37,080
Speaker 4: screaming and jamming and dancing and my heart out and

1240
01:10:37,120 --> 01:10:40,599
Speaker 4: it was just the best experience for me. And so

1241
01:10:40,840 --> 01:10:44,080
Speaker 4: I just always whenever I do live shows, I think

1242
01:10:44,120 --> 01:10:47,800
Speaker 4: about those people that are way up there, and it's

1243
01:10:47,800 --> 01:10:50,920
Speaker 4: something that I do with every concert that I work on.

1244
01:10:51,120 --> 01:10:54,040
Speaker 4: I look up to see and if those people are

1245
01:10:54,240 --> 01:10:58,719
Speaker 4: jumping and screaming and dancing the same way the people

1246
01:10:58,760 --> 01:11:01,679
Speaker 4: who have front row seats are. Then to me, I've

1247
01:11:01,720 --> 01:11:05,559
Speaker 4: done my job right. And I just love live. It's

1248
01:11:05,640 --> 01:11:11,200
Speaker 4: unpredictable and it's amazing and people cry. I cry, and

1249
01:11:11,560 --> 01:11:14,519
Speaker 4: it's just you go through the gamut of emotions at

1250
01:11:14,560 --> 01:11:16,760
Speaker 4: a at a really good live show, and I just

1251
01:11:16,840 --> 01:11:17,240
Speaker 4: love it.

1252
01:11:17,560 --> 01:11:20,080
Speaker 10: I wanted to ask when you're casting and stuff, like

1253
01:11:20,120 --> 01:11:23,839
Speaker 10: you know, what separates a good dancer from a great dancer?

1254
01:11:23,920 --> 01:11:25,160
Speaker 2: Like what are you looking for?

1255
01:11:27,680 --> 01:11:31,519
Speaker 4: I'm really we dancers have to learn a combination really quickly,

1256
01:11:32,600 --> 01:11:36,320
Speaker 4: so we teach it, they learn it, we break them

1257
01:11:36,400 --> 01:11:39,599
Speaker 4: up and pieces. You know, a lot of times it's

1258
01:11:39,960 --> 01:11:44,000
Speaker 4: it's it's their danceability, but it's also like their height

1259
01:11:44,479 --> 01:11:47,040
Speaker 4: and their their size, and if they fit with the

1260
01:11:47,120 --> 01:11:50,600
Speaker 4: other dancers and they create like it's a whole you know,

1261
01:11:51,040 --> 01:11:54,960
Speaker 4: Tetris game of things we're playing around with, and but

1262
01:11:55,080 --> 01:11:57,800
Speaker 4: what really makes I think a great dancer? And I

1263
01:11:57,840 --> 01:12:01,680
Speaker 4: always even though they learn the choreography and they have

1264
01:12:01,760 --> 01:12:05,520
Speaker 4: to do the combination, I always ask them to freestyle afterwards,

1265
01:12:05,600 --> 01:12:10,320
Speaker 4: because to me, there's where the gold is when they

1266
01:12:10,320 --> 01:12:13,920
Speaker 4: start freestyling and they move their body in a way

1267
01:12:14,000 --> 01:12:17,559
Speaker 4: no one else moves. They dance with such joy on

1268
01:12:17,640 --> 01:12:21,360
Speaker 4: their faces. You know, we look for that, and that's

1269
01:12:21,400 --> 01:12:24,960
Speaker 4: what really makes a great dancer, when you can just

1270
01:12:25,120 --> 01:12:28,360
Speaker 4: tell their love of dance, but also they've worked and

1271
01:12:28,479 --> 01:12:31,080
Speaker 4: found the things in their body that's so unique and

1272
01:12:31,160 --> 01:12:34,000
Speaker 4: that they're going to inspire me when I'm in the

1273
01:12:34,080 --> 01:12:34,759
Speaker 4: room working.

1274
01:12:34,960 --> 01:12:40,640
Speaker 3: You know, for me, your best gift is de escalating

1275
01:12:41,320 --> 01:12:46,200
Speaker 3: any potential disasters.

1276
01:12:46,240 --> 01:12:48,720
Speaker 2: And the way that I've seen you.

1277
01:12:50,200 --> 01:12:53,559
Speaker 3: Literally with like I'm telling you my stomach, was it

1278
01:12:53,680 --> 01:12:58,800
Speaker 3: not because I'm waiting for this fight to set off?

1279
01:12:59,000 --> 01:13:02,360
Speaker 3: And you know, because a lot of my questions in

1280
01:13:02,600 --> 01:13:05,439
Speaker 3: our group chat was like, Yo, what happens when blah

1281
01:13:05,439 --> 01:13:08,880
Speaker 3: blah blah s he's blah blah blah blah. And you

1282
01:13:08,920 --> 01:13:11,519
Speaker 3: were like, Okay, don't worry, mirror, I'm gonna bring out.

1283
01:13:11,400 --> 01:13:13,640
Speaker 2: Coach Coach Robinson.

1284
01:13:14,120 --> 01:13:17,920
Speaker 3: And so what what is your You've always seemed like

1285
01:13:17,960 --> 01:13:20,639
Speaker 3: a zen person to me, but you you are extra

1286
01:13:20,760 --> 01:13:24,200
Speaker 3: zen in the last four years that I've seen you,

1287
01:13:24,479 --> 01:13:26,000
Speaker 3: So yes, what is your more?

1288
01:13:26,160 --> 01:13:27,360
Speaker 2: What's your morning routine?

1289
01:13:27,920 --> 01:13:30,600
Speaker 3: How did you get to this zen place where you

1290
01:13:30,640 --> 01:13:34,320
Speaker 3: can handle a renasce you were handling renaissance and hip

1291
01:13:34,320 --> 01:13:36,160
Speaker 3: hop fifty at the same time.

1292
01:13:39,200 --> 01:13:41,320
Speaker 2: And this is coming from a guy that has.

1293
01:13:41,240 --> 01:13:46,840
Speaker 3: Ten jobs making meditation an editor movie right now, So like,

1294
01:13:48,200 --> 01:13:48,560
Speaker 3: what is it?

1295
01:13:48,600 --> 01:13:50,200
Speaker 2: What is your secret?

1296
01:13:51,680 --> 01:13:55,720
Speaker 4: I think I've always been a pretty calm person. You know,

1297
01:13:56,439 --> 01:13:59,120
Speaker 4: when I wake up in the morning, sometimes I do

1298
01:13:59,200 --> 01:14:03,280
Speaker 4: this tea serum as a meditation. Sometimes I do that.

1299
01:14:03,920 --> 01:14:08,719
Speaker 4: I mean, living in Ohi, I live down a road

1300
01:14:09,000 --> 01:14:13,639
Speaker 4: where there's no other houses and there's no power lines

1301
01:14:13,720 --> 01:14:17,519
Speaker 4: and there's no neighbors, and so I get to wake

1302
01:14:17,640 --> 01:14:20,519
Speaker 4: up without like the home and noise of the city.

1303
01:14:20,880 --> 01:14:24,960
Speaker 4: And definitely moving to Ohi, I've kind of re wired

1304
01:14:25,200 --> 01:14:32,280
Speaker 4: my nervous system to just I There's there's places that

1305
01:14:32,360 --> 01:14:36,000
Speaker 4: I go and holidays that I take where I remember

1306
01:14:36,360 --> 01:14:39,280
Speaker 4: that that piece that I find there, and I just

1307
01:14:39,360 --> 01:14:42,479
Speaker 4: kind of like take it and and so I release

1308
01:14:42,600 --> 01:14:48,839
Speaker 4: little peace like that I've captured. And in those moments,

1309
01:14:48,920 --> 01:14:53,200
Speaker 4: it's because I've seen it so many times. Everything is

1310
01:14:53,479 --> 01:14:57,240
Speaker 4: gonna work out. It's just the process. And everyone has

1311
01:14:57,280 --> 01:14:59,160
Speaker 4: a process of how they get to point A to

1312
01:14:59,320 --> 01:15:03,760
Speaker 4: point B. Really everyone, you know, it's like Shakira's processes

1313
01:15:03,840 --> 01:15:08,320
Speaker 4: like like this, and the Kanye's processes like you know,

1314
01:15:09,200 --> 01:15:11,880
Speaker 4: you know like that, and some people's process is just

1315
01:15:11,960 --> 01:15:15,040
Speaker 4: a little easier and you're like, okay, but it's like

1316
01:15:15,320 --> 01:15:19,840
Speaker 4: knowing there is a goal and that finish line what

1317
01:15:19,960 --> 01:15:22,719
Speaker 4: we're trying to achieve. And I always kind of try

1318
01:15:22,760 --> 01:15:24,960
Speaker 4: and make too, like what am I try and achieve here?

1319
01:15:25,120 --> 01:15:27,840
Speaker 4: Like what's the goal? So that I always give myself

1320
01:15:27,880 --> 01:15:33,120
Speaker 4: like something to you know, to thrive to, you know,

1321
01:15:33,400 --> 01:15:40,720
Speaker 4: and achieve. That really helps me. And yeah, but I

1322
01:15:40,920 --> 01:15:44,439
Speaker 4: just I mean, it's all gonna work out. And the

1323
01:15:44,880 --> 01:15:48,600
Speaker 4: beauty about even you know, doing live TV and stuff.

1324
01:15:49,120 --> 01:15:53,040
Speaker 4: I just love the unexpected and what could happen. I

1325
01:15:53,080 --> 01:15:57,200
Speaker 4: don't love an artist dropping out, you know, an hour

1326
01:15:58,000 --> 01:16:00,960
Speaker 4: performance and the show. No, I do not like that.

1327
01:16:01,000 --> 01:16:05,879
Speaker 4: I think it's highly disrespectful to their peers and everything.

1328
01:16:06,000 --> 01:16:08,800
Speaker 4: But you know, I've seen it all with hip hop,

1329
01:16:08,840 --> 01:16:11,920
Speaker 4: and you know, we accept that hip hop is is

1330
01:16:12,120 --> 01:16:16,160
Speaker 4: unique and and I just know how to deal with

1331
01:16:16,240 --> 01:16:20,200
Speaker 4: all the temperatures of the attitudes and stuff. I'm like,

1332
01:16:20,320 --> 01:16:23,519
Speaker 4: somebody in the room has to be calm about it.

1333
01:16:23,600 --> 01:16:26,639
Speaker 7: And so that's why I classroom scene was like perfection.

1334
01:16:27,160 --> 01:16:28,280
Speaker 7: That's why I was just perfection.

1335
01:16:28,400 --> 01:16:34,479
Speaker 5: It was organized, beautiful, chaos yeah, you're showing me I

1336
01:16:34,520 --> 01:16:35,120
Speaker 5: was talking about.

1337
01:16:35,800 --> 01:16:37,000
Speaker 2: I was like, wait, what classrooms?

1338
01:16:39,760 --> 01:16:42,640
Speaker 4: I mean, that was really that classroom scene. I'm like,

1339
01:16:42,920 --> 01:16:48,400
Speaker 4: that's my you know that, that's my tribe. And so

1340
01:16:49,080 --> 01:16:51,680
Speaker 4: I wanted to see them as much as possible, and

1341
01:16:51,720 --> 01:16:54,320
Speaker 4: I didn't want to do the traditional like you come

1342
01:16:54,360 --> 01:16:56,600
Speaker 4: out your song, you go away, you come out like

1343
01:16:56,720 --> 01:16:59,760
Speaker 4: let's support each other and and you know a lot

1344
01:16:59,840 --> 01:17:01,840
Speaker 4: of I do a lot of work on myself as

1345
01:17:01,880 --> 01:17:06,400
Speaker 4: well a mirror, and it just in that work on myself,

1346
01:17:06,479 --> 01:17:09,639
Speaker 4: I'm able to bring you know, that zen and peace

1347
01:17:09,760 --> 01:17:13,519
Speaker 4: and all that to the performances. I mean, I love

1348
01:17:13,680 --> 01:17:16,680
Speaker 4: Rick Rubin's book The Creative Act. Did you listen to

1349
01:17:16,720 --> 01:17:17,080
Speaker 4: that one?

1350
01:17:17,800 --> 01:17:19,280
Speaker 2: Yeah? I got it.

1351
01:17:19,280 --> 01:17:22,360
Speaker 4: It's so amazing. I find myself I listen to a

1352
01:17:22,360 --> 01:17:24,479
Speaker 4: lot of audio books because I have that hour and

1353
01:17:24,520 --> 01:17:27,400
Speaker 4: a half drive, But I find myself kind of going

1354
01:17:27,520 --> 01:17:30,519
Speaker 4: back to that book quite as if I don't have

1355
01:17:30,560 --> 01:17:32,800
Speaker 4: anything to listen to. He's just he just drops some

1356
01:17:32,960 --> 01:17:38,519
Speaker 4: gems about where how the creative comes about and how

1357
01:17:38,560 --> 01:17:42,120
Speaker 4: you find it and all the things. And so you know,

1358
01:17:43,120 --> 01:17:45,759
Speaker 4: I listened to a lot of books that actually helped

1359
01:17:45,800 --> 01:17:49,040
Speaker 4: me in how I communicate with people. Too.

1360
01:17:49,880 --> 01:17:51,479
Speaker 2: I can learn from that. Look.

1361
01:17:52,000 --> 01:17:55,400
Speaker 3: I started with the question, and I guess you gave

1362
01:17:55,439 --> 01:17:56,160
Speaker 3: me the answer.

1363
01:17:56,760 --> 01:17:58,240
Speaker 2: And I'm glad you care.

1364
01:17:59,360 --> 01:18:05,160
Speaker 3: Yeah, because you you have such a thankless, highly stressful,

1365
01:18:06,439 --> 01:18:09,880
Speaker 3: a very risky job where you have to be a

1366
01:18:09,920 --> 01:18:17,280
Speaker 3: people person and manage expectations and egos and not now

1367
01:18:17,360 --> 01:18:20,960
Speaker 3: but right now, like you have walked through the fire

1368
01:18:21,040 --> 01:18:21,559
Speaker 3: man and.

1369
01:18:23,479 --> 01:18:24,800
Speaker 2: More and more power to you know.

1370
01:18:24,800 --> 01:18:28,600
Speaker 3: I'm glad we finally have this conversation.

1371
01:18:28,800 --> 01:18:31,160
Speaker 2: Yeah, do we ask everything about that? We go to

1372
01:18:31,160 --> 01:18:34,479
Speaker 2: talk about the director directorial debut that's coming. What can

1373
01:18:34,520 --> 01:18:35,320
Speaker 2: you share about it?

1374
01:18:35,439 --> 01:18:39,120
Speaker 4: Yes, Oh, well, it's a film and universal. You know,

1375
01:18:39,280 --> 01:18:42,800
Speaker 4: it's still my deal is done, but you know it's

1376
01:18:42,840 --> 01:18:45,760
Speaker 4: going through its little rewrites and this and that. But

1377
01:18:45,920 --> 01:18:51,400
Speaker 4: that'll be my first feature film and I'm ready. That's

1378
01:18:51,439 --> 01:18:56,320
Speaker 4: the hopefully the next step for my career. And still producing.

1379
01:18:56,439 --> 01:18:58,800
Speaker 4: I actually, you know, Jesse and them got me into

1380
01:18:58,840 --> 01:19:01,280
Speaker 4: this producing world and executive producing.

1381
01:19:00,960 --> 01:19:02,879
Speaker 2: And I love it.

1382
01:19:03,320 --> 01:19:11,479
Speaker 5: Yes, Mom and Dad, Yes, tell us a couple of

1383
01:19:11,560 --> 01:19:14,320
Speaker 5: projects we should look out for that you executive produce.

1384
01:19:14,880 --> 01:19:17,679
Speaker 4: Oh well, I was one of the executive producers along

1385
01:19:17,680 --> 01:19:20,840
Speaker 4: with the Mirror for Hip Hop fifty. I've produced the

1386
01:19:20,880 --> 01:19:25,519
Speaker 4: Grammys before with them, I produced this taking and taking

1387
01:19:25,560 --> 01:19:30,880
Speaker 4: the stage, the Obama performance that it was a while back.

1388
01:19:30,960 --> 01:19:34,639
Speaker 4: And so I'm enjoying it and I'm stepping more into

1389
01:19:34,720 --> 01:19:37,160
Speaker 4: it and I think more and more opportunities. But you know,

1390
01:19:37,479 --> 01:19:39,400
Speaker 4: I want to do my story. I want to do

1391
01:19:39,439 --> 01:19:43,080
Speaker 4: my life like I'm the new thing. It's like everyone was.

1392
01:19:43,040 --> 01:19:44,400
Speaker 7: Thinking you was too young. I didn't know I was.

1393
01:19:44,439 --> 01:19:46,439
Speaker 7: It was interesting because I was thinking story, but I

1394
01:19:46,479 --> 01:19:47,200
Speaker 7: was like, she's so young.

1395
01:19:47,680 --> 01:19:50,439
Speaker 4: I haven't done the story yet, and I think it's

1396
01:19:50,479 --> 01:19:54,360
Speaker 4: like someone needs to do the I grew up in

1397
01:19:54,400 --> 01:19:57,639
Speaker 4: the clubs, clubs with my classroom. That's why I learned,

1398
01:19:57,680 --> 01:20:01,200
Speaker 4: like all that the story of hip hop dance.

1399
01:20:01,800 --> 01:20:04,200
Speaker 3: He's gotta we gotta find you a movie producer that

1400
01:20:04,240 --> 01:20:05,639
Speaker 3: can actually make that happen.

1401
01:20:05,880 --> 01:20:08,240
Speaker 2: Yeah, somebody out here.

1402
01:20:10,840 --> 01:20:14,120
Speaker 5: He's got to add to Honey out there. Honey was

1403
01:20:14,160 --> 01:20:14,800
Speaker 5: the last one.

1404
01:20:14,960 --> 01:20:19,880
Speaker 2: I'm just saying, make it happen. Fatima, thank you so

1405
01:20:20,080 --> 01:20:22,360
Speaker 2: much for joining us.

1406
01:20:22,439 --> 01:20:26,920
Speaker 3: And and I'm not even like acting like it's good

1407
01:20:26,920 --> 01:20:30,040
Speaker 3: to see someone that works harder than me, Like i

1408
01:20:30,040 --> 01:20:33,479
Speaker 3: feel like I'm lazy compared to to you.

1409
01:20:33,600 --> 01:20:37,120
Speaker 5: So she she knows how to relax though too looks yes,

1410
01:20:37,400 --> 01:20:38,559
Speaker 5: she knows how to do that.

1411
01:20:38,960 --> 01:20:42,360
Speaker 2: I don't know what that is anyway.

1412
01:20:42,840 --> 01:20:45,639
Speaker 3: Thank you very much on behalf of a Sugar Steven

1413
01:20:46,640 --> 01:20:53,640
Speaker 3: New Bill brand New Billon You Steve and like you,

1414
01:20:55,360 --> 01:20:59,040
Speaker 3: and of course our guest Fatima Robinson is Quest Love,

1415
01:20:59,120 --> 01:21:01,480
Speaker 3: quest Love Supreme and we'll see you on the next GOGRAMD.

1416
01:21:01,520 --> 01:21:06,559
Speaker 2: Thank y'all, This is Sugar Steve.

1417
01:21:06,720 --> 01:21:10,040
Speaker 6: Thank you for listening to Questlove Supreme. This podcast is

1418
01:21:10,080 --> 01:21:12,759
Speaker 6: hosted by a Mere Quest Love Thompson, Liah Saint Clair,

1419
01:21:12,840 --> 01:21:17,240
Speaker 6: Fonte Coleman, Sugar Steve Mandel, and unpaid Bill Sherman. The

1420
01:21:17,320 --> 01:21:20,000
Speaker 6: executive producers are a Mere Quest Love Thompson, Sean g

1421
01:21:20,200 --> 01:21:24,439
Speaker 6: and Brian Calhoun. Produced by Britney Benjamin, Jake Pain and

1422
01:21:24,520 --> 01:21:30,040
Speaker 6: Liah Saint Clair, Edited by Alex Conroy. Produced for iHeart

1423
01:21:30,040 --> 01:21:30,800
Speaker 6: by Noel Brown.

1424
01:21:33,120 --> 01:21:40,439
Speaker 1: We'st Love Supreme is a production of iHeart Radio. For

1425
01:21:40,560 --> 01:21:45,120
Speaker 1: more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1426
01:21:45,200 --> 01:21:47,240
Speaker 1: or wherever you listen to your favorite shows.