WEBVTT - Questlove Supreme: Fatima Robinson

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<v Speaker 1>Quest Love Supreme is a production of iHeartRadio.

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<v Speaker 2>Ladies and gentlemen. Welcome to West Love Supreme.

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<v Speaker 3>Your host, Quest Love and with Me is the award

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<v Speaker 3>winning team inst of all the teams.

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<v Speaker 2>How else it going?

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<v Speaker 4>Like you?

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<v Speaker 2>You look awfully glowy tod that.

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<v Speaker 5>Oh yeah, I'm on I'm on the new fancy camera

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<v Speaker 5>excuse so I'm feeling I might be feeling myself quite

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<v Speaker 5>a little bit.

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<v Speaker 2>Yeah.

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<v Speaker 3>I was about to say, you got that Lenny Kravitz

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<v Speaker 3>on the show, A little bit about yourself today?

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<v Speaker 2>What is it?

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<v Speaker 5>I knew Fatima was gonna come on here looking correct,

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<v Speaker 5>so I had to make sure I was, you know,

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<v Speaker 5>far with my sense?

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<v Speaker 2>Okay? And what are you wearing this evening, Steve?

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<v Speaker 6>I'm wearing pretty much the same thing as Fatima the time,

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<v Speaker 6>but you have to.

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<v Speaker 4>Take it off the shoulders, oh God, like the surface

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<v Speaker 4>of the shoulder.

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<v Speaker 2>Thanks for tim yea.

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<v Speaker 3>By the way, Steve, my older family members you can

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<v Speaker 3>tell they're older because of what they told me.

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<v Speaker 2>They was like, Yo, how come that boy always smokes? Reefer?

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<v Speaker 2>Wait what was your response?

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<v Speaker 4>No?

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<v Speaker 2>I was laughing at.

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<v Speaker 7>Them because I was like, you didn't tell was good? Once?

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<v Speaker 3>Some Yeah, I was like, wait to hear about me.

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<v Speaker 3>Good to see you in your uh your old spot, Bill.

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<v Speaker 8>Yep, I'm back in the studio. I'm I'm wearing Stitch fixed.

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<v Speaker 8>Thank you very much, little proud from stitch Ficks. I

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<v Speaker 8>don't look like Fatima, but that's okay.

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<v Speaker 4>Uh.

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<v Speaker 2>I'm good.

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<v Speaker 8>I'm happy to be home.

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<v Speaker 2>I was waiting for how you doing. I'm great, you.

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<v Speaker 7>Know, happy anniversary? And Mirror have you anniversary?

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<v Speaker 5>You and Fante and all the okay players have you anniversary?

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<v Speaker 3>That's right, big twenty five. We are twenty five years old.

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<v Speaker 3>Font Tikolo, okay, you got your try sweater on? I

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<v Speaker 3>see yeah, man, yeah, I have to for the tribe. Man,

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<v Speaker 3>we in the present sorority tonight.

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<v Speaker 2>Right, I see? So, speaking of which, ladies and gentlemen.

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<v Speaker 3>Similar to the LL cool J episode in which I

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<v Speaker 3>admit it that maybe I purposely slowed down the pursuit

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<v Speaker 3>of real camaraderie because I knew I wanted my first

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<v Speaker 3>real conversation to be on this platform, you know, And

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<v Speaker 3>that's just not for self serving purposes. I just I

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<v Speaker 3>know that the first month and a half of a

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<v Speaker 3>friendship with me with a fellow industry, peer person is

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<v Speaker 3>kind of going a result to a lot of weird,

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<v Speaker 3>nerdy questions, and I've been told it's rather annoying. So

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<v Speaker 3>that's why this platform exists, and today our guest is

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<v Speaker 3>no exception to that.

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<v Speaker 2>I will say that there's.

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<v Speaker 3>Literally no human being in this industry that I personally

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<v Speaker 3>am curious about the path of their.

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<v Speaker 2>Journey from soup to nuts that they've taken. Tactically.

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<v Speaker 3>Every iconic video worth its grain of salt that has

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<v Speaker 3>been on MTV or BT or you know, now YouTube

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<v Speaker 3>is how we get it has either been you know,

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<v Speaker 3>blessed by her presence. If we're telling back in the

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<v Speaker 3>day later with her expertise in choreography. Later as she

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<v Speaker 3>pivots into directing not to mention any wild moment that

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<v Speaker 3>we've seen with dancing, nine times out of ten you're

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<v Speaker 3>either watching her personal blueprint or I'm almost certain that

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<v Speaker 3>her disciples have you know, have carried the baton.

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<v Speaker 2>I would be remiss if I didn't say.

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<v Speaker 3>That a lot of the praise and the credit that

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<v Speaker 3>I've personally been getting for the Hip Hop fifty celebration,

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<v Speaker 3>things that happened, that the Grammys, and that happened again

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<v Speaker 3>with the special in December. I'm telling you right now,

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<v Speaker 3>our guest today was show enough the anchor or a

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<v Speaker 3>lot of that, Like I got the glory of just like, hey,

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<v Speaker 3>this song and that song and call this guy up

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<v Speaker 3>and clear that sample.

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<v Speaker 2>But in terms of just like dealing with the headaches

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<v Speaker 2>not only.

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<v Speaker 3>As a creator and running her own squad, but you know,

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<v Speaker 3>she damn near had to be a life coach just

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<v Speaker 3>to keep certain group members from corn at each other's throats,

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<v Speaker 3>because you got to understand, like, you know, a lot

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<v Speaker 3>of these group members broke up. You know, most groups

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<v Speaker 3>don't last forty years. So I have so many questions

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<v Speaker 3>to ask our guest today. Please welcome to quest of

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<v Speaker 3>Supreme Fatima Robinson.

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<v Speaker 9>Finally, Oh yes, exactly, all right, I'm gonna ask you

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<v Speaker 9>the question now without giving it all away.

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<v Speaker 2>Yes, I've been kind of open on this platform.

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<v Speaker 3>You know, I mean, nothing I say winds up being

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<v Speaker 3>headlines in any of the blocking sphere whatever. So we're

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<v Speaker 3>even though we're award winning, like we're not gotcha journalism.

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<v Speaker 3>But I've talked about how stressful these situations can be,

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<v Speaker 3>and I've only had to deal with two of them,

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<v Speaker 3>which you know, of course the Hip Hop fifty things,

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<v Speaker 3>But you, on the other hand, have to deal with

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<v Speaker 3>you know. I meant, Lord knows how many Super Bowl

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<v Speaker 3>halftimes you've been involved in every award show that we've seen,

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<v Speaker 3>and walking away from Hip Hop fifty, in which I

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<v Speaker 3>will say that watching it on television, I said to

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<v Speaker 3>myself like, oh.

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<v Speaker 2>But being there that night, it's intense. There was look,

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<v Speaker 2>I'm about full transparency.

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<v Speaker 3>I personally was sort of a block away from depression

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<v Speaker 3>really well, because the thing was, it was like I

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<v Speaker 3>vowed to never subject myself to that level of stress

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<v Speaker 3>ever again in this lifetime. The first time doing the

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<v Speaker 3>fifteen minute Grammy thing, when I landed it in New York,

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<v Speaker 3>I lost a tooth fell out. I went straight to

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<v Speaker 3>the dentist, and part of my resistance to coming back

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<v Speaker 3>to it for a two hour version was no, like,

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<v Speaker 3>why would I ever want to do that to myself?

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<v Speaker 3>But the thing is is that I only have to

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<v Speaker 3>experience that twice. I'm almost certain you have to deal

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<v Speaker 3>with that eight to nine times a year. Yeah, Ward

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<v Speaker 3>show every So my first question to you why even bother, like,

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<v Speaker 3>why why do you do this?

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<v Speaker 4>Why my gosh, no, it's the best. I love finding

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<v Speaker 4>the solution to the problem. I get off on that.

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<v Speaker 4>So because I get off on that, I'm like, bring

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<v Speaker 4>it to me, Like I love when it's like a

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<v Speaker 4>fire and I'm like, oh, put that fire out, fire

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<v Speaker 4>another fire, put it out, put it out. I love it.

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<v Speaker 4>I live for that.

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<v Speaker 3>I was going to say, And I've shared the story

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<v Speaker 3>about us having an emergency some six minutes oh yeah,

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<v Speaker 3>six minutes before we're live on the air and everything's

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<v Speaker 3>falling apart, and I looked at you and you just

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<v Speaker 3>you did the zen thing that I've never seen before,

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<v Speaker 3>and I was just like, I gotta know what Fatima

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<v Speaker 3>is doing in her life because I was having a

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<v Speaker 3>pan even after it was over. I had a minor

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<v Speaker 3>panic attack at the end of the first Grammys thing.

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<v Speaker 2>Because I was unaware that Uzzi came on and saved us.

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<v Speaker 4>Yeah, so well he didn't, Yeah he.

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<v Speaker 3>That was I mean not he put a nice cherry

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<v Speaker 3>at the end of the But you really.

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<v Speaker 4>Fought for that moment to happen, which was really great,

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<v Speaker 4>And you know the other moments I had ever experienced

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<v Speaker 4>something like that, someone dropping out on live TV while

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<v Speaker 4>we were actually in the moment of it that was

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<v Speaker 4>new to me. But at a certain point it just

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<v Speaker 4>with hip hop, nothing is surprising. And I have to

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<v Speaker 4>tell a lot of these executives, like, you know, they'll be,

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<v Speaker 4>oh my god, this is happening, and this is happening,

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<v Speaker 4>and I'm like, it's hip hop. It's gonna be okay,

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<v Speaker 4>just give it a moment. We're gonna figure it out,

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<v Speaker 4>you know. And it's just I grew up with hip hop.

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<v Speaker 4>It's what I know. It's how I've been trained, and

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<v Speaker 4>you know, we always figure it out.

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<v Speaker 5>Can I just ask out on a number sense? We're

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<v Speaker 5>talking about how many artists and how many dancers for

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<v Speaker 5>the Hip Hop fifty fifth the Grammy.

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<v Speaker 2>I only had to deal with the artists. She has

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<v Speaker 2>to deal with the artists and the dancers.

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<v Speaker 4>That's why I'm asking artists, dancers, managers, wardrobe, lighting, production design.

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<v Speaker 4>I gotta answer all the questions.

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<v Speaker 7>Oh so that's hundreds of people, Okay, yeah, Yeah.

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<v Speaker 2>Started at the beginning. Where are you from? Where were

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<v Speaker 2>you born?

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<v Speaker 4>I was born in Little Rock, Arkansas, and I moved

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<v Speaker 4>to LA when I was five years old. Oh wow,

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<v Speaker 4>yeah wow, Little Rock, Arkansas. And every summer I go

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<v Speaker 4>back to Little Rock and be with my family there.

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<v Speaker 7>What part of LA did you move to?

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<v Speaker 4>I lived everywhere we first landed in Compton. I lived

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<v Speaker 4>in Inglewood, in Harthorn and El Segondo and San Pedro,

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<v Speaker 4>and I lived all over the place in La.

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<v Speaker 2>See, I thought you straight up Brooklyn.

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<v Speaker 4>Everybody. Everybody thinks I'm from New York, but no, and

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<v Speaker 4>I really not. Until like five years ago, I really

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<v Speaker 4>rode for LA. But now I just ride for California

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<v Speaker 4>because I love Ohi and I'm just out of city.

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<v Speaker 2>Can you sell me on that?

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<v Speaker 3>Because a lot of my friends are moving to Ohi

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<v Speaker 3>and I want to know what's up there before.

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<v Speaker 7>It's light over there? Is that what you're about to say?

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<v Speaker 7>That's what it looks like.

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<v Speaker 4>I was going to take you guys out to look

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<v Speaker 4>at the mountains, and I was checking to see if

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<v Speaker 4>the sunset, But the clouds are really low right now,

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<v Speaker 4>they're covering the mountains. It's beautiful here, and it's just

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<v Speaker 4>a wonderful war text of good energy.

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<v Speaker 5>You know.

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<v Speaker 4>It's called the Valley of the Moon, and the moon

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<v Speaker 4>hits really beautiful here. It's not that far from La

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<v Speaker 4>only an hour and a half, but it's in nature

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<v Speaker 4>and it's just gorgeous.

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<v Speaker 2>See.

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<v Speaker 3>My only concern is that as a person who insisted

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<v Speaker 3>on getting on the first flight, and most of my

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<v Speaker 3>flights are.

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<v Speaker 2>Five am flights.

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<v Speaker 3>Yeah, and that basically means that I would have to

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<v Speaker 3>leave your house at like one in the morning just

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<v Speaker 3>to get the Lax by three.

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<v Speaker 7>Is that your airport?

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<v Speaker 2>That's not right?

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<v Speaker 4>Well, there's Santa Barber Airport, but there's not as many

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<v Speaker 4>flights out, a lot of more connections, you know, so

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<v Speaker 4>it's easier to just go out of.

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<v Speaker 7>Lax sacrifice the peace.

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<v Speaker 4>We in the peace time of life.

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<v Speaker 2>All right, you're selling me on it. Yeah.

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<v Speaker 3>A lot of my friends just up and left New York,

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<v Speaker 3>LA and they all went to OHI, And I'm like,

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<v Speaker 3>what the hell is that OHI that I don't know about?

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<v Speaker 2>Is it like more like a hippie commune or no?

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<v Speaker 4>I mean there were a lot of hippies that came

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<v Speaker 4>here back in the day. It's really changing over there's

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<v Speaker 4>really great restaurants and stuff. It's just you know, you

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<v Speaker 4>it's it's just being in the country. But there's also

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<v Speaker 4>really amazing people here. So you have really great dinner

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<v Speaker 4>parties at friends' houses and you know, you can you know,

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<v Speaker 4>see horses walking down the street and go on hikes,

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<v Speaker 4>and it's just a better quality of life, you know.

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<v Speaker 3>I would like to know if you can remember this, like,

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<v Speaker 3>what is the first creative thing that you remember putting together?

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<v Speaker 4>The first creative thing I remember putting together. It would

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<v Speaker 4>probably be I have two younger sisters, and so when

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<v Speaker 4>my mom would have guests over, we were the entertainment.

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<v Speaker 4>So I would put together dance moves on my sisters.

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<v Speaker 4>And that was probably the first creative because I would

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<v Speaker 4>you know, I would dress us and we would put

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<v Speaker 4>towels on our head because I thought I was Darsel

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<v Speaker 4>from Solid.

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<v Speaker 2>Gold Away day.

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<v Speaker 4>You couldn't tell me nothing, you know, so we get

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<v Speaker 4>in her heels and we were the you know, the

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<v Speaker 4>whole performance. And that when I did Dream Girls, it

0:12:39.920 --> 0:12:43.200
<v Speaker 4>was such a trip because I felt like I was

0:12:43.280 --> 0:12:45.280
<v Speaker 4>doing the poses that I used to do with my

0:12:45.320 --> 0:12:46.520
<v Speaker 4>two younger sisters.

0:12:47.200 --> 0:12:49.360
<v Speaker 5>Yoh, that's so interesting. You just gave me a whole

0:12:49.920 --> 0:12:54.160
<v Speaker 5>memory of like little Girls. We used to choreograph things

0:12:54.240 --> 0:12:58.280
<v Speaker 5>on the playground, like I remember steps doing things to

0:12:58.320 --> 0:13:01.280
<v Speaker 5>like Lisa Lisa and colch Jam and that was like

0:13:01.360 --> 0:13:03.600
<v Speaker 5>the thing that just hit me with a memory.

0:13:03.640 --> 0:13:07.560
<v Speaker 4>That's yeah, totally that that was it.

0:13:07.880 --> 0:13:10.720
<v Speaker 3>This this is the third time that someone's randomly dropped

0:13:10.760 --> 0:13:12.800
<v Speaker 3>Darcel Wayne's name.

0:13:13.760 --> 0:13:15.079
<v Speaker 2>You gotta find this woman.

0:13:15.120 --> 0:13:17.400
<v Speaker 4>Because I'm in contact with her.

0:13:17.880 --> 0:13:19.200
<v Speaker 7>What of course you are?

0:13:20.160 --> 0:13:21.400
<v Speaker 5>Oh, I can't wait to get to this list of

0:13:21.480 --> 0:13:22.760
<v Speaker 5>dancers she's still in contact with.

0:13:22.880 --> 0:13:23.640
<v Speaker 2>Yes, I know that.

0:13:23.800 --> 0:13:27.000
<v Speaker 3>You know, we we hold Sheryl's song of Soul train

0:13:27.120 --> 0:13:30.880
<v Speaker 3>up in high honor, but you know we we also

0:13:31.000 --> 0:13:35.360
<v Speaker 3>had Darcel Wayne too, And she doesn't get enough props

0:13:35.360 --> 0:13:38.040
<v Speaker 3>because she definitely carried all of solid gold on her

0:13:38.120 --> 0:13:39.600
<v Speaker 3>back for a number of years.

0:13:40.080 --> 0:13:44.040
<v Speaker 2>Yes, they even got a second black dancer, so they.

0:13:43.920 --> 0:13:48.720
<v Speaker 4>Actually created the in sag they created the principal dancer

0:13:48.800 --> 0:13:53.280
<v Speaker 4>because of her. Oh, and principal dancers get paid different

0:13:53.320 --> 0:13:57.600
<v Speaker 4>than the and so because she was so amazing and

0:13:57.640 --> 0:14:01.040
<v Speaker 4>such an individual, and they kept giving her solo, they said,

0:14:01.080 --> 0:14:03.400
<v Speaker 4>we have to figure this out, and she's she created

0:14:03.480 --> 0:14:04.440
<v Speaker 4>the principal dancer.

0:14:05.679 --> 0:14:09.880
<v Speaker 3>Yeah, not knowing that you're from California, I want to

0:14:09.920 --> 0:14:13.200
<v Speaker 3>know what your life and dance was before you became

0:14:13.320 --> 0:14:17.360
<v Speaker 3>a professional dancer. So yeah, you basically just walk us through,

0:14:18.559 --> 0:14:22.000
<v Speaker 3>like where would you hang in California, Like, were you

0:14:22.040 --> 0:14:23.280
<v Speaker 3>an Uncle Jam person?

0:14:23.400 --> 0:14:24.280
<v Speaker 2>Where you like?

0:14:24.600 --> 0:14:28.000
<v Speaker 4>Definitely I was too young for Uncle Jam's army, but

0:14:28.080 --> 0:14:31.840
<v Speaker 4>I listened to all that Egyptian lover and all of that.

0:14:33.160 --> 0:14:37.880
<v Speaker 4>I would go to, you know, at every high school

0:14:37.880 --> 0:14:40.320
<v Speaker 4>they had dance competition, so I would enter the dance

0:14:40.360 --> 0:14:43.640
<v Speaker 4>competitions and win there. But what really did it for

0:14:43.720 --> 0:14:47.720
<v Speaker 4>me is I graduated high school at sixteen and I

0:14:47.760 --> 0:14:51.040
<v Speaker 4>started going to this club Paradise twenty four where they

0:14:51.040 --> 0:14:56.520
<v Speaker 4>would have dance contests and one year, girls from who

0:14:56.640 --> 0:14:58.880
<v Speaker 4>danced for BBD straight Ahead they won. It was a

0:14:58.920 --> 0:15:02.360
<v Speaker 4>five thousand dollars damce, so everybody would enter the next

0:15:02.440 --> 0:15:08.600
<v Speaker 4>year it was it was they were called gt I

0:15:08.720 --> 0:15:11.520
<v Speaker 4>at the time, and that was far side. Later on

0:15:12.800 --> 0:15:16.720
<v Speaker 4>we won, We won my dance tree called a Feminine Touch.

0:15:16.920 --> 0:15:19.600
<v Speaker 4>We won that year and that's where John John Singleton

0:15:19.680 --> 0:15:22.760
<v Speaker 4>saw us when that year and came backstage and was like,

0:15:23.080 --> 0:15:24.920
<v Speaker 4>I'm gonna put you all in my movie. I'm gonna

0:15:24.960 --> 0:15:27.520
<v Speaker 4>put you all the movie. We were like, yeah, whatever,

0:15:28.200 --> 0:15:30.320
<v Speaker 4>and he ended up putting us in Boys in the

0:15:30.320 --> 0:15:31.479
<v Speaker 4>Hood Is Extras.

0:15:31.840 --> 0:15:32.320
<v Speaker 2>What scene?

0:15:32.320 --> 0:15:32.680
<v Speaker 4>What was it?

0:15:33.280 --> 0:15:33.680
<v Speaker 2>What's scene?

0:15:34.200 --> 0:15:35.160
<v Speaker 4>The barbecue scene?

0:15:35.640 --> 0:15:41.360
<v Speaker 3>Ah, Okay, yeah, okay, So the relationship with John obviously

0:15:41.480 --> 0:15:44.960
<v Speaker 3>let you remember the time later on correct, correct.

0:15:44.600 --> 0:15:47.600
<v Speaker 4>When he kept asking for choreographer. He kept coming up

0:15:47.640 --> 0:15:50.320
<v Speaker 4>with my name and he's like, I know that girl

0:15:51.000 --> 0:15:52.640
<v Speaker 4>and call for that.

0:15:52.960 --> 0:15:56.160
<v Speaker 10>Yeah, And had you ever choreographed anything prior to that?

0:15:56.680 --> 0:15:56.800
<v Speaker 2>Oh?

0:15:56.880 --> 0:15:59.240
<v Speaker 4>Yeah. So when back in the day, when you hooked

0:15:59.280 --> 0:16:03.000
<v Speaker 4>up with the hip hop artists, you naturally just made

0:16:03.080 --> 0:16:05.960
<v Speaker 4>up their steps. We didn't know that there was an

0:16:06.000 --> 0:16:10.640
<v Speaker 4>actual job called choreographer. We you got with Big Daddy Kane,

0:16:10.720 --> 0:16:13.480
<v Speaker 4>like I used to dance with him with Scooba and scrap,

0:16:14.000 --> 0:16:16.680
<v Speaker 4>you know, we and we would we would kind of

0:16:17.560 --> 0:16:19.840
<v Speaker 4>we had the market locked down because it was Big

0:16:19.960 --> 0:16:22.000
<v Speaker 4>Les and Josie in New York and it was me

0:16:22.080 --> 0:16:24.160
<v Speaker 4>and Titi in l A. And so they would call

0:16:24.240 --> 0:16:26.520
<v Speaker 4>us be like, oh heavy d you looking for dancers.

0:16:26.720 --> 0:16:29.680
<v Speaker 4>So we would fly out on fake tickets and then

0:16:29.840 --> 0:16:35.520
<v Speaker 4>land in New York and then dance for he Fake

0:16:35.560 --> 0:16:39.280
<v Speaker 4>tickets is when you didn't have to have and show

0:16:39.320 --> 0:16:42.800
<v Speaker 4>an ID and you can just be you can that,

0:16:42.920 --> 0:16:47.840
<v Speaker 4>said John Moses, and you give them the ticket. Oh,

0:16:47.920 --> 0:16:49.520
<v Speaker 4>back in the day, you guys didn't know that.

0:16:50.840 --> 0:16:58.120
<v Speaker 3>Forget Huey Lewis once told us about just like sneaking

0:16:58.160 --> 0:17:01.000
<v Speaker 3>on the plane and like, well.

0:17:00.880 --> 0:17:03.360
<v Speaker 5>I mean everything was hand written back then too.

0:17:03.200 --> 0:17:06.679
<v Speaker 4>So everything. Yeah, we you know somebody there was a

0:17:06.720 --> 0:17:09.320
<v Speaker 4>guy who had a credit card scheme and we'd pay him,

0:17:09.400 --> 0:17:11.320
<v Speaker 4>you know, one hundred dollars, he'd get us a ticket.

0:17:11.400 --> 0:17:14.280
<v Speaker 4>It was just a whole It was the wild wild

0:17:14.320 --> 0:17:17.120
<v Speaker 4>West back in the day. But we would land there

0:17:17.160 --> 0:17:19.800
<v Speaker 4>and then we'd dance for heavy and then we call them,

0:17:20.040 --> 0:17:22.359
<v Speaker 4>you know, hey, so and so is looking for dancers

0:17:22.359 --> 0:17:24.240
<v Speaker 4>in LA, and then they do the same thing and

0:17:25.040 --> 0:17:26.159
<v Speaker 4>come to La.

0:17:26.280 --> 0:17:28.840
<v Speaker 5>So wait, so let me was this no conversation You

0:17:28.880 --> 0:17:30.960
<v Speaker 5>said you guys didn't know you were doing choreography, but

0:17:31.040 --> 0:17:33.840
<v Speaker 5>like even for like the R and B videos with

0:17:34.240 --> 0:17:37.320
<v Speaker 5>some of those choreographers, there was no conversation about in

0:17:37.359 --> 0:17:39.080
<v Speaker 5>between the No.

0:17:39.560 --> 0:17:44.439
<v Speaker 4>They would literally I remember, like you know, when I

0:17:44.520 --> 0:17:46.879
<v Speaker 4>danced the big Daddy came, we'd stay at his house

0:17:46.920 --> 0:17:50.080
<v Speaker 4>and the bodyguard would come and come on. It's rehearsal.

0:17:50.200 --> 0:17:53.840
<v Speaker 4>We rehearsed his basement and you know, and we'd make

0:17:53.920 --> 0:17:57.719
<v Speaker 4>up the routine and we'd go on stage and you know,

0:17:57.960 --> 0:18:00.480
<v Speaker 4>we would do our number and we were happy, and

0:18:00.520 --> 0:18:04.359
<v Speaker 4>no one questioned where the dance was supposed to come from,

0:18:04.440 --> 0:18:07.240
<v Speaker 4>because there was no place for it to come from

0:18:07.520 --> 0:18:09.760
<v Speaker 4>other than us, Because there was no unless you were

0:18:09.760 --> 0:18:11.680
<v Speaker 4>in the clubs. You didn't know how to dance hip

0:18:11.720 --> 0:18:17.280
<v Speaker 4>hop unless you were watching MTV or video jukebox and

0:18:17.320 --> 0:18:20.160
<v Speaker 4>recording the steps and like learning at home. Like there

0:18:20.240 --> 0:18:23.760
<v Speaker 4>was no place there was. All the choreographers were jazz.

0:18:23.880 --> 0:18:28.520
<v Speaker 4>That was Michael Peters and Debbie. They weren't mess That's

0:18:28.520 --> 0:18:33.640
<v Speaker 4>what I was wondering. They were not messing with us. Okay, No,

0:18:33.760 --> 0:18:36.920
<v Speaker 4>it was just two different worlds. So by the time

0:18:37.000 --> 0:18:40.280
<v Speaker 4>I got to Michael, he was so excited about this

0:18:40.600 --> 0:18:43.639
<v Speaker 4>hip hop dance he had been seeing and hearing about.

0:18:43.960 --> 0:18:45.960
<v Speaker 4>He was like, I want to learn it all.

0:18:47.280 --> 0:18:47.800
<v Speaker 2>So dope.

0:18:49.000 --> 0:18:52.679
<v Speaker 3>I sort of correlated with video directors. I mean, I

0:18:52.680 --> 0:18:57.680
<v Speaker 3>would say that maybe Lionel Martin was the kind of

0:18:57.720 --> 0:19:02.240
<v Speaker 3>the first generation of hip hop directors that would feature

0:19:02.359 --> 0:19:05.440
<v Speaker 3>dancers and whatnot. So like we take it for granted

0:19:05.480 --> 0:19:08.640
<v Speaker 3>now where I mean, it's not that I see dancers

0:19:08.680 --> 0:19:12.639
<v Speaker 3>all that much in this environment, but who, in your

0:19:12.680 --> 0:19:18.600
<v Speaker 3>opinion like really kickstarted the concept of like, okay, I

0:19:18.680 --> 0:19:21.959
<v Speaker 3>need two dances in order to make my package complete, Like,

0:19:22.280 --> 0:19:25.080
<v Speaker 3>as far as you're concerned, Yeah, I don't.

0:19:24.960 --> 0:19:29.320
<v Speaker 4>Know who who first did it. You know, it was dance.

0:19:29.480 --> 0:19:33.080
<v Speaker 4>Was just part of the culture, like everybody had two

0:19:33.160 --> 0:19:35.840
<v Speaker 4>dances with them. And let me tell you my Lionel

0:19:35.880 --> 0:19:39.520
<v Speaker 4>Martin story. I auditioned for him and it was here

0:19:39.520 --> 0:19:46.800
<v Speaker 4>in La and it was at his hotel. And when

0:19:46.840 --> 0:19:50.879
<v Speaker 4>I got there, there were two girls there. One's mother

0:19:51.000 --> 0:19:56.040
<v Speaker 4>had talked her and to being the choreographer, and you know,

0:19:56.280 --> 0:20:02.880
<v Speaker 4>he explained the treatment to us. He then went, she said, well,

0:20:03.080 --> 0:20:05.240
<v Speaker 4>let me see you guys dance, and one girl kind

0:20:05.280 --> 0:20:08.040
<v Speaker 4>of complained about the carpet and stuff, and another girl

0:20:08.080 --> 0:20:12.359
<v Speaker 4>complained about the tape. Player was like, sped the song

0:20:12.480 --> 0:20:14.639
<v Speaker 4>up and she said, oh, it won't be so fast.

0:20:14.760 --> 0:20:17.760
<v Speaker 4>And I got up and just bust whatever I knew,

0:20:18.480 --> 0:20:21.159
<v Speaker 4>and he stopped the music and he pointed at me

0:20:21.440 --> 0:20:24.639
<v Speaker 4>and said, you're going to be the choreographer and you

0:20:24.680 --> 0:20:27.040
<v Speaker 4>two are going to be the dances because you adapted

0:20:27.080 --> 0:20:31.080
<v Speaker 4>to the situation the best. And I was like okay.

0:20:31.600 --> 0:20:35.439
<v Speaker 4>And literally Rosie Perez had to tell me how she poked.

0:20:35.560 --> 0:20:38.520
<v Speaker 4>She called me out the blue and was like, you

0:20:38.720 --> 0:20:41.320
<v Speaker 4>have to call your sofa a choreographer and you have

0:20:41.400 --> 0:20:45.280
<v Speaker 4>to charge for that, and I'm just like ah, So

0:20:45.320 --> 0:20:47.040
<v Speaker 4>I went and looked up how to spell the words.

0:20:47.040 --> 0:20:48.159
<v Speaker 4>I didn't even know how to spell it.

0:20:50.040 --> 0:20:52.080
<v Speaker 7>Did she helped me figure out how much to charge.

0:20:53.280 --> 0:20:54.800
<v Speaker 4>Well, then I got an agent to help me.

0:20:58.280 --> 0:21:04.600
<v Speaker 3>How hard was it to navigate toxicity treatment in the

0:21:04.720 --> 0:21:09.680
<v Speaker 3>late eighties and early shit, if I really want to

0:21:09.760 --> 0:21:13.720
<v Speaker 3>keep it a butt, maybe up until until twenty nineteen,

0:21:14.040 --> 0:21:19.240
<v Speaker 3>now twenty three, yesterday, yesterday, tomorrow and tomorrow.

0:21:19.320 --> 0:21:23.120
<v Speaker 4>Okay, yeah, I mean it was tougher when I was younger.

0:21:24.359 --> 0:21:27.199
<v Speaker 4>You know, I got my shirt snatched off from a

0:21:27.320 --> 0:21:30.320
<v Speaker 4>rapper while I was on tour with Big Daddy Kane

0:21:30.400 --> 0:21:32.880
<v Speaker 4>and jay Z at the time was his hype man,

0:21:32.960 --> 0:21:35.560
<v Speaker 4>and he had to calm me down and you know,

0:21:35.920 --> 0:21:41.520
<v Speaker 4>make sure I was okay. So it was wild, but

0:21:42.440 --> 0:21:45.760
<v Speaker 4>most guys, you know, most guys were respectful. I think

0:21:45.800 --> 0:21:50.119
<v Speaker 4>when alcohol too much, alcohol and drugs kind of got involved,

0:21:50.160 --> 0:21:52.400
<v Speaker 4>and that's where you just had to watch the room.

0:21:52.880 --> 0:21:53.040
<v Speaker 3>You know.

0:21:53.080 --> 0:21:55.880
<v Speaker 4>It was all fun and games until you know, someone

0:21:56.400 --> 0:21:58.199
<v Speaker 4>drank a little too much and then you had to

0:21:58.240 --> 0:22:00.680
<v Speaker 4>be like, okay, I think it's time to exit. I

0:22:00.760 --> 0:22:04.119
<v Speaker 4>think I'm you know, so it was really just about

0:22:04.240 --> 0:22:09.080
<v Speaker 4>being aware of your surroundings and not just not doing

0:22:09.200 --> 0:22:09.840
<v Speaker 4>dumb stuff.

0:22:10.000 --> 0:22:13.359
<v Speaker 7>You know, how does that translate as the mother hitting it?

0:22:13.400 --> 0:22:16.199
<v Speaker 5>Because as a choreographer from the outside, it always it

0:22:16.240 --> 0:22:18.639
<v Speaker 5>also feels like you're somewhat of a mother hen to

0:22:18.720 --> 0:22:22.560
<v Speaker 5>all the other dancers. So how do you deal with

0:22:23.280 --> 0:22:25.960
<v Speaker 5>I guess I want say, mentoring them in that way

0:22:26.680 --> 0:22:28.680
<v Speaker 5>or protecting them in that way.

0:22:29.440 --> 0:22:30.760
<v Speaker 3>I mean, the only way to describe it is like

0:22:30.760 --> 0:22:35.640
<v Speaker 3>a Beth hand partisan, like someone a figurehead to make

0:22:35.680 --> 0:22:36.919
<v Speaker 3>sure that you guys are okay.

0:22:38.320 --> 0:22:43.720
<v Speaker 4>No, no, we've been looking out for ourselves, looking out

0:22:43.760 --> 0:22:44.520
<v Speaker 4>for ourselves.

0:22:44.760 --> 0:22:46.399
<v Speaker 5>Did you have to become that person? That's what I

0:22:46.440 --> 0:22:48.119
<v Speaker 5>was asking, like, did you have to become that person

0:22:48.160 --> 0:22:50.359
<v Speaker 5>for dancers at a certain point in your career?

0:22:50.840 --> 0:22:54.119
<v Speaker 4>Yeah? I think I think we all look out for

0:22:54.240 --> 0:22:59.600
<v Speaker 4>each other. And yeah, I mean there's times where the

0:22:59.720 --> 0:23:01.840
<v Speaker 4>dance just do need someone to speak up for them.

0:23:01.920 --> 0:23:04.840
<v Speaker 4>So I do you know, I often do that, But

0:23:05.240 --> 0:23:08.240
<v Speaker 4>I think now it's such a well doiled machine. I

0:23:08.359 --> 0:23:11.679
<v Speaker 4>kind of already have preempting the things that could happen,

0:23:11.800 --> 0:23:14.879
<v Speaker 4>and I you know, we we have writers, we have

0:23:15.080 --> 0:23:17.800
<v Speaker 4>things that you know, to make sure that they're comfortable

0:23:17.840 --> 0:23:21.840
<v Speaker 4>in the room and all that kind of stuff. So yeah,

0:23:21.880 --> 0:23:24.960
<v Speaker 4>but in the beginning, in the beginning, in the beginning

0:23:25.000 --> 0:23:29.880
<v Speaker 4>of it, you know, we didn't have nothing. We were

0:23:30.119 --> 0:23:31.480
<v Speaker 4>just figuring it out.

0:23:31.720 --> 0:23:34.280
<v Speaker 2>Uh, were dancers unionized back then?

0:23:35.240 --> 0:23:37.879
<v Speaker 4>No, they were. You were in SAG, but you had

0:23:37.920 --> 0:23:40.600
<v Speaker 4>to do a certain amount of TV work to get

0:23:40.600 --> 0:23:45.080
<v Speaker 4>into SAG, and eventually we all did because of great

0:23:45.119 --> 0:23:48.119
<v Speaker 4>shows like the Arsenio Hall Show and in Living Color

0:23:48.280 --> 0:23:50.800
<v Speaker 4>and stuff like that, we would, you know, we would

0:23:50.800 --> 0:23:55.080
<v Speaker 4>get put into the union, which was awesome. Yeah, but

0:23:55.280 --> 0:23:58.200
<v Speaker 4>see music videos and stuff, none of those were unionized,

0:23:58.280 --> 0:24:01.520
<v Speaker 4>so that was like a slide scale of a rate.

0:24:01.800 --> 0:24:04.800
<v Speaker 4>You only got that union work whenever you did TV

0:24:05.040 --> 0:24:07.320
<v Speaker 4>and things like that. But if you were on tour,

0:24:07.800 --> 0:24:09.720
<v Speaker 4>you know, it was kind of you were fighting for

0:24:09.760 --> 0:24:11.280
<v Speaker 4>what your weekly rate was going to be.

0:24:11.920 --> 0:24:12.320
<v Speaker 2>I see.

0:24:13.040 --> 0:24:16.800
<v Speaker 3>So again, like if you're with a I don't know

0:24:16.840 --> 0:24:21.360
<v Speaker 3>who in the late eighties and early nineties was Jankie

0:24:21.359 --> 0:24:23.600
<v Speaker 3>in terms of like did we get our checks yet?

0:24:23.600 --> 0:24:25.280
<v Speaker 2>Did we get Yeah?

0:24:25.760 --> 0:24:26.080
<v Speaker 4>Brown?

0:24:28.359 --> 0:24:29.840
<v Speaker 2>What this sort I'm asking though?

0:24:30.160 --> 0:24:32.080
<v Speaker 3>Would you have to deal with Lou Silas or would

0:24:32.080 --> 0:24:34.280
<v Speaker 3>you have to deal with Bobby Brown or his managers

0:24:34.359 --> 0:24:35.000
<v Speaker 3>or yeah.

0:24:34.840 --> 0:24:37.679
<v Speaker 4>We would have to deal with managers. I'd have to

0:24:37.680 --> 0:24:40.480
<v Speaker 4>deal with I remember we he flew us out because

0:24:40.720 --> 0:24:44.000
<v Speaker 4>he was really territorial with his dancers. And so we

0:24:44.000 --> 0:24:46.359
<v Speaker 4>were in Atlanta and we were living in a wing

0:24:46.440 --> 0:24:49.280
<v Speaker 4>of the house and you know, he was dating Whitney

0:24:49.359 --> 0:24:51.240
<v Speaker 4>and I just remember like he gave us a three

0:24:51.320 --> 0:24:53.520
<v Speaker 4>hundred z to drive. So it went off to all

0:24:53.560 --> 0:24:56.719
<v Speaker 4>the clubs and it was great. But I was like,

0:24:56.960 --> 0:24:59.600
<v Speaker 4>you know, cool, we'll come down, but we have bills,

0:24:59.600 --> 0:25:01.680
<v Speaker 4>so you have the pair like our carnos and stuff.

0:25:01.720 --> 0:25:04.160
<v Speaker 4>And he's like yeah, yeah, yeah. And so the cards

0:25:04.240 --> 0:25:06.239
<v Speaker 4>came around and he didn't pay, and I was like,

0:25:06.560 --> 0:25:10.040
<v Speaker 4>we gotta go packed up those bags. And I was like,

0:25:10.080 --> 0:25:11.760
<v Speaker 4>there's a certain mixed a lot of video we got

0:25:11.760 --> 0:25:17.159
<v Speaker 4>audition for late we did missed. We missed the audition,

0:25:17.280 --> 0:25:18.720
<v Speaker 4>but it was baby got back.

0:25:19.119 --> 0:25:29.399
<v Speaker 11>What no, yeah, yeah, but yeah, it's it's all kinds

0:25:29.440 --> 0:25:30.000
<v Speaker 11>of stories.

0:25:30.080 --> 0:25:30.280
<v Speaker 4>Man.

0:25:30.800 --> 0:25:33.280
<v Speaker 5>I'm sorry, quick dancer check in. You said Bobby Brown,

0:25:33.600 --> 0:25:34.080
<v Speaker 5>remember that.

0:25:35.760 --> 0:25:37.680
<v Speaker 7>They had the faid.

0:25:40.520 --> 0:25:44.280
<v Speaker 12>So that was that was That's who that way, that

0:25:44.359 --> 0:25:46.600
<v Speaker 12>was who that was there was his dances.

0:25:47.840 --> 0:25:49.840
<v Speaker 7>I was just curious about I was.

0:25:49.840 --> 0:25:51.440
<v Speaker 2>Gonna say with the Bobby album.

0:25:51.480 --> 0:25:54.119
<v Speaker 3>Though, you guys said that Soultray in episode where it

0:25:54.200 --> 0:25:55.200
<v Speaker 3>was like twenty.

0:25:55.200 --> 0:25:57.600
<v Speaker 2>On stage, correct, I'm one of those.

0:25:59.480 --> 0:26:03.199
<v Speaker 3>I just I can't even imagine the time period in

0:26:03.240 --> 0:26:07.080
<v Speaker 3>which no one thought about budget or everything was just

0:26:08.480 --> 0:26:11.840
<v Speaker 3>load and giant and big and all those things.

0:26:12.160 --> 0:26:14.480
<v Speaker 2>Yeah, well, what would.

0:26:14.280 --> 0:26:18.280
<v Speaker 3>You what would you say is your first real professional

0:26:18.320 --> 0:26:21.399
<v Speaker 3>for ray into music videos?

0:26:21.760 --> 0:26:24.520
<v Speaker 4>Definitely remember the time. I mean I was twenty one

0:26:24.560 --> 0:26:25.399
<v Speaker 4>when I did that.

0:26:25.280 --> 0:26:27.359
<v Speaker 2>One, So that was your first video?

0:26:28.000 --> 0:26:31.560
<v Speaker 4>No, that was my first, Like that was what put

0:26:31.680 --> 0:26:35.080
<v Speaker 4>my name into a lot of people's mouths. You know,

0:26:35.560 --> 0:26:39.119
<v Speaker 4>I was choreographing beforehand, but when I did that, because

0:26:39.160 --> 0:26:42.160
<v Speaker 4>that was a event that people sat down with their

0:26:42.240 --> 0:26:47.440
<v Speaker 4>families and watched together, you know, it was definitely something

0:26:47.520 --> 0:26:51.199
<v Speaker 4>that was I didn't even I don't think going into it.

0:26:51.280 --> 0:26:54.679
<v Speaker 4>I was so excited to work with Michael. I loved

0:26:54.760 --> 0:26:57.159
<v Speaker 4>him growing up. Our birthdays were the same day. I

0:26:57.160 --> 0:26:59.760
<v Speaker 4>wanted to send them flowers when his hair cut on fire,

0:27:00.240 --> 0:27:03.000
<v Speaker 4>begging my mom please. You know, I was in love

0:27:03.040 --> 0:27:05.679
<v Speaker 4>with him like that, and so to do this video

0:27:05.960 --> 0:27:09.720
<v Speaker 4>was really I had to kind of, you know, grow

0:27:09.840 --> 0:27:13.240
<v Speaker 4>up really quickly in that moment and but it was

0:27:13.280 --> 0:27:17.119
<v Speaker 4>really when it came out, was just like wow. But

0:27:17.440 --> 0:27:19.680
<v Speaker 4>the wild part about it is I had to go

0:27:19.800 --> 0:27:22.840
<v Speaker 4>back to dancing, you know, for the Mary J. Bliges

0:27:22.880 --> 0:27:25.199
<v Speaker 4>and the R and B and hip hop artists that

0:27:25.240 --> 0:27:27.720
<v Speaker 4>I knew of the past. I could have like had

0:27:27.800 --> 0:27:30.240
<v Speaker 4>ego and then like, oh, I'm at the top, where

0:27:30.320 --> 0:27:33.000
<v Speaker 4>do I go now? And I went right back to

0:27:33.240 --> 0:27:33.720
<v Speaker 4>hip hop.

0:27:34.480 --> 0:27:37.000
<v Speaker 3>He described the whole process, like how long did it

0:27:37.040 --> 0:27:37.920
<v Speaker 3>take the phone call?

0:27:38.040 --> 0:27:41.359
<v Speaker 2>And how how did you map out what? What was

0:27:41.400 --> 0:27:41.879
<v Speaker 2>it going to be?

0:27:43.240 --> 0:27:47.000
<v Speaker 4>Well? John called me and you know, he was describing

0:27:47.040 --> 0:27:49.639
<v Speaker 4>the video and how it's going to be Egyptian and

0:27:49.680 --> 0:27:52.760
<v Speaker 4>he has a mom and Eddie Murphy and Magic Johnson

0:27:52.960 --> 0:27:56.600
<v Speaker 4>and I'm like hmmm, and he's going through the whole concept.

0:27:56.640 --> 0:28:00.560
<v Speaker 4>I'm like mm hmm, okay, wow, it sounds great. And

0:28:00.680 --> 0:28:02.680
<v Speaker 4>we go to get off the phone. I was like, wait, wait, wait,

0:28:02.760 --> 0:28:09.200
<v Speaker 4>who's the artist? And he says, I guess he thought

0:28:09.200 --> 0:28:11.720
<v Speaker 4>I read the trades or something or just happened, you know,

0:28:11.880 --> 0:28:14.639
<v Speaker 4>I knew, and he said it's Michael Jackson, and I

0:28:14.720 --> 0:28:17.520
<v Speaker 4>went okay, okay, and then I got off the phone.

0:28:17.520 --> 0:28:17.880
<v Speaker 7>I was like.

0:28:21.720 --> 0:28:23.640
<v Speaker 4>I was running around my house.

0:28:24.359 --> 0:28:25.800
<v Speaker 5>Now when he ran it down to you, did he

0:28:25.880 --> 0:28:27.280
<v Speaker 5>say that it was going to start with like the

0:28:27.320 --> 0:28:31.440
<v Speaker 5>recreation of the Coming to America situation? Because I really

0:28:31.440 --> 0:28:33.080
<v Speaker 5>want to know from the nitty to the gritty about

0:28:33.080 --> 0:28:34.320
<v Speaker 5>this video that was.

0:28:34.280 --> 0:28:36.640
<v Speaker 4>Already in there, and it's funny. I was cleaning out

0:28:36.720 --> 0:28:42.480
<v Speaker 4>my storage and it was scripted and it had storyboards

0:28:42.520 --> 0:28:46.120
<v Speaker 4>to it. You know, I have the original script of

0:28:46.160 --> 0:28:49.400
<v Speaker 4>the Remember the Time video that I kept all these years.

0:28:49.720 --> 0:28:51.760
<v Speaker 7>Did the John Singleton thing you see?

0:28:51.760 --> 0:28:55.720
<v Speaker 5>That would have been so dope to see? So okay, okay,

0:28:55.920 --> 0:28:58.280
<v Speaker 5>go Ahea'm sorry. I have major questions about remember that?

0:28:59.040 --> 0:29:01.640
<v Speaker 2>So, like how many days did you have to prepare?

0:29:02.600 --> 0:29:07.080
<v Speaker 3>Like how do you even figure out like what Egyptian

0:29:07.160 --> 0:29:08.000
<v Speaker 3>moves to do?

0:29:08.160 --> 0:29:09.320
<v Speaker 2>And the offer story.

0:29:09.600 --> 0:29:11.800
<v Speaker 4>Well, because at the time I had been going back

0:29:11.840 --> 0:29:13.880
<v Speaker 4>and forth working in New York, going to the clubs

0:29:13.880 --> 0:29:16.920
<v Speaker 4>in New York, clubs in La I really I loved

0:29:17.760 --> 0:29:21.000
<v Speaker 4>do to Stretch and Henry and like all those dancers,

0:29:21.000 --> 0:29:22.840
<v Speaker 4>and I knew I wanted them to be a part

0:29:22.880 --> 0:29:25.320
<v Speaker 4>of it because they brought a whole nother flavor to it.

0:29:26.200 --> 0:29:28.360
<v Speaker 4>And so you know, we had auditions.

0:29:28.440 --> 0:29:32.640
<v Speaker 2>By the way, they're from the Latin Quarter yes.

0:29:35.120 --> 0:29:38.560
<v Speaker 4>We had auditions and it was hundreds of dancers down

0:29:38.560 --> 0:29:41.120
<v Speaker 4>the street, and I just I couldn't believe it. I

0:29:41.120 --> 0:29:45.680
<v Speaker 4>had never been involved in something so big. It was

0:29:45.720 --> 0:29:48.080
<v Speaker 4>the first time I had hired so many dancers. I

0:29:48.080 --> 0:29:52.400
<v Speaker 4>think we hired fifty dancers, and you know, you do

0:29:52.480 --> 0:29:55.960
<v Speaker 4>the auditions from there, you whittle it down.

0:29:56.200 --> 0:29:57.200
<v Speaker 7>Hold on, let me pause you.

0:29:57.280 --> 0:30:00.000
<v Speaker 5>Right before you talked about the dancers, however, you made

0:30:00.280 --> 0:30:05.920
<v Speaker 5>sure that there were specific dancers in the building for sure.

0:30:06.200 --> 0:30:09.760
<v Speaker 4>Can you talk about it? Well, I definitely wanted all

0:30:09.800 --> 0:30:12.840
<v Speaker 4>the hip hop dancers who were doing things at the time,

0:30:13.080 --> 0:30:18.280
<v Speaker 4>you know, Josie and Leslie and Hitch, my dance partner,

0:30:18.480 --> 0:30:20.760
<v Speaker 4>and then some of the girls who danced for Bobby

0:30:20.960 --> 0:30:22.960
<v Speaker 4>was in there with us, and then Stretch brought his

0:30:23.040 --> 0:30:26.520
<v Speaker 4>whole crew with loose joints and all the all the

0:30:27.360 --> 0:30:30.000
<v Speaker 4>dancers you know, came because we wanted it to feel

0:30:30.040 --> 0:30:35.120
<v Speaker 4>authentic to our our vibe, you know, and we just

0:30:35.200 --> 0:30:39.520
<v Speaker 4>had fun. You know, Michael doesn't like to count when

0:30:39.560 --> 0:30:42.760
<v Speaker 4>you dance. He likes to emulate the beat. He brings

0:30:42.760 --> 0:30:46.480
<v Speaker 4>in this big speaker, so you really feel the music

0:30:46.560 --> 0:30:50.080
<v Speaker 4>in your chest and so you know, you instead of

0:30:50.160 --> 0:30:54.520
<v Speaker 4>counting like one, two, three, four, five and six seven.

0:30:54.840 --> 0:31:01.240
<v Speaker 4>You have to like you have to, you know, emulate

0:31:01.280 --> 0:31:05.800
<v Speaker 4>the beat. And I love that. And he really set

0:31:05.840 --> 0:31:08.320
<v Speaker 4>the tone for my professionalism.

0:31:08.840 --> 0:31:09.040
<v Speaker 5>You know.

0:31:09.720 --> 0:31:12.600
<v Speaker 4>He was just such a perfectionist, and you know we

0:31:12.600 --> 0:31:18.080
<v Speaker 4>were urgos. You know how virgos are guys, Michael Beyonce like,

0:31:18.480 --> 0:31:23.680
<v Speaker 4>we're all we're like perfectionist freaks. So it was wonderful.

0:31:29.080 --> 0:31:34.840
<v Speaker 3>I watched Michael work out with Casper and Jeffrey Daniels,

0:31:34.880 --> 0:31:38.600
<v Speaker 3>Casper and I forget the third person that's in that

0:31:39.640 --> 0:31:43.000
<v Speaker 3>that trilogy when they were working on the Bad Video,

0:31:43.080 --> 0:31:44.240
<v Speaker 3>Like they all worked together.

0:31:44.320 --> 0:31:45.560
<v Speaker 2>They were trying out ideas.

0:31:45.600 --> 0:31:48.080
<v Speaker 3>Mich was set up with the tripod and they were

0:31:48.200 --> 0:31:54.680
<v Speaker 3>just basically dance battle and piecemeal what was going to happen? Yeah, One,

0:31:54.880 --> 0:31:58.080
<v Speaker 3>how are you putting that together? Two, the dancers that

0:31:58.120 --> 0:32:01.840
<v Speaker 3>you're choosing, Like, if I'm assuming what I call the

0:32:01.880 --> 0:32:05.720
<v Speaker 3>five six, seven eighths, like anyone from like the Lester

0:32:05.760 --> 0:32:10.200
<v Speaker 3>Wilson School of dancing, the previous Michael generation, Lester Wilson,

0:32:10.560 --> 0:32:16.240
<v Speaker 3>Michael Peters, like professional Broadway choreographers. If you're dealing with

0:32:16.960 --> 0:32:20.520
<v Speaker 3>dancers who are more in street oriented, how does the

0:32:20.560 --> 0:32:24.600
<v Speaker 3>memory work because even when I'm giving songs, like I

0:32:24.600 --> 0:32:27.200
<v Speaker 3>gotta listen to that shit like at least twenty times before,

0:32:27.880 --> 0:32:29.200
<v Speaker 3>Like are you videotaping it?

0:32:29.840 --> 0:32:32.360
<v Speaker 2>Yeah? Way, yeah.

0:32:32.400 --> 0:32:34.720
<v Speaker 4>We didn't really have that back in the day. No,

0:32:34.960 --> 0:32:39.800
<v Speaker 4>we we used to have. Gosh how many we may

0:32:39.840 --> 0:32:42.840
<v Speaker 4>have had, like a whole week of rehearsal with that,

0:32:42.920 --> 0:32:46.480
<v Speaker 4>whereas now I maybe get a week of rehearsal to

0:32:46.520 --> 0:32:50.120
<v Speaker 4>do a whole damn show, you know. Oh yeah, I know,

0:32:50.760 --> 0:32:54.880
<v Speaker 4>things move slower. Back then we were working with we

0:32:54.880 --> 0:32:57.280
<v Speaker 4>were working with cassette tapes. You have to rewind the

0:32:57.400 --> 0:32:59.280
<v Speaker 4>music play.

0:33:00.080 --> 0:33:00.200
<v Speaker 2>Know.

0:33:00.640 --> 0:33:07.120
<v Speaker 4>I laugh at dancers now because everything is so digital fast,

0:33:07.200 --> 0:33:11.000
<v Speaker 4>like you have to everything is quit like this instant,

0:33:11.640 --> 0:33:15.840
<v Speaker 4>and so it was just a different pace. And what

0:33:15.880 --> 0:33:18.800
<v Speaker 4>I loved is Michael was just down to learn, Like

0:33:18.880 --> 0:33:23.760
<v Speaker 4>he wasn't trying to like do what he's done in

0:33:23.800 --> 0:33:27.920
<v Speaker 4>the past. He wanted to get all of because he

0:33:27.960 --> 0:33:31.200
<v Speaker 4>couldn't go to clubs to see where this dance was

0:33:31.240 --> 0:33:37.800
<v Speaker 4>all being done. We turned the dance studio into a

0:33:38.160 --> 0:33:40.640
<v Speaker 4>club so that he can experience that. You know, we

0:33:40.680 --> 0:33:43.440
<v Speaker 4>put on other music and hang out and just have

0:33:43.600 --> 0:33:44.680
<v Speaker 4>fun and dance.

0:33:45.240 --> 0:33:48.360
<v Speaker 2>Well, y'all like dance, circle, battle and all that stuff, just.

0:33:48.320 --> 0:33:51.080
<v Speaker 4>Dance yet all of it. He loved it.

0:33:51.480 --> 0:33:54.320
<v Speaker 10>I wanted to ask for team, what your comment earlier about,

0:33:54.880 --> 0:33:59.080
<v Speaker 10>you know, how now everything moves faster. What effect do

0:33:59.160 --> 0:34:02.200
<v Speaker 10>you see like took and social media having on a dance.

0:34:03.840 --> 0:34:08.600
<v Speaker 4>I actually love it because it keeps dance alive. You know,

0:34:09.560 --> 0:34:13.320
<v Speaker 4>it used to be, you know, dance steps were getting

0:34:13.360 --> 0:34:16.400
<v Speaker 4>shared in the clubs, or dance steps were getting shared

0:34:16.440 --> 0:34:20.360
<v Speaker 4>at barbecues, you know, as we were younger. But now

0:34:20.440 --> 0:34:24.120
<v Speaker 4>I love that dance steps are getting shared on platforms

0:34:24.160 --> 0:34:27.400
<v Speaker 4>like TikTok. It's definitely easier for me in my life.

0:34:27.440 --> 0:34:31.200
<v Speaker 4>Like I can literally sit with my team and we

0:34:31.239 --> 0:34:35.120
<v Speaker 4>can laugh and learn all life. It is so much

0:34:35.200 --> 0:34:37.920
<v Speaker 4>fun to go through all the dances and what's happening

0:34:38.000 --> 0:34:40.359
<v Speaker 4>right now, what the kids are doing. Like the fact

0:34:40.440 --> 0:34:45.040
<v Speaker 4>that I have an insight to that through my phone

0:34:45.320 --> 0:34:48.200
<v Speaker 4>is so amazing. So I feel like it allows me

0:34:48.239 --> 0:34:51.200
<v Speaker 4>to stay current. No, and I love it.

0:34:51.640 --> 0:34:55.040
<v Speaker 10>Do you have any in your personal life free time?

0:34:55.200 --> 0:34:58.200
<v Speaker 10>Is there any particular style of dance that you like,

0:34:58.560 --> 0:35:03.120
<v Speaker 10>you know, if it's salsa or you know, anything like ballroom,

0:35:03.200 --> 0:35:04.160
<v Speaker 10>anything like that.

0:35:04.920 --> 0:35:10.080
<v Speaker 4>You know, I used to take different styles of dances

0:35:10.120 --> 0:35:14.720
<v Speaker 4>to go with my natural movement. Like for the Aliya video,

0:35:15.160 --> 0:35:19.200
<v Speaker 4>I took flamenco classes to go with that. I felt

0:35:19.280 --> 0:35:22.960
<v Speaker 4>like argue that somebody. I felt like Timberland's beats had

0:35:23.360 --> 0:35:27.239
<v Speaker 4>that flamenco sound to it. I did a tangle with

0:35:27.360 --> 0:35:38.040
<v Speaker 4>doctor Dre before. So I've used to take classes right right, So,

0:35:38.600 --> 0:35:43.560
<v Speaker 4>but now I'm not doing all that. I got assistance,

0:35:43.920 --> 0:35:46.719
<v Speaker 4>I got, you know, people I lean on for I'm

0:35:46.880 --> 0:35:50.880
<v Speaker 4>you know, it's like an athlete, Like my body is sore,

0:35:51.960 --> 0:35:55.400
<v Speaker 4>you know, I like, I'm just too stepping. I'm like,

0:35:55.960 --> 0:35:58.080
<v Speaker 4>I'm like, I'm telling people, I'm gonna do this once.

0:35:58.120 --> 0:35:59.160
<v Speaker 4>You better watch.

0:36:00.760 --> 0:36:01.360
<v Speaker 2>Two steps.

0:36:01.920 --> 0:36:04.359
<v Speaker 4>My sister's drill it and drill it and drilling. I'm

0:36:04.360 --> 0:36:08.600
<v Speaker 4>not doing all that. But every now and then I

0:36:08.640 --> 0:36:11.799
<v Speaker 4>get to go to clubs or especially if i'm if

0:36:11.840 --> 0:36:15.040
<v Speaker 4>I'm outside of l A, I definitely still love to

0:36:16.360 --> 0:36:20.080
<v Speaker 4>feel what's going on, what people are responding to musically,

0:36:20.280 --> 0:36:22.680
<v Speaker 4>and how they're moving in the clubs and stuff. So

0:36:22.960 --> 0:36:24.960
<v Speaker 4>I still go out every now and then just to

0:36:25.080 --> 0:36:26.440
<v Speaker 4>check it out.

0:36:26.719 --> 0:36:30.319
<v Speaker 3>Like once you jump into that pool and the only

0:36:30.760 --> 0:36:34.879
<v Speaker 3>compare it to is DJing like I'm now realizing that

0:36:35.000 --> 0:36:39.040
<v Speaker 3>I'm now three generations removed from the music that I'm

0:36:39.120 --> 0:36:44.040
<v Speaker 3>used to. So it's almost like now I'm just studying,

0:36:45.160 --> 0:36:47.960
<v Speaker 3>like I'm now the DJ I hate, where like I

0:36:48.000 --> 0:36:50.920
<v Speaker 3>will go to a night club and shazam everything and

0:36:51.080 --> 0:36:55.239
<v Speaker 3>study what the kids are listening to. That sort of thing.

0:36:55.640 --> 0:37:00.560
<v Speaker 3>For you, though, how are you able to know what's

0:37:00.600 --> 0:37:04.120
<v Speaker 3>ahead of the curve, Because I'm also certain that you're

0:37:04.160 --> 0:37:07.719
<v Speaker 3>dealing with looking in your rearview mirror at like, oh,

0:37:07.800 --> 0:37:10.440
<v Speaker 3>who's behind me? Like who might get that job or

0:37:11.239 --> 0:37:12.000
<v Speaker 3>that sort of thing.

0:37:12.560 --> 0:37:16.120
<v Speaker 4>Yeah, no, I'm not worried about what nobody else is doing.

0:37:16.160 --> 0:37:19.879
<v Speaker 4>And I actually train them and then they I train

0:37:19.960 --> 0:37:23.320
<v Speaker 4>them and let them go. And so all my proteges

0:37:23.360 --> 0:37:25.680
<v Speaker 4>are like, you know, AJ came from my camp, who

0:37:25.719 --> 0:37:29.640
<v Speaker 4>did usher? Charm came from my camp? Who did you know?

0:37:30.000 --> 0:37:33.759
<v Speaker 4>Does do on weekend? And all the folks and so

0:37:33.800 --> 0:37:37.040
<v Speaker 4>Sean Bankhead came up under me, and so it's it's

0:37:37.680 --> 0:37:40.200
<v Speaker 4>I love doing that, I love being a mentor and

0:37:40.239 --> 0:37:42.960
<v Speaker 4>all that and go. But really, for me, that's the

0:37:43.640 --> 0:37:46.879
<v Speaker 4>I think that a mirror is like you're tapped in

0:37:47.040 --> 0:37:50.360
<v Speaker 4>and you stay curious, and so am I you know,

0:37:50.480 --> 0:37:53.640
<v Speaker 4>I'm tapped in. I know when things are shifting, when

0:37:53.719 --> 0:37:57.399
<v Speaker 4>culture is shifting. When like I see it, I can

0:37:57.560 --> 0:37:59.799
<v Speaker 4>sniff it out, you know, and I'm like, ooh, what's that?

0:38:00.239 --> 0:38:03.239
<v Speaker 4>Oh what are they doing? You know? And so for

0:38:03.400 --> 0:38:08.720
<v Speaker 4>me even and I also I also hire specialty people

0:38:08.840 --> 0:38:11.440
<v Speaker 4>in that, Like I just did Burner Boys, so I

0:38:11.480 --> 0:38:14.640
<v Speaker 4>made sure they brought somebody in from Nigeria with them.

0:38:15.080 --> 0:38:17.840
<v Speaker 4>And then I brought this girl in from New York

0:38:17.880 --> 0:38:21.920
<v Speaker 4>who she's a young girl who's she's African American, but

0:38:22.200 --> 0:38:26.200
<v Speaker 4>she came in and just knew all the afrobeat dances.

0:38:26.239 --> 0:38:28.440
<v Speaker 4>So that was our warm up. Our warm up was

0:38:28.480 --> 0:38:31.719
<v Speaker 4>all the afrobeat steps and I let her lead the

0:38:31.800 --> 0:38:33.799
<v Speaker 4>warm up. And so really I kind of bring the

0:38:33.880 --> 0:38:37.200
<v Speaker 4>club to me. And then that way all the dancers

0:38:37.239 --> 0:38:40.000
<v Speaker 4>like show me what's new, and they, you know, keep me,

0:38:40.640 --> 0:38:41.800
<v Speaker 4>they keep me fresh.

0:38:42.120 --> 0:38:44.840
<v Speaker 5>When did you really become the fan of dance to

0:38:44.840 --> 0:38:48.000
<v Speaker 5>where you started exploring in your journey. I watched the

0:38:48.239 --> 0:38:50.560
<v Speaker 5>interview where you were talking about doing one of the

0:38:50.560 --> 0:38:53.160
<v Speaker 5>Black Eyed Peas videos and you look into the Indian

0:38:53.680 --> 0:38:56.560
<v Speaker 5>and Thai dance. But I'm curious because you mentioned that,

0:38:56.680 --> 0:38:59.080
<v Speaker 5>like you didn't study it and you just went to work.

0:38:59.320 --> 0:39:02.560
<v Speaker 5>So at some point you started opening your mind too.

0:39:03.160 --> 0:39:06.239
<v Speaker 4>Yeah. One thing that I wanted to do from the

0:39:06.360 --> 0:39:10.560
<v Speaker 4>very beginning is I went to an event. It's so funny,

0:39:10.640 --> 0:39:13.560
<v Speaker 4>this is so wild. I just gave mister Copeland an

0:39:13.600 --> 0:39:17.919
<v Speaker 4>award the other night, and when she came out into

0:39:17.960 --> 0:39:20.879
<v Speaker 4>the stage, she did a bow to me, and I

0:39:20.920 --> 0:39:25.439
<v Speaker 4>almost lost it because when I was younger, I would

0:39:25.480 --> 0:39:28.680
<v Speaker 4>go to events like that and people would introduce me

0:39:28.719 --> 0:39:31.000
<v Speaker 4>as a choreographer and someone would say, oh, where did

0:39:31.040 --> 0:39:33.399
<v Speaker 4>you Where did you study? And I'm like, oh, I'm

0:39:33.440 --> 0:39:35.839
<v Speaker 4>self taught. I'm a hip hop choreographer, and they're like oh,

0:39:36.920 --> 0:39:39.520
<v Speaker 4>and they walk away from me. And they just didn't

0:39:39.560 --> 0:39:42.520
<v Speaker 4>see hip hop as a true art form of dance.

0:39:42.960 --> 0:39:46.160
<v Speaker 4>And so I was on a mission of how that

0:39:46.360 --> 0:39:50.160
<v Speaker 4>was my goal, Like people were gonna appreciate hip hop

0:39:50.400 --> 0:39:54.640
<v Speaker 4>the same way they appreciate all these other dances styles

0:39:54.680 --> 0:39:58.480
<v Speaker 4>that have been here forever. Because once I the minute

0:39:58.480 --> 0:40:01.600
<v Speaker 4>I entered into the and minute I decided I was

0:40:01.640 --> 0:40:03.880
<v Speaker 4>going to be a choreographer, I started going to African

0:40:03.960 --> 0:40:07.200
<v Speaker 4>dance class and that's when I realized how close hip

0:40:07.239 --> 0:40:11.520
<v Speaker 4>hop was to our lineage of African dance that actually

0:40:11.640 --> 0:40:13.400
<v Speaker 4>we would do moves and I'm like, oh my god,

0:40:13.480 --> 0:40:16.040
<v Speaker 4>it's the same thing, but it had meaning to it

0:40:16.120 --> 0:40:22.680
<v Speaker 4>and all the things. So for me, exploring other styles

0:40:22.719 --> 0:40:26.800
<v Speaker 4>of dance, other styles of street dance to me as well,

0:40:27.640 --> 0:40:30.759
<v Speaker 4>just to mix with my version of street dance. And

0:40:30.800 --> 0:40:33.080
<v Speaker 4>one of the reasons too, why I'm a choreographer is

0:40:33.080 --> 0:40:37.560
<v Speaker 4>because I wasn't I'm self taught. I did not come

0:40:37.640 --> 0:40:40.000
<v Speaker 4>up trained, so it was harder for me to catch

0:40:40.040 --> 0:40:44.120
<v Speaker 4>on to routines. Tony Basil gave me my first audition

0:40:44.360 --> 0:40:48.560
<v Speaker 4>for Young MC when I was seventeen years old, and.

0:40:49.880 --> 0:40:51.680
<v Speaker 2>Yeah, was it bust the whole.

0:40:53.120 --> 0:40:56.640
<v Speaker 4>It was. I believe I was auditioning for the tour.

0:40:57.719 --> 0:41:00.120
<v Speaker 4>I did bust the move Yeah, but she was and

0:41:00.200 --> 0:41:04.400
<v Speaker 4>all the hip hop clubs back in the day strong

0:41:04.560 --> 0:41:11.160
<v Speaker 4>and so so I just really I wanted to venture

0:41:11.239 --> 0:41:14.120
<v Speaker 4>out and learn new things, like I took belly dancing

0:41:14.200 --> 0:41:17.320
<v Speaker 4>because hip hop is so you know, it's so hard

0:41:17.560 --> 0:41:21.600
<v Speaker 4>and you know and tough, and you know the movement.

0:41:21.719 --> 0:41:25.359
<v Speaker 4>I wanted to soften my movement up and learn how

0:41:25.400 --> 0:41:29.840
<v Speaker 4>to teach a female artist how to be pretty and soft.

0:41:29.840 --> 0:41:32.680
<v Speaker 4>So I took belly dancing classes where the arms and

0:41:32.719 --> 0:41:35.960
<v Speaker 4>the hands were so elegant and beautiful. You know, I

0:41:36.000 --> 0:41:39.840
<v Speaker 4>wanted to offset it with hip hop. So that was

0:41:39.960 --> 0:41:43.400
<v Speaker 4>just something that I decided to do because I wanted to,

0:41:44.080 --> 0:41:49.200
<v Speaker 4>you know, explore different ways of movement.

0:41:49.920 --> 0:41:54.120
<v Speaker 3>Were you able to form any sort of bonding with

0:41:55.200 --> 0:41:57.920
<v Speaker 3>like the Bill T. Joneses, or the Paul Kelly's, or

0:41:57.960 --> 0:42:02.280
<v Speaker 3>the Charlie Atkins or the Jameson like.

0:42:03.400 --> 0:42:06.319
<v Speaker 5>James When did they bow down and say you even

0:42:06.880 --> 0:42:08.719
<v Speaker 5>Jeffrey Holder, like Jeffree.

0:42:08.440 --> 0:42:11.200
<v Speaker 4>Older, Jeffree Holder.

0:42:10.880 --> 0:42:13.160
<v Speaker 7>Jeffree Holder, Were you ever?

0:42:14.160 --> 0:42:14.319
<v Speaker 4>No?

0:42:14.960 --> 0:42:17.040
<v Speaker 2>Is it hard to penetrate that that club?

0:42:17.880 --> 0:42:19.719
<v Speaker 4>It was a it was a club, and they were

0:42:19.760 --> 0:42:21.640
<v Speaker 4>not feeling they weren't thinking about me.

0:42:21.920 --> 0:42:23.800
<v Speaker 7>This is but you know, this is strange.

0:42:23.960 --> 0:42:26.520
<v Speaker 4>No, I was gonna say, I see Michael Peters driving

0:42:26.560 --> 0:42:27.360
<v Speaker 4>every now and then.

0:42:27.239 --> 0:42:32.520
<v Speaker 12>I'd be like, you're taking their jobs away from the

0:42:32.600 --> 0:42:34.960
<v Speaker 12>But did you know, like Michael Peters whole like hip

0:42:34.960 --> 0:42:39.360
<v Speaker 12>hop connection and then for sure in the whole Prodigy.

0:42:38.880 --> 0:42:42.399
<v Speaker 7>Thing and Ben Veren and the things, I didn't even

0:42:42.400 --> 0:42:44.840
<v Speaker 7>be Yeah, okay, So that's just it's just interesting that.

0:42:44.840 --> 0:42:46.680
<v Speaker 5>They didn't connect me, even with Debbie Allen in a

0:42:46.719 --> 0:42:49.239
<v Speaker 5>different world and Jasmine Gott and all the things you

0:42:49.239 --> 0:42:49.480
<v Speaker 5>would have.

0:42:49.600 --> 0:42:52.640
<v Speaker 4>Jasmine was a friend of mine, Jasmin connected with me,

0:42:53.000 --> 0:42:54.239
<v Speaker 4>Jasmine connected with me.

0:42:55.640 --> 0:43:03.480
<v Speaker 2>You directed that Try May video. That's try.

0:43:07.800 --> 0:43:11.759
<v Speaker 3>All right, We know you the smartest motherfucker filler cut

0:43:11.800 --> 0:43:14.760
<v Speaker 3>man that that was the one.

0:43:18.080 --> 0:43:21.359
<v Speaker 4>Let go. No. I was young, and it wasn't even

0:43:21.400 --> 0:43:24.080
<v Speaker 4>like I was taking their jobs. They just weren't in

0:43:24.120 --> 0:43:26.520
<v Speaker 4>the world of hip hop. I was going to jack

0:43:26.560 --> 0:43:30.200
<v Speaker 4>the rappers and and making a real with my There

0:43:30.280 --> 0:43:32.920
<v Speaker 4>was the host of this show called Putting on the Hits,

0:43:33.080 --> 0:43:37.239
<v Speaker 4>Yes back. He used to make reels for actors and

0:43:37.280 --> 0:43:39.240
<v Speaker 4>I found him and I had n't make a Corey

0:43:39.320 --> 0:43:42.400
<v Speaker 4>a Dancer reel for me. And I would go to

0:43:42.480 --> 0:43:45.040
<v Speaker 4>jack the rappers and hand it out to the executives

0:43:45.080 --> 0:43:47.879
<v Speaker 4>and stuff. These people weren't in this world at all.

0:43:48.000 --> 0:43:51.560
<v Speaker 4>They do They didn't know anything about.

0:43:51.239 --> 0:43:54.279
<v Speaker 5>So could you talk about then your relationship with Rosie then,

0:43:54.280 --> 0:43:55.359
<v Speaker 5>because you did mention her.

0:43:55.719 --> 0:44:00.840
<v Speaker 4>Yeah. So Rosie was right before me, and you know Rosie.

0:44:01.520 --> 0:44:07.040
<v Speaker 4>She before Paradise, there was a club funk what was

0:44:07.080 --> 0:44:11.480
<v Speaker 4>it called reggae funk or funky reggae some So that's

0:44:11.520 --> 0:44:14.880
<v Speaker 4>where Spike Lee saw her dancing in the club and

0:44:15.000 --> 0:44:18.640
<v Speaker 4>put her in you know, do the right thing. So

0:44:19.480 --> 0:44:21.520
<v Speaker 4>we kind of had a little bit of the same

0:44:21.640 --> 0:44:26.840
<v Speaker 4>journey in a way. And because she did in Living Color,

0:44:26.960 --> 0:44:29.920
<v Speaker 4>like she was on the posts of hip hop and

0:44:30.000 --> 0:44:33.040
<v Speaker 4>she was in it. So she was the one person

0:44:33.160 --> 0:44:36.040
<v Speaker 4>that would you know, call me out of the blue

0:44:36.160 --> 0:44:40.280
<v Speaker 4>or that person that I can you know, ask questions two.

0:44:41.000 --> 0:44:42.200
<v Speaker 4>So it was Rosie for me.

0:44:43.080 --> 0:44:45.200
<v Speaker 3>Have you ever been in this situation in which you're

0:44:45.320 --> 0:44:51.799
<v Speaker 3>finding out oh maybe maybe like an hour before that

0:44:51.960 --> 0:44:54.800
<v Speaker 3>your client might have two left feet?

0:44:56.400 --> 0:44:59.920
<v Speaker 4>No, you have rehearsals, So you find that out in rehearsal,

0:45:00.320 --> 0:45:02.439
<v Speaker 4>and then you just know how to build it all

0:45:02.480 --> 0:45:05.879
<v Speaker 4>around them. But what I do best is pull out

0:45:07.200 --> 0:45:09.759
<v Speaker 4>things that they just didn't even realize that they had

0:45:09.840 --> 0:45:16.240
<v Speaker 4>in them. And I I'm really good at designing things

0:45:16.280 --> 0:45:19.239
<v Speaker 4>around people. But some people don't you know, don't want

0:45:19.239 --> 0:45:21.920
<v Speaker 4>to dance and don't feel it, you know, And so

0:45:22.000 --> 0:45:25.239
<v Speaker 4>I don't push and make people dance. I kind of

0:45:25.640 --> 0:45:29.200
<v Speaker 4>I'm focused on the entire show and not like trying

0:45:29.200 --> 0:45:30.960
<v Speaker 4>to force you to do something you don't.

0:45:30.760 --> 0:45:34.399
<v Speaker 2>Want to do. All right, my last remember the time question?

0:45:34.480 --> 0:45:37.319
<v Speaker 3>Because I always wanted to know how much leeway does

0:45:37.320 --> 0:45:40.520
<v Speaker 3>the artist have to go freestyle because they also have

0:45:40.560 --> 0:45:42.040
<v Speaker 3>to be the artist and stand out front.

0:45:42.560 --> 0:45:44.799
<v Speaker 2>Yeah, And so you know, when.

0:45:44.719 --> 0:45:47.279
<v Speaker 3>I watch remember the time, I'll see him do it

0:45:47.280 --> 0:45:50.120
<v Speaker 3>for half a second, and then I'll see him going

0:45:50.120 --> 0:45:55.040
<v Speaker 3>to his regular Michael Jackson stick. And occasionally I remember

0:45:55.239 --> 0:45:58.799
<v Speaker 3>specifically that point it was like half a second way

0:45:59.200 --> 0:46:02.200
<v Speaker 3>Michael started doing the yeah, when he was doing like

0:46:02.200 --> 0:46:04.520
<v Speaker 3>the prep or something, and I was like, oh, he

0:46:04.600 --> 0:46:08.800
<v Speaker 3>knows modern dancing, because you know, again, like Michael Jackson

0:46:08.880 --> 0:46:10.799
<v Speaker 3>is such a unique dancer. All of his moves are

0:46:10.840 --> 0:46:14.480
<v Speaker 3>his own. Yeah, to be shocked that he knows how

0:46:14.480 --> 0:46:16.680
<v Speaker 3>to do the rebok or the prep or.

0:46:18.520 --> 0:46:21.120
<v Speaker 2>Him right, but he's there for half a second.

0:46:21.160 --> 0:46:23.399
<v Speaker 3>I always wanted to know, is it a thing where

0:46:23.400 --> 0:46:25.279
<v Speaker 3>you're just like, look, you stand in the center, do

0:46:25.320 --> 0:46:27.080
<v Speaker 3>what you do and we'll dance around you.

0:46:27.840 --> 0:46:29.319
<v Speaker 2>Or is he like, no, I want to do the

0:46:29.400 --> 0:46:30.719
<v Speaker 2>dances that you guys are doing.

0:46:31.440 --> 0:46:33.680
<v Speaker 4>Yeah. No, Michael wanted to do what we were doing,

0:46:33.840 --> 0:46:37.000
<v Speaker 4>so he was pretty fully choreographed. He had a moment

0:46:37.040 --> 0:46:38.880
<v Speaker 4>of we broke out into his thing, but he was

0:46:38.960 --> 0:46:41.680
<v Speaker 4>pretty choreographed the whole video.

0:46:43.000 --> 0:46:45.960
<v Speaker 3>You know, it's it's him. So how do you get

0:46:46.080 --> 0:46:48.480
<v Speaker 3>over just the inhale exhale.

0:46:49.920 --> 0:46:53.720
<v Speaker 4>He's normal because you just know you have a job

0:46:53.840 --> 0:46:56.840
<v Speaker 4>to do, and you know this is like a pivotal

0:46:56.880 --> 0:47:01.400
<v Speaker 4>point in your growth and in everything. You just put

0:47:01.440 --> 0:47:04.680
<v Speaker 4>all that aside, at least for me, that's what I did.

0:47:04.920 --> 0:47:07.000
<v Speaker 4>And you go in and you do the job you

0:47:07.040 --> 0:47:07.759
<v Speaker 4>were hired for.

0:47:08.360 --> 0:47:14.960
<v Speaker 3>You know, there's going to be a hell of a

0:47:15.040 --> 0:47:17.600
<v Speaker 3>pivot question that asked. But I have to know the

0:47:17.600 --> 0:47:20.840
<v Speaker 3>answer to this question. Tell me, how were you not

0:47:21.120 --> 0:47:23.400
<v Speaker 3>on airplane after Rock the Boat was finished?

0:47:24.280 --> 0:47:28.160
<v Speaker 4>That is a really good question because we were pretty

0:47:28.160 --> 0:47:33.120
<v Speaker 4>inseparable and I hung out with her a lot. It's

0:47:33.200 --> 0:47:37.760
<v Speaker 4>funny there was a record label guy had the only

0:47:37.880 --> 0:47:41.400
<v Speaker 4>phone that worked there. This was early, early on with

0:47:41.560 --> 0:47:44.560
<v Speaker 4>cell phone, so when you were out of the country

0:47:44.600 --> 0:47:49.480
<v Speaker 4>they didn't work. And I called my family this video

0:47:49.520 --> 0:47:52.839
<v Speaker 4>had come up, so last minute Rocked the Boat that

0:47:53.000 --> 0:47:57.839
<v Speaker 4>I was missing my grandparents' fiftieth wedding anniversary, and so

0:47:58.360 --> 0:48:04.279
<v Speaker 4>I everyone was in Arkansas and I was going to

0:48:04.360 --> 0:48:07.759
<v Speaker 4>go back to Atlanta, where I had a home, and

0:48:08.480 --> 0:48:15.319
<v Speaker 4>I used his phone to call my family and they

0:48:15.360 --> 0:48:18.000
<v Speaker 4>were all still in Arkansas. No one had gone back

0:48:18.040 --> 0:48:21.319
<v Speaker 4>to Atlanta, and we had had such a good time

0:48:21.360 --> 0:48:24.359
<v Speaker 4>on the beach the night before the bonfire and all

0:48:24.400 --> 0:48:26.480
<v Speaker 4>that that I just decided to stay.

0:48:27.080 --> 0:48:28.080
<v Speaker 2>Wow. Wow.

0:48:28.840 --> 0:48:33.000
<v Speaker 3>And but in normal circumstances, you would have been on

0:48:33.080 --> 0:48:33.759
<v Speaker 3>that flight back.

0:48:34.239 --> 0:48:36.320
<v Speaker 4>I was supposed to be on the plane.

0:48:36.640 --> 0:48:38.720
<v Speaker 7>How long did it take you to answer this question

0:48:38.800 --> 0:48:39.520
<v Speaker 7>with such ease?

0:48:40.880 --> 0:48:45.399
<v Speaker 4>I mean, it's been so long's yeah, I don't, I don't.

0:48:45.480 --> 0:48:48.560
<v Speaker 4>I haven't gotten asked some of Leah's stuff in a

0:48:48.600 --> 0:48:54.319
<v Speaker 4>long time. But I'm I'm healed over that. It was

0:48:54.560 --> 0:48:58.399
<v Speaker 4>a tough thing to go through, especially because I took

0:48:58.440 --> 0:49:03.359
<v Speaker 4>the phone call of it all happening and I had

0:49:03.360 --> 0:49:06.560
<v Speaker 4>to call her mother, which was really and I had

0:49:07.160 --> 0:49:10.920
<v Speaker 4>my son was one years old, and to have to

0:49:11.000 --> 0:49:15.160
<v Speaker 4>call a mother and tell her something like that was

0:49:15.480 --> 0:49:18.720
<v Speaker 4>just it was a lot.

0:49:19.880 --> 0:49:23.960
<v Speaker 3>Yeah, I hype had to stop for a good period

0:49:23.960 --> 0:49:25.160
<v Speaker 3>of time just to process.

0:49:25.320 --> 0:49:27.480
<v Speaker 2>Like, how long did it take you to process.

0:49:27.040 --> 0:49:32.040
<v Speaker 4>Just to yeah? I think I kind of went heading

0:49:32.239 --> 0:49:36.080
<v Speaker 4>to work and tried to like just suppress it. And

0:49:36.120 --> 0:49:38.080
<v Speaker 4>I think it was later in life, but I also

0:49:38.840 --> 0:49:43.200
<v Speaker 4>I started to realize how I responded to death. I

0:49:43.280 --> 0:49:46.760
<v Speaker 4>was very I would shut down when it came to death.

0:49:46.800 --> 0:49:49.800
<v Speaker 4>And I didn't want to go to funerals ever, and

0:49:49.160 --> 0:49:53.480
<v Speaker 4>I would just have this very cold, shutdown thing when

0:49:53.480 --> 0:49:56.720
<v Speaker 4>it came to people dying. And so at a certain

0:49:56.760 --> 0:49:59.160
<v Speaker 4>point I had to deal with that because I knew

0:49:59.200 --> 0:50:04.400
<v Speaker 4>it was surrounded that situation. Is I like, I shut

0:50:04.400 --> 0:50:08.000
<v Speaker 4>off something inside of myself in order to like keep

0:50:08.040 --> 0:50:12.080
<v Speaker 4>moving forward, because you know, a lot of times, even too,

0:50:12.520 --> 0:50:16.960
<v Speaker 4>people would come up to the street and want to

0:50:17.000 --> 0:50:19.040
<v Speaker 4>give me a hug, and like I would see it

0:50:19.080 --> 0:50:21.239
<v Speaker 4>in the eyes of so many people that I was

0:50:21.280 --> 0:50:26.000
<v Speaker 4>around because I was, you know, just so close to her.

0:50:26.080 --> 0:50:30.239
<v Speaker 4>They just they just wanted a hug. And I understood it,

0:50:30.280 --> 0:50:31.840
<v Speaker 4>but it was really tough.

0:50:32.160 --> 0:50:35.920
<v Speaker 10>You know, what was the working relationship like with the

0:50:36.000 --> 0:50:38.239
<v Speaker 10>Lee when you said we mentioned Billy dance, and that's

0:50:38.280 --> 0:50:42.200
<v Speaker 10>what made me think, Yeah, so like yeah, what was

0:50:42.200 --> 0:50:43.680
<v Speaker 10>that creative kind of partnership?

0:50:43.800 --> 0:50:48.840
<v Speaker 4>Yeah, Lely was we were like synchronized swimming. If I

0:50:48.880 --> 0:50:51.640
<v Speaker 4>could be an artist, I would have been her. Like

0:50:51.719 --> 0:50:56.120
<v Speaker 4>I gave her everything, all of me, because it was

0:50:56.200 --> 0:51:00.000
<v Speaker 4>she was just so wonderful. Her voice was so incredible.

0:51:00.160 --> 0:51:04.920
<v Speaker 4>She was such an amazing dancer, but such an amazing person,

0:51:05.320 --> 0:51:08.640
<v Speaker 4>you know, And that's what was so hard about it.

0:51:08.680 --> 0:51:13.200
<v Speaker 4>It's just she was really really great and just so

0:51:13.400 --> 0:51:16.320
<v Speaker 4>young and had so much ahead of her, like we were.

0:51:16.880 --> 0:51:19.040
<v Speaker 4>I said goodbye to her and I was like, I'll

0:51:19.040 --> 0:51:20.920
<v Speaker 4>see you in La because we were taking our meeting

0:51:21.000 --> 0:51:23.480
<v Speaker 4>on the movie Sparkle that she was about to do.

0:51:23.360 --> 0:51:27.920
<v Speaker 2>And wow, oh wow, Yeah, I didn't know she was

0:51:27.920 --> 0:51:28.840
<v Speaker 2>going to start in Sparkle.

0:51:29.239 --> 0:51:34.399
<v Speaker 4>Yeah wow, No, it's just things lined up, and so

0:51:34.800 --> 0:51:38.080
<v Speaker 4>it was. It was. She was truly a special being.

0:51:38.960 --> 0:51:41.800
<v Speaker 5>What was your most favorite thing that y'all created together?

0:51:43.320 --> 0:51:46.360
<v Speaker 4>I mean I liked it all. I really did like

0:51:46.440 --> 0:51:49.880
<v Speaker 4>it all. Are you got somebody? It's so great? You know,

0:51:50.160 --> 0:51:50.760
<v Speaker 4>try again?

0:51:51.000 --> 0:51:55.440
<v Speaker 2>Like it just resolution was actually my favorite videos.

0:51:55.520 --> 0:51:59.480
<v Speaker 4>Really you need a resolution, You.

0:51:59.440 --> 0:52:01.000
<v Speaker 2>Need a Yeah.

0:52:01.440 --> 0:52:03.520
<v Speaker 3>It was a new herd, not like your kid's sister,

0:52:03.640 --> 0:52:07.000
<v Speaker 3>and like it was like a sophisticated snake and the whole.

0:52:08.200 --> 0:52:13.719
<v Speaker 4>Yeah. Yeah, I don't know. I loved performing one in

0:52:13.760 --> 0:52:18.440
<v Speaker 4>a million. I love those beats, like Timberland made you

0:52:18.520 --> 0:52:20.440
<v Speaker 4>just dance in a different way, you know when he

0:52:20.760 --> 0:52:24.120
<v Speaker 4>when he produced Aliyah and came on the scene. It

0:52:24.200 --> 0:52:27.160
<v Speaker 4>was like that's when Dan shifted.

0:52:27.440 --> 0:52:27.640
<v Speaker 11>You know.

0:52:28.000 --> 0:52:31.280
<v Speaker 4>The beats were so incredible and you have to figure

0:52:31.280 --> 0:52:35.640
<v Speaker 4>out how to hit all those beats and you know,

0:52:35.960 --> 0:52:40.239
<v Speaker 4>so fly, But yeah, I was. I have all this

0:52:40.719 --> 0:52:45.280
<v Speaker 4>old footage because I've digitized now some of my stuff,

0:52:45.320 --> 0:52:48.400
<v Speaker 4>so I've been looking through and I have like rehearsal

0:52:48.480 --> 0:52:53.400
<v Speaker 4>footage and audition footage. I have footage just no one's

0:52:53.480 --> 0:52:57.600
<v Speaker 4>ever seen before of us back in the day. I know,

0:52:57.680 --> 0:52:58.120
<v Speaker 4>a mirror.

0:52:58.280 --> 0:53:02.320
<v Speaker 2>I had documented every choreographed, no.

0:53:02.000 --> 0:53:06.280
<v Speaker 4>Not everything, the earlier stuff. I had this video camera

0:53:06.360 --> 0:53:09.160
<v Speaker 4>everywhere I went, and then I kind of dropped off

0:53:10.200 --> 0:53:12.800
<v Speaker 4>and then you know, now my assistance and I we

0:53:12.960 --> 0:53:16.000
<v Speaker 4>kind of try and document it as much as.

0:53:16.160 --> 0:53:17.240
<v Speaker 2>But document everything.

0:53:17.360 --> 0:53:21.000
<v Speaker 3>Yes, no, I know I'm assuming that your first pivot

0:53:21.120 --> 0:53:24.160
<v Speaker 3>was directing. But is there a stop in between choreographing

0:53:24.640 --> 0:53:25.760
<v Speaker 3>and directing.

0:53:26.560 --> 0:53:30.759
<v Speaker 4>Yes, definitely. So for me, I always dance with the

0:53:30.840 --> 0:53:33.800
<v Speaker 4>artists that I worked with, So when Alia's videos, I'm dancing,

0:53:34.239 --> 0:53:36.680
<v Speaker 4>and a certain point I had to step out of

0:53:36.920 --> 0:53:40.319
<v Speaker 4>being a dancer and just be the choreographer so I

0:53:40.320 --> 0:53:44.359
<v Speaker 4>could see the bigger picture of everything. And that was

0:53:44.400 --> 0:53:47.520
<v Speaker 4>hard for me because I love to dance, but also

0:53:48.520 --> 0:53:53.400
<v Speaker 4>it was it was just a transition, and but once

0:53:53.480 --> 0:53:56.560
<v Speaker 4>I did it and stepped out, it really allowed me

0:53:57.239 --> 0:54:01.560
<v Speaker 4>to start understanding how so many other things make the

0:54:01.640 --> 0:54:06.160
<v Speaker 4>choreography so much better, wardrobe and lighting and props and

0:54:06.239 --> 0:54:08.880
<v Speaker 4>all of that. So I stepped out of there first.

0:54:09.560 --> 0:54:13.440
<v Speaker 4>And then when I was twenty five, I you know,

0:54:13.560 --> 0:54:16.040
<v Speaker 4>John would always try and get me in front of

0:54:16.080 --> 0:54:18.279
<v Speaker 4>the camera. A lot a lot of people were trying

0:54:18.280 --> 0:54:19.440
<v Speaker 4>to get me in front of the camera, and I

0:54:19.520 --> 0:54:22.560
<v Speaker 4>just wasn't. I go on auditions and I just wasn't

0:54:22.600 --> 0:54:25.759
<v Speaker 4>comfortable acting. It just didn't come from the heart like

0:54:25.880 --> 0:54:29.560
<v Speaker 4>dance did. And but I loved being behind the scenes.

0:54:29.560 --> 0:54:31.279
<v Speaker 4>So I went and took this course at New York's

0:54:31.320 --> 0:54:37.240
<v Speaker 4>Film Academy, and that's when I decided doing that course.

0:54:37.280 --> 0:54:39.960
<v Speaker 4>It was just an eight week, like ten hour a

0:54:40.040 --> 0:54:43.400
<v Speaker 4>day course. I was the one in class who had

0:54:43.440 --> 0:54:46.160
<v Speaker 4>been on so many sets and was like, Oh, that's

0:54:46.200 --> 0:54:49.359
<v Speaker 4>what that means, and that oh I understand now, Oh

0:54:49.440 --> 0:54:50.840
<v Speaker 4>that's why that takes so long.

0:54:51.320 --> 0:54:51.480
<v Speaker 5>You know.

0:54:51.520 --> 0:54:56.879
<v Speaker 4>It was such like, Oh, I get it. And from

0:54:56.920 --> 0:54:59.319
<v Speaker 4>there I just went, Ah, that's what I want to do.

0:54:59.400 --> 0:55:01.600
<v Speaker 4>I want to do. I want to be behind the camera.

0:55:02.120 --> 0:55:05.400
<v Speaker 4>And my first video was mister Vegas Headtime. That's the

0:55:05.440 --> 0:55:06.520
<v Speaker 4>first video I directed.

0:55:12.320 --> 0:55:12.960
<v Speaker 2>Wow.

0:55:13.480 --> 0:55:19.680
<v Speaker 10>Wow, Yeah, So about one thing you talked about. You know,

0:55:19.800 --> 0:55:23.440
<v Speaker 10>when you turn twenty five, what is the average life span?

0:55:25.000 --> 0:55:31.040
<v Speaker 4>Good question. Yeah, girls go to around thirty six, thirty seven.

0:55:31.880 --> 0:55:34.719
<v Speaker 4>You know, some push it a little longer, but they

0:55:34.760 --> 0:55:37.680
<v Speaker 4>have to really do a lot of repair on their

0:55:37.719 --> 0:55:42.359
<v Speaker 4>bodies after sports. Yeah, it's the same way. And then

0:55:42.480 --> 0:55:45.799
<v Speaker 4>guys can go to like forty to forty you know,

0:55:46.040 --> 0:55:48.800
<v Speaker 4>up in there in their forties. You know, there's something

0:55:48.800 --> 0:55:54.960
<v Speaker 4>that go longer. But yeah, I definitely around thirty six.

0:55:55.120 --> 0:55:58.839
<v Speaker 4>I was like, yeah, I'm good on this.

0:56:00.080 --> 0:56:03.800
<v Speaker 10>Other question about one of your uh Mary J Blige,

0:56:03.840 --> 0:56:07.239
<v Speaker 10>because you whatever, are you responsible for the Mary J

0:56:07.560 --> 0:56:08.480
<v Speaker 10>bo the Mary?

0:56:08.600 --> 0:56:11.440
<v Speaker 2>Yes? Awesome question.

0:56:12.160 --> 0:56:22.800
<v Speaker 4>Awesome, No, that's Mary. That's that's all Mary.

0:56:22.800 --> 0:56:27.160
<v Speaker 3>That's the greatest question to ask of this damn podcast,

0:56:28.760 --> 0:56:31.839
<v Speaker 3>one hundred years of podcast. I wouldn't I wouldn't even

0:56:32.200 --> 0:56:37.319
<v Speaker 3>thought to ask that question. Maybe two or three weeks ago,

0:56:38.040 --> 0:56:42.400
<v Speaker 3>did you happen to see the Saturday Night Live clip

0:56:43.160 --> 0:56:46.719
<v Speaker 3>in which Julius Styles came on Weekend Update to recreate

0:56:47.080 --> 0:56:48.280
<v Speaker 3>or save the last dance?

0:56:48.880 --> 0:56:50.439
<v Speaker 7>Oh my god?

0:56:50.680 --> 0:56:56.600
<v Speaker 3>Oh yeah it was well, I know you choreographed that, yeah, but.

0:56:56.920 --> 0:56:57.680
<v Speaker 4>I didn't even know that.

0:56:58.719 --> 0:57:05.360
<v Speaker 2>Dude. Every thing. She's done everything president.

0:57:06.320 --> 0:57:08.040
<v Speaker 4>Yeah, I did that one year.

0:57:08.800 --> 0:57:12.160
<v Speaker 3>Yeah, they know, they like it's it's It was a

0:57:12.239 --> 0:57:15.120
<v Speaker 3>thing in which one of the cast members, you know,

0:57:15.320 --> 0:57:18.360
<v Speaker 3>was was doing an ode to it, and then suddenly

0:57:18.480 --> 0:57:20.479
<v Speaker 3>Julia walked so next to her, and then they started

0:57:20.480 --> 0:57:21.840
<v Speaker 3>doing it, dance together and on that stuff.

0:57:24.280 --> 0:57:26.840
<v Speaker 4>Yeah, yeah, yeah, I can't wait to see that. I'm

0:57:26.840 --> 0:57:27.760
<v Speaker 4>gonna look that up.

0:57:28.240 --> 0:57:31.600
<v Speaker 3>Was that was that the first movie you've done? Your

0:57:31.600 --> 0:57:34.600
<v Speaker 3>first feature film?

0:57:36.160 --> 0:57:41.120
<v Speaker 4>What's that my first feature? I think so, other than

0:57:41.320 --> 0:57:46.080
<v Speaker 4>like dancing for stuff, uh, to choreograph, I think maybe

0:57:46.080 --> 0:57:51.280
<v Speaker 4>that was my first feature choreographing. I was responsible for

0:57:51.320 --> 0:57:52.960
<v Speaker 4>her having a little head wrap on.

0:57:54.600 --> 0:57:59.240
<v Speaker 5>So we blame you for that that. Okay, you're lucky,

0:57:59.240 --> 0:58:02.080
<v Speaker 5>it's twenty five I don't know, Okay, twenty five years.

0:58:02.120 --> 0:58:04.720
<v Speaker 2>Don't even act like you weren't. You weren't watching.

0:58:06.040 --> 0:58:07.560
<v Speaker 5>Watch you know, I didn't watch that video. I was

0:58:07.600 --> 0:58:08.680
<v Speaker 5>way too militant back then.

0:58:08.680 --> 0:58:10.760
<v Speaker 7>I was the word you were mmmmmm.

0:58:11.360 --> 0:58:13.560
<v Speaker 5>But I appreciated it for what it was. That was

0:58:14.520 --> 0:58:18.320
<v Speaker 5>okay washing fatima, There.

0:58:18.160 --> 0:58:21.440
<v Speaker 4>We go, There we go. It also gave permission to

0:58:21.640 --> 0:58:26.680
<v Speaker 4>a lot of young kids who were loving hip hop

0:58:26.880 --> 0:58:30.960
<v Speaker 4>in their homes. To like actually get out and pursue

0:58:31.520 --> 0:58:34.080
<v Speaker 4>hip hop dance. You know, it was one of the

0:58:34.160 --> 0:58:38.160
<v Speaker 4>steps that I had to take to get hip hop

0:58:38.240 --> 0:58:40.800
<v Speaker 4>dance to be seen as a true art form of dance.

0:58:40.800 --> 0:58:43.440
<v Speaker 4>And that movie was huge and made.

0:58:43.280 --> 0:58:45.560
<v Speaker 5>For the reason to Hit the Suburbs. You're the reason

0:58:45.760 --> 0:58:46.720
<v Speaker 5>hit the Suburbs.

0:58:46.920 --> 0:58:50.280
<v Speaker 4>Suburb between that and the Bakshi Boys, I take you know,

0:58:50.400 --> 0:58:56.040
<v Speaker 4>full responsibility. Oh, you did right, I did all that

0:58:56.080 --> 0:58:57.280
<v Speaker 4>boys stuff.

0:58:57.480 --> 0:59:05.120
<v Speaker 2>YEH, don't don't know, dude.

0:59:05.160 --> 0:59:08.600
<v Speaker 3>She also see I thought the first video she directed

0:59:08.720 --> 0:59:09.320
<v Speaker 3>was My Humps.

0:59:09.600 --> 0:59:11.880
<v Speaker 2>I thought that was the first video you directed.

0:59:12.280 --> 0:59:16.120
<v Speaker 3>But no, I know that basically you're the go to

0:59:16.280 --> 0:59:19.760
<v Speaker 3>You're the first step with anyone with a with a budget.

0:59:20.520 --> 0:59:23.960
<v Speaker 3>Can you tell me three videos that you had to

0:59:24.000 --> 0:59:28.200
<v Speaker 3>say no to that later became like sort of iconic level,

0:59:28.280 --> 0:59:34.360
<v Speaker 3>like have you said notice something that.

0:59:32.080 --> 0:59:34.720
<v Speaker 2>That you regretted saying no to? Well, she missed the

0:59:34.760 --> 0:59:37.919
<v Speaker 2>audition for Baby Got Back. That was tough.

0:59:38.240 --> 0:59:41.960
<v Speaker 4>But I remember I was not too long ago looking

0:59:42.040 --> 0:59:46.960
<v Speaker 4>through for an email and saw something in my or

0:59:47.000 --> 0:59:50.760
<v Speaker 4>from my agent, and I clicked on it and it

0:59:50.920 --> 0:59:54.280
<v Speaker 4>said there's a movie that they want you to come

0:59:54.320 --> 0:59:58.000
<v Speaker 4>take a meeting for something like La La Land and

0:59:58.080 --> 1:00:01.680
<v Speaker 4>my res fond Maris response was I'm way too busy.

1:00:01.680 --> 1:00:08.880
<v Speaker 4>I can't do that right now. And I forwarded back

1:00:08.920 --> 1:00:11.520
<v Speaker 4>to my agent like can you believe I said that.

1:00:13.480 --> 1:00:16.480
<v Speaker 8>Yeah, can we talk about musicals for a second, but

1:00:17.080 --> 1:00:20.920
<v Speaker 8>just can we parlay into the Color Purple show? I

1:00:20.960 --> 1:00:23.120
<v Speaker 8>was just I was thinking, like the average music videos

1:00:23.160 --> 1:00:25.520
<v Speaker 8>like three and a half minutes long, Like the Color

1:00:25.560 --> 1:00:28.280
<v Speaker 8>Purple is three and a half hours long, Like what

1:00:28.400 --> 1:00:32.560
<v Speaker 8>is the what is your mindset choreographically and or storytelling

1:00:32.600 --> 1:00:35.960
<v Speaker 8>wise to make a complete arc of that whole thing.

1:00:35.960 --> 1:00:39.840
<v Speaker 8>I'm always amazed at how choreographers and or composers under

1:00:39.840 --> 1:00:41.720
<v Speaker 8>whoever just sort of make all of that sort of

1:00:41.720 --> 1:00:44.160
<v Speaker 8>happen and conceive of it like one thing. You know,

1:00:44.160 --> 1:00:46.480
<v Speaker 8>there's so many different numbers and so many different moves

1:00:46.480 --> 1:00:47.960
<v Speaker 8>and so many different things, but it does feel like

1:00:48.240 --> 1:00:49.800
<v Speaker 8>a canon in itself anyway.

1:00:50.400 --> 1:00:53.920
<v Speaker 4>Speak to that, Yeah, I mean you start with the script,

1:00:54.280 --> 1:00:58.000
<v Speaker 4>you know, and with Color Purple, because they had done

1:00:58.040 --> 1:01:01.920
<v Speaker 4>it as a Broadway play, there was music, but Blitz

1:01:02.120 --> 1:01:06.680
<v Speaker 4>really went in there and you know, worked with a

1:01:06.720 --> 1:01:10.880
<v Speaker 4>lot of incredible artists and elevated the music so that

1:01:10.960 --> 1:01:14.400
<v Speaker 4>it you know, it had a little more modern feeling

1:01:14.560 --> 1:01:18.400
<v Speaker 4>to it, and because in particular color Purple is a

1:01:18.440 --> 1:01:21.200
<v Speaker 4>period piece, there's not a lot of dance out there

1:01:21.480 --> 1:01:25.440
<v Speaker 4>to even emulate like what would be done then. But

1:01:25.960 --> 1:01:28.520
<v Speaker 4>I kind of took the creative liberty to say, you know,

1:01:28.600 --> 1:01:34.360
<v Speaker 4>it all comes from African dance, and if we you know,

1:01:34.440 --> 1:01:40.400
<v Speaker 4>you can look back and find bits of every modern

1:01:40.480 --> 1:01:43.960
<v Speaker 4>dance that we do now in African dance. And so

1:01:44.640 --> 1:01:49.360
<v Speaker 4>I just kind of gave each number, you know, a feeling,

1:01:49.680 --> 1:01:55.960
<v Speaker 4>a mood, a joy of a kindred brotherhood for like

1:01:56.240 --> 1:01:59.200
<v Speaker 4>uh huh, you know when they were building the house

1:01:59.280 --> 1:02:03.320
<v Speaker 4>and all the working together and that was nice. That's

1:02:03.400 --> 1:02:07.240
<v Speaker 4>going back to you know, step in when men are

1:02:07.280 --> 1:02:12.960
<v Speaker 4>all stepping other and fraternity. I just kind of went

1:02:13.000 --> 1:02:17.160
<v Speaker 4>through a bunch of different, you know, styles of Black dance.

1:02:17.200 --> 1:02:22.240
<v Speaker 4>But then also I kind of we're so expressive as people,

1:02:22.840 --> 1:02:26.080
<v Speaker 4>and you know, like when you get into hell No

1:02:26.320 --> 1:02:29.200
<v Speaker 4>with Danielle Brooks and at the end when the ladies

1:02:29.200 --> 1:02:31.160
<v Speaker 4>all kind of gang up on her and then they

1:02:31.200 --> 1:02:33.760
<v Speaker 4>all roll ay neck. You know, when a black woman

1:02:33.840 --> 1:02:36.440
<v Speaker 4>starts rolling her neck and she has had it up

1:02:36.440 --> 1:02:39.360
<v Speaker 4>to here with your ass. So it was kind of

1:02:39.760 --> 1:02:42.880
<v Speaker 4>you know, I took just our even natural movements that

1:02:42.920 --> 1:02:46.640
<v Speaker 4>we do, you know, and made them into dances. And

1:02:46.680 --> 1:02:50.280
<v Speaker 4>so it's a it's a journey when you're doing musical

1:02:50.440 --> 1:02:53.120
<v Speaker 4>like that because it's a lot of hard work and

1:02:53.280 --> 1:02:58.040
<v Speaker 4>each number needs its own special attention. And you know,

1:02:59.240 --> 1:03:01.560
<v Speaker 4>our goal for that movie, and I think we really

1:03:01.640 --> 1:03:05.440
<v Speaker 4>accomplished it is like how do you get out? How

1:03:05.440 --> 1:03:08.640
<v Speaker 4>do you start the music and start the dance so

1:03:08.720 --> 1:03:12.960
<v Speaker 4>it's not jarring and it's not taking you out of library.

1:03:13.560 --> 1:03:16.400
<v Speaker 4>So that that was the important for me. It was

1:03:16.440 --> 1:03:19.280
<v Speaker 4>when I walked into the room, story led first, and

1:03:19.320 --> 1:03:22.840
<v Speaker 4>then the dance had to support the story and a

1:03:22.880 --> 1:03:26.320
<v Speaker 4>lot of times, you know, people were just dancing to

1:03:26.400 --> 1:03:29.240
<v Speaker 4>be dancing, and that's not what I was trying to do.

1:03:29.360 --> 1:03:32.240
<v Speaker 4>The story it had to all make sense, you know,

1:03:32.360 --> 1:03:34.640
<v Speaker 4>if we were it should was coming to town and

1:03:34.720 --> 1:03:37.000
<v Speaker 4>what is that town gonna look like back in the

1:03:37.080 --> 1:03:39.160
<v Speaker 4>day where that town should have a shoe shop and

1:03:39.200 --> 1:03:41.439
<v Speaker 4>then it's gonna have a barber shop and then they're

1:03:41.800 --> 1:03:45.080
<v Speaker 4>you know, they got the groceries stand outside like and

1:03:45.120 --> 1:03:47.920
<v Speaker 4>I create all that stuff in the rehearsal studio with

1:03:47.960 --> 1:03:51.120
<v Speaker 4>the skeleton crew of dancers and give them something, but

1:03:51.560 --> 1:03:54.400
<v Speaker 4>where I am now in my career, even with this one,

1:03:54.840 --> 1:03:58.960
<v Speaker 4>in particular for color purple. We choreographed it and then

1:03:59.160 --> 1:04:02.880
<v Speaker 4>shot it way I wanted to look, with close ups

1:04:02.920 --> 1:04:05.840
<v Speaker 4>of the feet and overheads and you know, all the

1:04:05.920 --> 1:04:08.840
<v Speaker 4>things and editor and then I gave it to the

1:04:08.920 --> 1:04:13.400
<v Speaker 4>directors like here's russall. But you know, that's what choreographers,

1:04:13.560 --> 1:04:16.920
<v Speaker 4>the good choreographers, that's what we do when we get hired.

1:04:17.000 --> 1:04:21.560
<v Speaker 4>We're just natural directors, really, and I love that I

1:04:21.640 --> 1:04:25.360
<v Speaker 4>had a director who trust in that vision. But I

1:04:25.440 --> 1:04:27.960
<v Speaker 4>have this great story to say. You know, Blitz told

1:04:27.960 --> 1:04:31.160
<v Speaker 4>me and Ghana when he was in high school, they

1:04:31.200 --> 1:04:34.080
<v Speaker 4>had a talent show and eighty percent of the people

1:04:34.760 --> 1:04:38.960
<v Speaker 4>did for their talent Aliyah's are you? That's somebody him

1:04:39.200 --> 1:04:44.800
<v Speaker 4>and I know, and so he just vowed to work

1:04:44.840 --> 1:04:47.960
<v Speaker 4>with me one day. And I just feel like Aliyah

1:04:48.520 --> 1:04:51.040
<v Speaker 4>put us together, and it's so wonderful.

1:04:51.480 --> 1:04:53.960
<v Speaker 5>It was wonderful to see your touch on that movie,

1:04:54.000 --> 1:04:58.400
<v Speaker 5>because no matter what the dance was, you also still

1:04:58.480 --> 1:05:13.960
<v Speaker 5>felt hip hop always, always, always.

1:05:10.880 --> 1:05:14.560
<v Speaker 3>I'm gonna play a rapid fire around with you, Okay,

1:05:15.560 --> 1:05:18.440
<v Speaker 3>which client of yours is the fastest learner?

1:05:19.640 --> 1:05:21.200
<v Speaker 4>Aliyah was the fastest learner.

1:05:21.960 --> 1:05:27.160
<v Speaker 3>Which client of yours is the most I won't say

1:05:27.200 --> 1:05:30.120
<v Speaker 3>anal retentive perfectionist?

1:05:31.200 --> 1:05:33.560
<v Speaker 2>Which kind of yours wants to rehearse their spontaneity?

1:05:34.320 --> 1:05:37.440
<v Speaker 4>Beyonce is perfectionist, meaning.

1:05:37.200 --> 1:05:39.240
<v Speaker 3>You have to go through over and over and over

1:05:39.280 --> 1:05:42.760
<v Speaker 3>again to muscle memory or no, she catches.

1:05:42.400 --> 1:05:45.640
<v Speaker 4>On quick too, but she's just perfectionist. Like she goes

1:05:45.720 --> 1:05:48.720
<v Speaker 4>back and like we go back and work on it

1:05:48.760 --> 1:05:51.400
<v Speaker 4>and work on it, and you know she's still working

1:05:51.440 --> 1:05:54.200
<v Speaker 4>on the show. Is renaissance was going on and she

1:05:54.320 --> 1:05:57.640
<v Speaker 4>still had rehearsals. Wow like that?

1:05:59.000 --> 1:06:03.400
<v Speaker 2>Wow, okay, superstar? Yeah all that I see?

1:06:03.840 --> 1:06:07.160
<v Speaker 3>Which client who's not no dancing is so, you like,

1:06:08.040 --> 1:06:10.560
<v Speaker 3>is really under selling their talent of dancing?

1:06:11.880 --> 1:06:13.840
<v Speaker 4>Buster Rhymes can dance his ass off?

1:06:15.720 --> 1:06:17.959
<v Speaker 2>He can't, Yep, I don't.

1:06:19.280 --> 1:06:22.440
<v Speaker 4>Eyes can see the last that last when they're in

1:06:22.480 --> 1:06:26.800
<v Speaker 4>the black lights. See he's dancing and he came to

1:06:26.920 --> 1:06:30.160
<v Speaker 4>rehearsal and he learned steps and he was like he

1:06:30.240 --> 1:06:32.880
<v Speaker 4>threw his his two way across the room. Was like,

1:06:32.920 --> 1:06:39.160
<v Speaker 4>I'm Michael Jackson up in here, dances ass off. And

1:06:39.240 --> 1:06:40.640
<v Speaker 4>you know who else can dance good?

1:06:42.040 --> 1:06:43.360
<v Speaker 7>Yes she can?

1:06:44.240 --> 1:06:44.600
<v Speaker 2>She can.

1:06:44.960 --> 1:06:46.640
<v Speaker 7>We just wrapped these things down and we get to

1:06:46.680 --> 1:06:47.640
<v Speaker 7>going well.

1:06:47.680 --> 1:06:50.320
<v Speaker 3>I was going to ask, who is your shyest client,

1:06:50.400 --> 1:06:53.840
<v Speaker 3>because dancing is a that's that's a form of vulnerability

1:06:53.960 --> 1:06:57.400
<v Speaker 3>that you know, because you're always worrying on like people

1:06:57.440 --> 1:06:57.880
<v Speaker 3>watching me.

1:06:57.920 --> 1:07:00.480
<v Speaker 2>And I mean, that's what got to give it up

1:07:00.560 --> 1:07:05.720
<v Speaker 2>is about I'm afraid to dance in public. Client.

1:07:07.280 --> 1:07:11.880
<v Speaker 4>I don't know. Shy is really.

1:07:12.920 --> 1:07:14.120
<v Speaker 2>So no one ever held back.

1:07:14.880 --> 1:07:19.520
<v Speaker 4>No, I feel like people, if you could dance, you

1:07:19.680 --> 1:07:25.240
<v Speaker 4>kind of get shy. Isn't the word I don't know, shy, reluctant.

1:07:25.400 --> 1:07:29.520
<v Speaker 4>I wouldn't even call it reluctant. Like I love working

1:07:29.560 --> 1:07:35.600
<v Speaker 4>with Kendrick because he loves movement and dance and respects it.

1:07:36.200 --> 1:07:40.000
<v Speaker 4>But he's not necessarily out there trying to do steps

1:07:40.040 --> 1:07:42.880
<v Speaker 4>with the dancers. He's going to bring his own energy

1:07:42.920 --> 1:07:45.560
<v Speaker 4>and vibe to it, and then I build around it,

1:07:45.600 --> 1:07:47.160
<v Speaker 4>and then we sit and look at it, and then

1:07:47.200 --> 1:07:50.760
<v Speaker 4>we build together. You know. I love giving him a

1:07:51.720 --> 1:07:55.480
<v Speaker 4>little template to go off for him to respond to

1:07:55.840 --> 1:07:57.959
<v Speaker 4>and then you know, do something great.

1:07:58.080 --> 1:08:00.800
<v Speaker 7>He can give us an example, super Bowld.

1:08:01.040 --> 1:08:05.800
<v Speaker 4>They gave me an image of all those boxes and

1:08:06.400 --> 1:08:08.760
<v Speaker 4>it was then overhead shot of the boxes and it

1:08:08.840 --> 1:08:10.720
<v Speaker 4>was like, that's kind of what we want to create.

1:08:10.760 --> 1:08:13.000
<v Speaker 4>And so then from there I got to use my

1:08:13.080 --> 1:08:16.160
<v Speaker 4>imagination or how do these boxes come to life? How

1:08:16.160 --> 1:08:18.640
<v Speaker 4>do we get the boxes off the stage? Do we

1:08:18.720 --> 1:08:20.679
<v Speaker 4>stay with the boxes? And we do it? Like where

1:08:20.680 --> 1:08:23.920
<v Speaker 4>does he live inside of the boxes? And you know

1:08:24.000 --> 1:08:27.880
<v Speaker 4>all of that, and so I love I love how

1:08:27.920 --> 1:08:31.720
<v Speaker 4>his mind works and things, but I wouldn't call all right.

1:08:31.760 --> 1:08:33.800
<v Speaker 3>So I always think of this the next time you

1:08:33.880 --> 1:08:38.840
<v Speaker 3>watch jay Z's Can I Get a I was absolutely

1:08:38.880 --> 1:08:43.200
<v Speaker 3>amazed that he basically just stands in place in the

1:08:43.240 --> 1:08:47.200
<v Speaker 3>middle and only moves his arms in his shoulders. Yeah,

1:08:47.280 --> 1:08:50.000
<v Speaker 3>I mean the entire world is dancing around him. And

1:08:50.040 --> 1:08:53.160
<v Speaker 3>I always wanted to know what happens when you're giving

1:08:54.120 --> 1:08:57.160
<v Speaker 3>a client that, like do you have to figure out

1:08:57.160 --> 1:08:59.599
<v Speaker 3>the math formula? Like how much the supplement? Like okay,

1:08:59.640 --> 1:09:02.720
<v Speaker 3>they're not given me much in terms of because the

1:09:02.720 --> 1:09:04.519
<v Speaker 3>thing is, we do tend to think of jay Z

1:09:04.760 --> 1:09:09.839
<v Speaker 3>as a charismatic, but it's almost like in that DeNiro

1:09:09.960 --> 1:09:12.360
<v Speaker 3>level where he holds back from that charisma.

1:09:14.880 --> 1:09:18.679
<v Speaker 4>Yeah no, yeah, some people I respect that. Some people

1:09:18.880 --> 1:09:21.920
<v Speaker 4>just don't want to dance. You know, I'm not here

1:09:21.960 --> 1:09:23.680
<v Speaker 4>to make everybody dance.

1:09:24.080 --> 1:09:27.760
<v Speaker 2>You know, So what's your favorite medium? Then?

1:09:28.120 --> 1:09:32.240
<v Speaker 3>Because you've done commercials, on videos, you've done half times,

1:09:32.280 --> 1:09:34.920
<v Speaker 3>you've done award shows.

1:09:35.120 --> 1:09:37.160
<v Speaker 2>Yes, what is your favorite medium?

1:09:38.600 --> 1:09:44.240
<v Speaker 4>Age performances like concerts and why concerts are my favorite? Like,

1:09:44.439 --> 1:09:48.720
<v Speaker 4>you know, when I the Renaissance was was amazing And

1:09:49.840 --> 1:09:56.759
<v Speaker 4>I love the way you can manipulate the arena, stadium,

1:09:56.840 --> 1:10:01.839
<v Speaker 4>whatever you're in theater, with the new with the dance,

1:10:02.160 --> 1:10:06.559
<v Speaker 4>with the way the songs are laid out. Like I

1:10:06.760 --> 1:10:11.960
<v Speaker 4>just love watching people have such a wonderful time live

1:10:12.040 --> 1:10:15.799
<v Speaker 4>and it always takes me back to my childhood of Jackson.

1:10:15.920 --> 1:10:20.360
<v Speaker 4>Five was my first tour, and I remember like laying

1:10:20.400 --> 1:10:24.040
<v Speaker 4>out my clothes a week in advance and like just

1:10:24.120 --> 1:10:27.160
<v Speaker 4>the preparation to it. And I remember having the seat

1:10:27.280 --> 1:10:30.880
<v Speaker 4>way up, way up there, and that was my seat

1:10:30.920 --> 1:10:33.559
<v Speaker 4>and they were super small, but I was up there

1:10:33.760 --> 1:10:37.080
<v Speaker 4>screaming and jamming and dancing and my heart out and

1:10:37.120 --> 1:10:40.599
<v Speaker 4>it was just the best experience for me. And so

1:10:40.840 --> 1:10:44.080
<v Speaker 4>I just always whenever I do live shows, I think

1:10:44.120 --> 1:10:47.800
<v Speaker 4>about those people that are way up there, and it's

1:10:47.800 --> 1:10:50.920
<v Speaker 4>something that I do with every concert that I work on.

1:10:51.120 --> 1:10:54.040
<v Speaker 4>I look up to see and if those people are

1:10:54.240 --> 1:10:58.719
<v Speaker 4>jumping and screaming and dancing the same way the people

1:10:58.760 --> 1:11:01.679
<v Speaker 4>who have front row seats are. Then to me, I've

1:11:01.720 --> 1:11:05.559
<v Speaker 4>done my job right. And I just love live. It's

1:11:05.640 --> 1:11:11.200
<v Speaker 4>unpredictable and it's amazing and people cry. I cry, and

1:11:11.560 --> 1:11:14.519
<v Speaker 4>it's just you go through the gamut of emotions at

1:11:14.560 --> 1:11:16.760
<v Speaker 4>a at a really good live show, and I just

1:11:16.840 --> 1:11:17.240
<v Speaker 4>love it.

1:11:17.560 --> 1:11:20.080
<v Speaker 10>I wanted to ask when you're casting and stuff, like

1:11:20.120 --> 1:11:23.839
<v Speaker 10>you know, what separates a good dancer from a great dancer?

1:11:23.920 --> 1:11:25.160
<v Speaker 2>Like what are you looking for?

1:11:27.680 --> 1:11:31.519
<v Speaker 4>I'm really we dancers have to learn a combination really quickly,

1:11:32.600 --> 1:11:36.320
<v Speaker 4>so we teach it, they learn it, we break them

1:11:36.400 --> 1:11:39.599
<v Speaker 4>up and pieces. You know, a lot of times it's

1:11:39.960 --> 1:11:44.000
<v Speaker 4>it's it's their danceability, but it's also like their height

1:11:44.479 --> 1:11:47.040
<v Speaker 4>and their their size, and if they fit with the

1:11:47.120 --> 1:11:50.600
<v Speaker 4>other dancers and they create like it's a whole you know,

1:11:51.040 --> 1:11:54.960
<v Speaker 4>Tetris game of things we're playing around with, and but

1:11:55.080 --> 1:11:57.800
<v Speaker 4>what really makes I think a great dancer? And I

1:11:57.840 --> 1:12:01.680
<v Speaker 4>always even though they learn the choreography and they have

1:12:01.760 --> 1:12:05.520
<v Speaker 4>to do the combination, I always ask them to freestyle afterwards,

1:12:05.600 --> 1:12:10.320
<v Speaker 4>because to me, there's where the gold is when they

1:12:10.320 --> 1:12:13.920
<v Speaker 4>start freestyling and they move their body in a way

1:12:14.000 --> 1:12:17.559
<v Speaker 4>no one else moves. They dance with such joy on

1:12:17.640 --> 1:12:21.360
<v Speaker 4>their faces. You know, we look for that, and that's

1:12:21.400 --> 1:12:24.960
<v Speaker 4>what really makes a great dancer, when you can just

1:12:25.120 --> 1:12:28.360
<v Speaker 4>tell their love of dance, but also they've worked and

1:12:28.479 --> 1:12:31.080
<v Speaker 4>found the things in their body that's so unique and

1:12:31.160 --> 1:12:34.000
<v Speaker 4>that they're going to inspire me when I'm in the

1:12:34.080 --> 1:12:34.759
<v Speaker 4>room working.

1:12:34.960 --> 1:12:40.640
<v Speaker 3>You know, for me, your best gift is de escalating

1:12:41.320 --> 1:12:46.200
<v Speaker 3>any potential disasters.

1:12:46.240 --> 1:12:48.720
<v Speaker 2>And the way that I've seen you.

1:12:50.200 --> 1:12:53.559
<v Speaker 3>Literally with like I'm telling you my stomach, was it

1:12:53.680 --> 1:12:58.800
<v Speaker 3>not because I'm waiting for this fight to set off?

1:12:59.000 --> 1:13:02.360
<v Speaker 3>And you know, because a lot of my questions in

1:13:02.600 --> 1:13:05.439
<v Speaker 3>our group chat was like, Yo, what happens when blah

1:13:05.439 --> 1:13:08.880
<v Speaker 3>blah blah s he's blah blah blah blah. And you

1:13:08.920 --> 1:13:11.519
<v Speaker 3>were like, Okay, don't worry, mirror, I'm gonna bring out.

1:13:11.400 --> 1:13:13.640
<v Speaker 2>Coach Coach Robinson.

1:13:14.120 --> 1:13:17.920
<v Speaker 3>And so what what is your You've always seemed like

1:13:17.960 --> 1:13:20.639
<v Speaker 3>a zen person to me, but you you are extra

1:13:20.760 --> 1:13:24.200
<v Speaker 3>zen in the last four years that I've seen you,

1:13:24.479 --> 1:13:26.000
<v Speaker 3>So yes, what is your more?

1:13:26.160 --> 1:13:27.360
<v Speaker 2>What's your morning routine?

1:13:27.920 --> 1:13:30.600
<v Speaker 3>How did you get to this zen place where you

1:13:30.640 --> 1:13:34.320
<v Speaker 3>can handle a renasce you were handling renaissance and hip

1:13:34.320 --> 1:13:36.160
<v Speaker 3>hop fifty at the same time.

1:13:39.200 --> 1:13:41.320
<v Speaker 2>And this is coming from a guy that has.

1:13:41.240 --> 1:13:46.840
<v Speaker 3>Ten jobs making meditation an editor movie right now, So like,

1:13:48.200 --> 1:13:48.560
<v Speaker 3>what is it?

1:13:48.600 --> 1:13:50.200
<v Speaker 2>What is your secret?

1:13:51.680 --> 1:13:55.720
<v Speaker 4>I think I've always been a pretty calm person. You know,

1:13:56.439 --> 1:13:59.120
<v Speaker 4>when I wake up in the morning, sometimes I do

1:13:59.200 --> 1:14:03.280
<v Speaker 4>this tea serum as a meditation. Sometimes I do that.

1:14:03.920 --> 1:14:08.719
<v Speaker 4>I mean, living in Ohi, I live down a road

1:14:09.000 --> 1:14:13.639
<v Speaker 4>where there's no other houses and there's no power lines

1:14:13.720 --> 1:14:17.519
<v Speaker 4>and there's no neighbors, and so I get to wake

1:14:17.640 --> 1:14:20.519
<v Speaker 4>up without like the home and noise of the city.

1:14:20.880 --> 1:14:24.960
<v Speaker 4>And definitely moving to Ohi, I've kind of re wired

1:14:25.200 --> 1:14:32.280
<v Speaker 4>my nervous system to just I There's there's places that

1:14:32.360 --> 1:14:36.000
<v Speaker 4>I go and holidays that I take where I remember

1:14:36.360 --> 1:14:39.280
<v Speaker 4>that that piece that I find there, and I just

1:14:39.360 --> 1:14:42.479
<v Speaker 4>kind of like take it and and so I release

1:14:42.600 --> 1:14:48.839
<v Speaker 4>little peace like that I've captured. And in those moments,

1:14:48.920 --> 1:14:53.200
<v Speaker 4>it's because I've seen it so many times. Everything is

1:14:53.479 --> 1:14:57.240
<v Speaker 4>gonna work out. It's just the process. And everyone has

1:14:57.280 --> 1:14:59.160
<v Speaker 4>a process of how they get to point A to

1:14:59.320 --> 1:15:03.760
<v Speaker 4>point B. Really everyone, you know, it's like Shakira's processes

1:15:03.840 --> 1:15:08.320
<v Speaker 4>like like this, and the Kanye's processes like you know,

1:15:09.200 --> 1:15:11.880
<v Speaker 4>you know like that, and some people's process is just

1:15:11.960 --> 1:15:15.040
<v Speaker 4>a little easier and you're like, okay, but it's like

1:15:15.320 --> 1:15:19.840
<v Speaker 4>knowing there is a goal and that finish line what

1:15:19.960 --> 1:15:22.719
<v Speaker 4>we're trying to achieve. And I always kind of try

1:15:22.760 --> 1:15:24.960
<v Speaker 4>and make too, like what am I try and achieve here?

1:15:25.120 --> 1:15:27.840
<v Speaker 4>Like what's the goal? So that I always give myself

1:15:27.880 --> 1:15:33.120
<v Speaker 4>like something to you know, to thrive to, you know,

1:15:33.400 --> 1:15:40.720
<v Speaker 4>and achieve. That really helps me. And yeah, but I

1:15:40.920 --> 1:15:44.439
<v Speaker 4>just I mean, it's all gonna work out. And the

1:15:44.880 --> 1:15:48.600
<v Speaker 4>beauty about even you know, doing live TV and stuff.

1:15:49.120 --> 1:15:53.040
<v Speaker 4>I just love the unexpected and what could happen. I

1:15:53.080 --> 1:15:57.200
<v Speaker 4>don't love an artist dropping out, you know, an hour

1:15:58.000 --> 1:16:00.960
<v Speaker 4>performance and the show. No, I do not like that.

1:16:01.000 --> 1:16:05.879
<v Speaker 4>I think it's highly disrespectful to their peers and everything.

1:16:06.000 --> 1:16:08.800
<v Speaker 4>But you know, I've seen it all with hip hop,

1:16:08.840 --> 1:16:11.920
<v Speaker 4>and you know, we accept that hip hop is is

1:16:12.120 --> 1:16:16.160
<v Speaker 4>unique and and I just know how to deal with

1:16:16.240 --> 1:16:20.200
<v Speaker 4>all the temperatures of the attitudes and stuff. I'm like,

1:16:20.320 --> 1:16:23.519
<v Speaker 4>somebody in the room has to be calm about it.

1:16:23.600 --> 1:16:26.639
<v Speaker 7>And so that's why I classroom scene was like perfection.

1:16:27.160 --> 1:16:28.280
<v Speaker 7>That's why I was just perfection.

1:16:28.400 --> 1:16:34.479
<v Speaker 5>It was organized, beautiful, chaos yeah, you're showing me I

1:16:34.520 --> 1:16:35.120
<v Speaker 5>was talking about.

1:16:35.800 --> 1:16:37.000
<v Speaker 2>I was like, wait, what classrooms?

1:16:39.760 --> 1:16:42.640
<v Speaker 4>I mean, that was really that classroom scene. I'm like,

1:16:42.920 --> 1:16:48.400
<v Speaker 4>that's my you know that, that's my tribe. And so

1:16:49.080 --> 1:16:51.680
<v Speaker 4>I wanted to see them as much as possible, and

1:16:51.720 --> 1:16:54.320
<v Speaker 4>I didn't want to do the traditional like you come

1:16:54.360 --> 1:16:56.600
<v Speaker 4>out your song, you go away, you come out like

1:16:56.720 --> 1:16:59.760
<v Speaker 4>let's support each other and and you know a lot

1:16:59.840 --> 1:17:01.840
<v Speaker 4>of I do a lot of work on myself as

1:17:01.880 --> 1:17:06.400
<v Speaker 4>well a mirror, and it just in that work on myself,

1:17:06.479 --> 1:17:09.639
<v Speaker 4>I'm able to bring you know, that zen and peace

1:17:09.760 --> 1:17:13.519
<v Speaker 4>and all that to the performances. I mean, I love

1:17:13.680 --> 1:17:16.680
<v Speaker 4>Rick Rubin's book The Creative Act. Did you listen to

1:17:16.720 --> 1:17:17.080
<v Speaker 4>that one?

1:17:17.800 --> 1:17:19.280
<v Speaker 2>Yeah? I got it.

1:17:19.280 --> 1:17:22.360
<v Speaker 4>It's so amazing. I find myself I listen to a

1:17:22.360 --> 1:17:24.479
<v Speaker 4>lot of audio books because I have that hour and

1:17:24.520 --> 1:17:27.400
<v Speaker 4>a half drive, But I find myself kind of going

1:17:27.520 --> 1:17:30.519
<v Speaker 4>back to that book quite as if I don't have

1:17:30.560 --> 1:17:32.800
<v Speaker 4>anything to listen to. He's just he just drops some

1:17:32.960 --> 1:17:38.519
<v Speaker 4>gems about where how the creative comes about and how

1:17:38.560 --> 1:17:42.120
<v Speaker 4>you find it and all the things. And so you know,

1:17:43.120 --> 1:17:45.759
<v Speaker 4>I listened to a lot of books that actually helped

1:17:45.800 --> 1:17:49.040
<v Speaker 4>me in how I communicate with people. Too.

1:17:49.880 --> 1:17:51.479
<v Speaker 2>I can learn from that. Look.

1:17:52.000 --> 1:17:55.400
<v Speaker 3>I started with the question, and I guess you gave

1:17:55.439 --> 1:17:56.160
<v Speaker 3>me the answer.

1:17:56.760 --> 1:17:58.240
<v Speaker 2>And I'm glad you care.

1:17:59.360 --> 1:18:05.160
<v Speaker 3>Yeah, because you you have such a thankless, highly stressful,

1:18:06.439 --> 1:18:09.880
<v Speaker 3>a very risky job where you have to be a

1:18:09.920 --> 1:18:17.280
<v Speaker 3>people person and manage expectations and egos and not now

1:18:17.360 --> 1:18:20.960
<v Speaker 3>but right now, like you have walked through the fire

1:18:21.040 --> 1:18:21.559
<v Speaker 3>man and.

1:18:23.479 --> 1:18:24.800
<v Speaker 2>More and more power to you know.

1:18:24.800 --> 1:18:28.600
<v Speaker 3>I'm glad we finally have this conversation.

1:18:28.800 --> 1:18:31.160
<v Speaker 2>Yeah, do we ask everything about that? We go to

1:18:31.160 --> 1:18:34.479
<v Speaker 2>talk about the director directorial debut that's coming. What can

1:18:34.520 --> 1:18:35.320
<v Speaker 2>you share about it?

1:18:35.439 --> 1:18:39.120
<v Speaker 4>Yes, Oh, well, it's a film and universal. You know,

1:18:39.280 --> 1:18:42.800
<v Speaker 4>it's still my deal is done, but you know it's

1:18:42.840 --> 1:18:45.760
<v Speaker 4>going through its little rewrites and this and that. But

1:18:45.920 --> 1:18:51.400
<v Speaker 4>that'll be my first feature film and I'm ready. That's

1:18:51.439 --> 1:18:56.320
<v Speaker 4>the hopefully the next step for my career. And still producing.

1:18:56.439 --> 1:18:58.800
<v Speaker 4>I actually, you know, Jesse and them got me into

1:18:58.840 --> 1:19:01.280
<v Speaker 4>this producing world and executive producing.

1:19:00.960 --> 1:19:02.879
<v Speaker 2>And I love it.

1:19:03.320 --> 1:19:11.479
<v Speaker 5>Yes, Mom and Dad, Yes, tell us a couple of

1:19:11.560 --> 1:19:14.320
<v Speaker 5>projects we should look out for that you executive produce.

1:19:14.880 --> 1:19:17.679
<v Speaker 4>Oh well, I was one of the executive producers along

1:19:17.680 --> 1:19:20.840
<v Speaker 4>with the Mirror for Hip Hop fifty. I've produced the

1:19:20.880 --> 1:19:25.519
<v Speaker 4>Grammys before with them, I produced this taking and taking

1:19:25.560 --> 1:19:30.880
<v Speaker 4>the stage, the Obama performance that it was a while back.

1:19:30.960 --> 1:19:34.639
<v Speaker 4>And so I'm enjoying it and I'm stepping more into

1:19:34.720 --> 1:19:37.160
<v Speaker 4>it and I think more and more opportunities. But you know,

1:19:37.479 --> 1:19:39.400
<v Speaker 4>I want to do my story. I want to do

1:19:39.439 --> 1:19:43.080
<v Speaker 4>my life like I'm the new thing. It's like everyone was.

1:19:43.040 --> 1:19:44.400
<v Speaker 7>Thinking you was too young. I didn't know I was.

1:19:44.439 --> 1:19:46.439
<v Speaker 7>It was interesting because I was thinking story, but I

1:19:46.479 --> 1:19:47.200
<v Speaker 7>was like, she's so young.

1:19:47.680 --> 1:19:50.439
<v Speaker 4>I haven't done the story yet, and I think it's

1:19:50.479 --> 1:19:54.360
<v Speaker 4>like someone needs to do the I grew up in

1:19:54.400 --> 1:19:57.639
<v Speaker 4>the clubs, clubs with my classroom. That's why I learned,

1:19:57.680 --> 1:20:01.200
<v Speaker 4>like all that the story of hip hop dance.

1:20:01.800 --> 1:20:04.200
<v Speaker 3>He's gotta we gotta find you a movie producer that

1:20:04.240 --> 1:20:05.639
<v Speaker 3>can actually make that happen.

1:20:05.880 --> 1:20:08.240
<v Speaker 2>Yeah, somebody out here.

1:20:10.840 --> 1:20:14.120
<v Speaker 5>He's got to add to Honey out there. Honey was

1:20:14.160 --> 1:20:14.800
<v Speaker 5>the last one.

1:20:14.960 --> 1:20:19.880
<v Speaker 2>I'm just saying, make it happen. Fatima, thank you so

1:20:20.080 --> 1:20:22.360
<v Speaker 2>much for joining us.

1:20:22.439 --> 1:20:26.920
<v Speaker 3>And and I'm not even like acting like it's good

1:20:26.920 --> 1:20:30.040
<v Speaker 3>to see someone that works harder than me, Like i

1:20:30.040 --> 1:20:33.479
<v Speaker 3>feel like I'm lazy compared to to you.

1:20:33.600 --> 1:20:37.120
<v Speaker 5>So she she knows how to relax though too looks yes,

1:20:37.400 --> 1:20:38.559
<v Speaker 5>she knows how to do that.

1:20:38.960 --> 1:20:42.360
<v Speaker 2>I don't know what that is anyway.

1:20:42.840 --> 1:20:45.639
<v Speaker 3>Thank you very much on behalf of a Sugar Steven

1:20:46.640 --> 1:20:53.640
<v Speaker 3>New Bill brand New Billon You Steve and like you,

1:20:55.360 --> 1:20:59.040
<v Speaker 3>and of course our guest Fatima Robinson is Quest Love,

1:20:59.120 --> 1:21:01.480
<v Speaker 3>quest Love Supreme and we'll see you on the next GOGRAMD.

1:21:01.520 --> 1:21:06.559
<v Speaker 2>Thank y'all, This is Sugar Steve.

1:21:06.720 --> 1:21:10.040
<v Speaker 6>Thank you for listening to Questlove Supreme. This podcast is

1:21:10.080 --> 1:21:12.759
<v Speaker 6>hosted by a Mere Quest Love Thompson, Liah Saint Clair,

1:21:12.840 --> 1:21:17.240
<v Speaker 6>Fonte Coleman, Sugar Steve Mandel, and unpaid Bill Sherman. The

1:21:17.320 --> 1:21:20.000
<v Speaker 6>executive producers are a Mere Quest Love Thompson, Sean g

1:21:20.200 --> 1:21:24.439
<v Speaker 6>and Brian Calhoun. Produced by Britney Benjamin, Jake Pain and

1:21:24.520 --> 1:21:30.040
<v Speaker 6>Liah Saint Clair, Edited by Alex Conroy. Produced for iHeart

1:21:30.040 --> 1:21:30.800
<v Speaker 6>by Noel Brown.

1:21:33.120 --> 1:21:40.439
<v Speaker 1>We'st Love Supreme is a production of iHeart Radio. For

1:21:40.560 --> 1:21:45.120
<v Speaker 1>more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1:21:45.200 --> 1:21:47.240
<v Speaker 1>or wherever you listen to your favorite shows.