WEBVTT - Questlove Supreme: Lisa Cortés Part 2 0:00:00.160 --> 0:00:05.440 Quest Love Supreme is a production of iHeartRadio. Yeo Yo Yo, 0:00:05.519 --> 0:00:06.040 What up y'all? 0:00:06.040 --> 0:00:08.680 This is Fonte Fonte Delo and we are back with 0:00:08.840 --> 0:00:12.280 part two of our New York City in Studio interview 0:00:12.320 --> 0:00:15.920 with filmmaker, music executive and all around wonderful human being 0:00:16.040 --> 0:00:18.960 Lisa Cortes. In this episode, we're gonna talk about her 0:00:19.040 --> 0:00:22.680 new documentary Little Richard I Am Everything, which you should 0:00:22.680 --> 0:00:24.840 definitely check out because this is a great film and 0:00:24.880 --> 0:00:27.840 it is available on YouTube, Amazon Prime, wherever you rent, 0:00:27.840 --> 0:00:30.920 wherever you stream. Also, please listen to part one, where 0:00:30.920 --> 0:00:33.839 at Lista talks about growing up for early musical memories 0:00:33.840 --> 0:00:36.640 and also working at Deaf Drum Records at a very 0:00:36.680 --> 0:00:39.360 crucial time in its history. We love this compo, and 0:00:39.400 --> 0:00:42.200 we hope y'all do too. All right, Quest Love Supreme Peace. 0:00:45.360 --> 0:00:49.519 I always wanted to know since you were there around 0:00:49.720 --> 0:00:56.080 like eighty nine to ninety post Terodom, post Griff interview, 0:00:56.600 --> 0:00:59.000 there is like a really scary period where like some 0:00:59.080 --> 0:01:00.960 of us thart, like Deaf Jam was about to shut 0:01:01.040 --> 0:01:05.440 down during the entire you know, Griff interview Public Enemy. 0:01:06.040 --> 0:01:09.280 Things I remember, like seeing Chuck on Entertainment tonight. I 0:01:09.319 --> 0:01:11.480 think with tape over his mouth or had a like 0:01:11.560 --> 0:01:13.720 he sat for an interview but then like I'm not 0:01:13.920 --> 0:01:15.120 giving any comment or whatever. 0:01:15.600 --> 0:01:16.600 How weird was that period? 0:01:16.640 --> 0:01:19.400 Like, were you guys the type to embrace a controversy. 0:01:19.600 --> 0:01:22.600 Was it sort of like Dan the JDL might shut 0:01:22.640 --> 0:01:25.360 us down or that sort of thing, or did le 0:01:25.480 --> 0:01:27.360 or have to sort of get in front of the 0:01:27.400 --> 0:01:29.680 bullet did his thing? 0:01:29.880 --> 0:01:30.199 Okay? 0:01:30.319 --> 0:01:34.080 I think the Ladler has always been an important strategist 0:01:34.760 --> 0:01:39.200 in telling the true story of the artists and where 0:01:39.240 --> 0:01:42.360 they were coming from. Bill was a great interpreter. Who 0:01:42.400 --> 0:01:45.399 could call a guy trembay, who could you know, talk 0:01:45.440 --> 0:01:48.440 to all these different people to really give them the 0:01:48.480 --> 0:01:53.640 broader context of who this person is and what they're 0:01:53.680 --> 0:01:55.720 talking about, why they're talking about it. 0:01:56.600 --> 0:01:58.600 We got to get Bill ed on the show. Oh 0:01:58.680 --> 0:01:59.920 my gosh, it too. 0:02:00.720 --> 0:02:01.480 We got Lisa now. 0:02:01.520 --> 0:02:06.080 So yeah, are you doing contact with your Oh my gosh. 0:02:05.800 --> 0:02:07.080 Yes, Bill Ladler. 0:02:07.120 --> 0:02:10.480 I imagine y'all have Jamsey Williams, seasonal. 0:02:10.120 --> 0:02:17.720 Faith Smith, you know, even the deaf jam Soul songs artists. 0:02:17.720 --> 0:02:19.840 We had a little reunion, so. 0:02:19.760 --> 0:02:24.440 That's occasionally talked to. Did not know he was Puerto Rican. 0:02:25.120 --> 0:02:31.240 Orn Tay Shawn, Chuck Stanley and Alison Williams. Alison Williams 0:02:31.280 --> 0:02:34.560 and we went to Europe and I was the tour manager. 0:02:35.040 --> 0:02:37.160 It was one of those if it's Tuesday, it must 0:02:37.160 --> 0:02:39.840 be Belgium. Okay, if it's Wednesday, we got to get 0:02:39.840 --> 0:02:42.920 in the bus and get the Frankfurt. And that was 0:02:43.360 --> 0:02:48.440 Actually we had a reunion like two months ago, and 0:02:48.480 --> 0:02:51.320 even the band members, you know, we're all there. 0:02:51.760 --> 0:02:53.840 That's so full circle too, you said, Alison Williams. Then 0:02:53.880 --> 0:02:55.959 I thought about you with the Luther concert. Then I 0:02:56.000 --> 0:02:57.639 thought about Ramote, Harvey and. 0:02:57.600 --> 0:03:00.320 The whole I am. It's just it's a beautiful, circular 0:03:00.720 --> 0:03:03.399 kind of connection between all of y'all. That's beautiful. 0:03:03.720 --> 0:03:05.480 Why did we the ghost room my life? 0:03:06.040 --> 0:03:14.880 We would have been bffsed to, I believe. So, I mean, look, 0:03:15.040 --> 0:03:18.400 what made the deal irresistible was that, you know, most 0:03:18.520 --> 0:03:22.240 artists will the label will have options to instantly drop 0:03:22.400 --> 0:03:25.640 if they see the bands not fit. And we didn't 0:03:25.680 --> 0:03:28.400 even learn how to craft the song until our fourth album. 0:03:28.880 --> 0:03:31.919 So in this situation, the thing that brought us there 0:03:32.040 --> 0:03:35.160 was the fact that if you our contract was hooked 0:03:35.200 --> 0:03:38.040 up so that if you did album number one, they 0:03:38.080 --> 0:03:40.160 had to do two and three. If we did four, 0:03:40.360 --> 0:03:42.600 they had to do five and six. It was really 0:03:42.640 --> 0:03:45.040 the true reason why we've had seventeen albums under our 0:03:45.080 --> 0:03:48.000 belt because label trust me. There are many times where 0:03:48.360 --> 0:03:51.200 the label was like, get rid of it, damn another 0:03:51.240 --> 0:03:55.520 two records. And so that's that's the story. So why 0:03:55.520 --> 0:03:58.600 did you leave def Jam and what brought you to Mercury? 0:03:59.600 --> 0:04:05.280 Well, x Stein offered me a gig and then everybody 0:04:05.360 --> 0:04:09.000 did because people were afraid of Leora and Russell. But 0:04:09.040 --> 0:04:11.640 they were like, yo, ed off is talking to her. 0:04:11.720 --> 0:04:14.360 And then you know, I remember I met with Tommy 0:04:14.440 --> 0:04:19.480 Mottola and you know, and just like the whole gamut. 0:04:19.920 --> 0:04:22.440 And but I you know what I loved about ed 0:04:22.600 --> 0:04:25.760 and I still love is we grew up listening to 0:04:25.800 --> 0:04:28.120 all kinds of music, you know, because I got my 0:04:28.320 --> 0:04:31.080 you know, I can sing all the Stairway to Heaven 0:04:31.200 --> 0:04:34.360 and you know, Darkness on the Edge of Town Patty 0:04:34.440 --> 0:04:38.240 Smith and Nick Drake and you know, then do a 0:04:38.240 --> 0:04:42.680 little Brazilian lullaby with Sarah Vaugh and then drop into 0:04:42.680 --> 0:04:45.560 a Cumbia A multitudes. 0:04:46.200 --> 0:04:50.640 I think seems in love all day. She's talking about 0:04:50.680 --> 0:04:52.080 Darkness spixteen. 0:04:52.160 --> 0:04:54.520 Yeah, because there's a darkness on the edge of town. 0:04:55.240 --> 0:04:58.440 And so and Ed. You know, as the son of 0:04:58.440 --> 0:05:01.760 Billy x Stein growing up in California. He is a 0:05:01.960 --> 0:05:03.840 diverse He's a good one to talk. 0:05:04.279 --> 0:05:07.800 Talk to him. He's ready to go. Yeah. 0:05:07.920 --> 0:05:08.200 Yeah. 0:05:09.240 --> 0:05:11.920 And he said to me, Lisa, I said, and I 0:05:12.160 --> 0:05:14.080 don't know if I just want to do black music. 0:05:14.320 --> 0:05:17.360 He said, you can do whatever you want. And I 0:05:17.480 --> 0:05:21.680 knew that I would want to produce the cast recording 0:05:21.839 --> 0:05:23.960 of Jelly's Last cham which I did when I was 0:05:23.960 --> 0:05:28.440 there working with George Wolf. I did records with John Lucienne. 0:05:29.160 --> 0:05:32.480 You I just had loved so much, you know. And 0:05:32.520 --> 0:05:34.920 then on the flip side, I'm working with hip hop, 0:05:34.960 --> 0:05:38.640 I'm working with reggae. I worked with all kinds of music. 0:05:39.120 --> 0:05:39.320 You know. 0:05:39.440 --> 0:05:42.520 I was the person when Talking Loud came to the 0:05:42.600 --> 0:05:49.520 States because I was the person in Incognito Omar Young Disciples. 0:05:50.080 --> 0:05:52.440 So wait, were you the one that introduced. 0:05:53.960 --> 0:05:59.359 Might have wowse hip hop? Zeleig is now acid jazz. 0:06:00.760 --> 0:06:04.680 Literally, when Giles got the word that he lost us, 0:06:05.440 --> 0:06:08.400 he didn't take that line. He flew to Wendy was like, 0:06:08.680 --> 0:06:11.920 I still want and she let him do it because 0:06:11.920 --> 0:06:12.520 I used. 0:06:12.320 --> 0:06:14.039 To go to London and I was looped in with 0:06:14.120 --> 0:06:16.919 all those folks and I when they brought the Talking 0:06:16.960 --> 0:06:20.600 Loud label because of you know, it came to Mercury, 0:06:20.640 --> 0:06:22.640 and I was a person like, yes, I want to 0:06:22.680 --> 0:06:26.560 work with them, you know. I love what he was doing. 0:06:27.040 --> 0:06:29.320 And when even when I had my label, I was 0:06:29.360 --> 0:06:32.480 going to sign je Lisa Anderson and. 0:06:33.040 --> 0:06:36.000 Bobby birds stepdaughter or daughter. 0:06:36.360 --> 0:06:40.120 I think she's a cousin because Carleen is there is 0:06:40.160 --> 0:06:43.240 a daughter and she's a cousin Olisa. 0:06:43.360 --> 0:06:45.720 Oh shit, I worked on our record pressure. 0:06:46.279 --> 0:06:47.159 I was going to sign. 0:06:47.880 --> 0:06:49.839 This happens like once a week. Do you like? 0:06:49.920 --> 0:06:50.080 Oh? 0:06:50.120 --> 0:06:53.159 I played on her record. 0:06:53.440 --> 0:06:56.640 This is Do you have a lot of demos? 0:06:57.120 --> 0:06:59.480 I've worked on like five songs where her when we 0:06:59.480 --> 0:07:02.440 were living in London and never got to Me and 0:07:03.279 --> 0:07:07.000 the bass player of Jamaica Stewart, we worked on her 0:07:07.200 --> 0:07:09.000 record and it never came out. 0:07:09.480 --> 0:07:12.400 Well, it probably was for the UK label because I 0:07:12.480 --> 0:07:15.280 was going to sign her before my tragic again but 0:07:15.360 --> 0:07:15.840 we'll get to that. 0:07:15.920 --> 0:07:17.840 Oh yeah. 0:07:17.880 --> 0:07:19.800 So I was the point person for all the Talking 0:07:19.840 --> 0:07:21.600 Loud folks, so of course I knew, you know Moreen 0:07:21.640 --> 0:07:25.280 Spernstein and Jonathan doing Giant step and blah blah blah 0:07:25.320 --> 0:07:29.760 blah blah. And that was that, you know, I was 0:07:30.200 --> 0:07:34.680 so I love that Ed allowed me that space to 0:07:34.680 --> 0:07:40.080 connect with and try things out and really be able 0:07:40.240 --> 0:07:46.080 to broaden the scope of expression within black music, you know. 0:07:46.480 --> 0:07:53.120 And I worked with Angela Windbush Angela. Angela's not Angela, 0:07:53.200 --> 0:07:58.720 she's Angela. I thought it was Angelo, Okay, who is incredible. 0:07:59.240 --> 0:08:04.520 She is producer, songwriter, voice like an angel. 0:08:04.880 --> 0:08:07.120 You're in the studio with her or are you in? 0:08:08.680 --> 0:08:11.600 But she was married to Yeah. I went to their 0:08:11.800 --> 0:08:14.920 their Spaceship studio in California. 0:08:15.160 --> 0:08:18.120 Okay, I wanted to ask Lisa. You mentioned Larry Smith. 0:08:18.200 --> 0:08:22.000 He's just someone that we always just you know, very 0:08:22.040 --> 0:08:24.280 rare we get people that actually work with him. So like, 0:08:24.400 --> 0:08:26.400 what was he like in the studio? What was that 0:08:26.720 --> 0:08:29.160 relationship like working with him? Because he's just an unsung 0:08:29.480 --> 0:08:29.920 so it's. 0:08:29.920 --> 0:08:33.720 Me DEENI and you know, he had this whole connection 0:08:34.600 --> 0:08:40.280 to other UK artists because of Zomba multi instrumentalists and 0:08:41.480 --> 0:08:44.920 just and a peacemaker. Because you have to remember a 0:08:44.960 --> 0:08:47.600 lot of these artists are very young. This is all 0:08:47.720 --> 0:08:51.040 new that they had a way and a pace and 0:08:51.160 --> 0:08:54.720 Larry had come from where they had started, but he 0:08:54.760 --> 0:08:57.480 had traveled and he had had the hits, and he 0:08:57.679 --> 0:09:00.960 was really great talking to the artists and talking them 0:09:00.960 --> 0:09:04.120 down and cooling them out. And you know, it's funny. 0:09:04.280 --> 0:09:07.080 I ran into Paul Schaeffer, came to a screening of 0:09:07.600 --> 0:09:12.480 Little Richard over the weekend and Paul Schaeffer did a 0:09:12.880 --> 0:09:13.920 hip hop record. 0:09:13.600 --> 0:09:14.800 When My Radio is on. 0:09:16.320 --> 0:09:21.080 And Larry Smith produce that song he produced they know 0:09:21.200 --> 0:09:28.599 the album that has Will. Yeah, that's Larry didn't I 0:09:28.600 --> 0:09:30.880 didn't write songs. Might put that deal together, so you know. 0:09:30.880 --> 0:09:33.680 The world famous My first show was that Radio City 0:09:33.760 --> 0:09:39.400 Music Hall thing. So Dion of Dionna and the Belmont 0:09:39.640 --> 0:09:44.559 is also on the show and brings Paul Schafer out, 0:09:44.760 --> 0:09:48.160 who I guess obviously just released the single, and I 0:09:48.240 --> 0:09:51.880 remember like because Will and Jeff. 0:09:51.960 --> 0:09:54.559 Weren't there or whatever, and they wanted to do that song. 0:09:55.280 --> 0:09:58.120 And for half a second it's like they looked at 0:09:58.120 --> 0:10:01.760 my direction like, oh, do you know a rap like 0:10:01.840 --> 0:10:04.120 you know that sort of thing, and it was like, nah. 0:10:04.240 --> 0:10:07.600 I'm not doing that, but you orchestrated that song. 0:10:07.840 --> 0:10:12.440 Well that because it's a whole album with that Larry produces. Yeah, 0:10:12.480 --> 0:10:14.480 that let me just went out there. 0:10:14.600 --> 0:10:15.160 Let me be clear. 0:10:15.280 --> 0:10:16.280 Yes, it's a dou wop. 0:10:16.360 --> 0:10:18.959 It's like Dion of Dionna and the Bellmont's run around 0:10:19.000 --> 0:10:23.920 soon it's it's Deon is in Paul's mind. He's doing 0:10:23.960 --> 0:10:26.880 what boys the Men successfully did. He wanted to do 0:10:27.040 --> 0:10:30.200 a dou wop joint with hip hop modern, you know, 0:10:30.280 --> 0:10:32.240 and he's New York and you know, Paul was like 0:10:32.280 --> 0:10:36.240 a nerdy hip New Yorker type whatever, so he wanted 0:10:36.280 --> 0:10:39.240 to just a moogamate all that. And there was like 0:10:39.320 --> 0:10:42.960 a few performances where Jeff and Will and Dion and 0:10:43.080 --> 0:10:43.720 Paul Schafer. 0:10:45.000 --> 0:10:48.000 Yeah, well this was no. It's eighty nine, so it's 0:10:48.040 --> 0:10:50.000 like you don't say no to Paul Schafer. 0:10:50.200 --> 0:10:50.920 Yeah, the check was. 0:10:50.920 --> 0:10:54.400 Good, the opportunity, right, But you. 0:10:54.360 --> 0:10:57.800 Know it's also how they then get invited to go 0:10:57.840 --> 0:11:01.120 on David Letterman. The opportunity to tell us, yeah, that 0:11:01.320 --> 0:11:05.120 was that was like how it didn't just happen there. 0:11:05.160 --> 0:11:08.280 You know, all these people were resistant, you know, the 0:11:08.280 --> 0:11:09.760 way now that they want to have push a t 0:11:09.920 --> 0:11:12.280 on it whoever on the show. They didn't want to 0:11:12.320 --> 0:11:16.680 have these artists. They did not, you know, want that children, 0:11:16.840 --> 0:11:19.800 just like with Little Richard to be exposed. 0:11:21.040 --> 0:11:24.600 He produced that song, So like, how do you you 0:11:24.679 --> 0:11:28.640 became president of what was your highest position of mercury? 0:11:29.160 --> 0:11:30.400 I was Vpvynar. 0:11:30.960 --> 0:11:34.600 So for you in music, what do you deem like 0:11:34.679 --> 0:11:38.520 your three crowning achievements? Yeah, like I seedd this and 0:11:38.600 --> 0:11:43.600 blah blah blah happened? I like that song. 0:11:44.800 --> 0:11:48.280 When my radio? How do you all know this, Steve? 0:11:48.840 --> 0:11:50.600 Because I have taste? 0:11:52.320 --> 0:11:56.000 It wasn't look because we should look up? 0:11:56.080 --> 0:11:59.280 Wait because dad am I allowed to play this song 0:12:00.400 --> 0:12:01.040 talking about. 0:12:01.200 --> 0:12:04.559 Yeah, he gave you the things until he cuts things. 0:12:04.840 --> 0:12:06.520 Her answers, all, right, here we go. 0:12:06.520 --> 0:12:10.880 Ten seconds said yeah, ten seconds? Whose ten seconds? 0:12:11.240 --> 0:12:17.760 I got it? So that's ten seconds. That's ten seconds 0:12:19.200 --> 0:12:24.680 in the NFL. Well, this ship made mt V. Oh, 0:12:24.720 --> 0:12:28.280 this is definitely Larry Smith drum track. 0:12:29.960 --> 0:12:33.360 Straight from the Whodini's open Sesame sessions. 0:12:33.920 --> 0:12:36.680 But what is Paul Shaffer doing? 0:12:38.520 --> 0:12:39.560 Paul do you not know? 0:12:41.360 --> 0:12:47.600 In the song he's the DJ college Oh. 0:12:46.920 --> 0:12:48.600 I didn't even know that. Who DENI was a part 0:12:48.640 --> 0:12:48.800 of this. 0:12:49.559 --> 0:12:55.240 But you gotta understand, like in like Johnny Carson was 0:12:55.320 --> 0:12:56.480 just the standard of Late Night. 0:12:56.640 --> 0:12:59.959 I get it, and the lerman was like he was 0:13:00.320 --> 0:13:03.560 hip him and Paul are as nerdy as they were. 0:13:03.640 --> 0:13:06.520 They were like the cool guys that like not stuffy 0:13:06.640 --> 0:13:11.280 suit like Carson. So you know this, I mean, no 0:13:11.320 --> 0:13:14.160 one brought this ship and only nerd me. I'm the 0:13:14.160 --> 0:13:16.800 one person that knows this song, all right, So okay, 0:13:16.840 --> 0:13:21.640 I brought it. I'm sorry, go ahead, thank you. 0:13:21.600 --> 0:13:23.160 For giving me time. 0:13:23.679 --> 0:13:25.080 You see, how do so wait? 0:13:25.200 --> 0:13:26.760 Three achievements? 0:13:27.440 --> 0:13:32.280 Achievements or three magic moments that you got the witness 0:13:32.320 --> 0:13:34.640 because I'm very impressed about you being in the room 0:13:34.640 --> 0:13:35.400 with the Bomb Squad. 0:13:35.840 --> 0:13:41.840 Okay, so Bomb Squad and Ice Cube singing back up 0:13:42.679 --> 0:13:48.200 on the Lesson Zero soundtrack, the Danzig song and the 0:13:50.640 --> 0:13:54.839 Roy Orbison song who Fades Away a Danzig Lonely and 0:13:54.920 --> 0:13:59.080 Lesson Zero and Rick Rubin producers. Yeah, because you know, 0:13:59.160 --> 0:14:01.520 I had thoughts that I was going to be a singer. 0:14:01.640 --> 0:14:04.600 That's how I thought I could get a job in 0:14:04.640 --> 0:14:07.920 the music industry and get discovered. And I very quickly 0:14:08.000 --> 0:14:11.120 learned that it's not just about you got a great 0:14:11.280 --> 0:14:13.760 voice and you you know, have a look and a 0:14:13.800 --> 0:14:17.560 style and a vibe, but you also have the right label, 0:14:17.640 --> 0:14:20.440 you have the right manager. You have like all the 0:14:20.480 --> 0:14:23.560 stars have to line up and when I fell into 0:14:23.680 --> 0:14:28.200 this Motley family that was so exciting and all these 0:14:28.240 --> 0:14:32.320 different characters, and you know, in the office, you got 0:14:32.320 --> 0:14:35.840 bottles coming in, you got people smoking crack outside. You 0:14:35.920 --> 0:14:39.520 got like it was craziness. And I was like, I 0:14:39.600 --> 0:14:41.560 can do the art, but I can also do the 0:14:41.600 --> 0:14:45.480 commerce and I can be an advocate. And so I 0:14:45.600 --> 0:14:49.320 gave up the singing. But for some reason they needed 0:14:49.960 --> 0:14:53.040 a fourth voice, and I think I worked my way 0:14:53.080 --> 0:14:56.920 in to join. So I love that moment because we're 0:14:56.960 --> 0:15:02.560 not credited on those two songs, but it's Chuck Stanley, Allison, myself, 0:15:03.120 --> 0:15:05.040 and I think Tayshawn might have been singing. 0:15:05.280 --> 0:15:05.760 Yeah. 0:15:06.000 --> 0:15:15.760 Really, So when did you, in your mind leave the 0:15:15.840 --> 0:15:16.640 music industry? 0:15:17.240 --> 0:15:21.480 So I started this label after several years at Mercury, 0:15:21.960 --> 0:15:26.200 I was going to go to another label. So my 0:15:26.320 --> 0:15:30.080 label was called Loose Cannon. Yeah, And it was very 0:15:30.200 --> 0:15:35.000 challenging to have a small boutique label, struggling to have 0:15:35.040 --> 0:15:37.640 the promotion. People take your records out because you know, 0:15:37.760 --> 0:15:41.120 you become second and third. And I had like my 0:15:41.240 --> 0:15:44.600 little team and we're doing our own you know, street 0:15:44.680 --> 0:15:48.960 team and blah dah blah, and I just hit the 0:15:48.960 --> 0:15:55.520 glass ceiling. I hit the ceiling and I ultimately left. 0:15:55.880 --> 0:16:01.280 I took action for gender and racial discrimination. I was 0:16:01.320 --> 0:16:05.000 the only woman in this worldwide company, and I didn't 0:16:05.040 --> 0:16:09.120 have the same opportunities that I saw people around me 0:16:09.160 --> 0:16:12.440 who were failing but going up, and you know I 0:16:12.440 --> 0:16:16.480 and it was for my parents, because my parents were 0:16:16.600 --> 0:16:20.640 so about we're not you know, like we as black 0:16:20.720 --> 0:16:24.920 people have to stand up for injustices, not only for ourselves, 0:16:25.200 --> 0:16:29.320 to be example for others, you know that, and not 0:16:29.360 --> 0:16:32.440 only them, but their grand their parents, my grand you know, 0:16:32.520 --> 0:16:36.520 they like I come from people who just were always 0:16:37.120 --> 0:16:41.240 fighting to and not accepting and finding, you know, trying 0:16:41.240 --> 0:16:44.960 to bring community forward. So I left and I didn't 0:16:44.960 --> 0:16:47.760 listen to music for six months, and. 0:16:48.760 --> 0:16:52.000 You established this label and established I. 0:16:52.000 --> 0:16:55.520 Did the Till Shiloh record with Boujeoux, but and you know, 0:16:55.680 --> 0:16:58.960 I'm I like all different shit. I put out a 0:16:59.160 --> 0:17:03.760 folk group of Aboriginal women from Australia called Tittus. I 0:17:03.920 --> 0:17:04.840 put out. 0:17:04.760 --> 0:17:11.320 Titties titt I want to buy that record that on 0:17:11.359 --> 0:17:18.040 Spotify was that. 0:17:17.560 --> 0:17:19.399 I would actually play your own song if you had 0:17:19.400 --> 0:17:21.160 a song, you gotta make yourself a song. 0:17:21.680 --> 0:17:24.480 Do you have to make a titty record? And I'll 0:17:24.520 --> 0:17:28.280 say background made, I'll come out, I'll come out of retirement. 0:17:28.800 --> 0:17:32.200 I gotta have titties. 0:17:32.200 --> 0:17:35.440 The musicales the musical. 0:17:36.760 --> 0:17:45.560 He t I D d y Okay Australian Aboriginal now. 0:17:45.200 --> 0:17:48.199 Okay, just so that I not feel like I'm not crazy, 0:17:48.400 --> 0:17:50.679 Like there is definitely a discussion on like, guys, are 0:17:50.680 --> 0:17:52.040 you sure this is the name that you want to 0:17:52.040 --> 0:17:52.840 go by? 0:17:54.800 --> 0:17:56.440 Aboriginal nipples? 0:17:56.560 --> 0:18:01.600 They changed from nipple that was, and then they. 0:18:01.520 --> 0:18:05.840 Tried but that didn't. 0:18:06.280 --> 0:18:09.639 This is why you're you're so quick? Okay. I love it. 0:18:09.880 --> 0:18:13.159 I love till Shiloh. It's a record I'm incredibly proud of. 0:18:13.640 --> 0:18:18.960 But I also did the I reissued Red Fox and 0:18:19.520 --> 0:18:22.480 Richard Pryor all those early comedy. 0:18:22.119 --> 0:18:25.480 Records records they had been on. Laugh that's you, yes, 0:18:25.840 --> 0:18:26.640 the reason for this. 0:18:26.720 --> 0:18:30.280 Yeah, and so I got that catalog. I got people 0:18:30.320 --> 0:18:32.960 like Walter Moseley to write the liner notes. 0:18:35.200 --> 0:18:42.320 Come on, people don't even know about they he. 0:18:42.000 --> 0:18:45.200 And so yeah, so boom, chapter close. I'm not listening 0:18:45.240 --> 0:18:46.640 to music. What do you do? 0:18:47.280 --> 0:18:48.360 You go to India? 0:18:48.720 --> 0:18:49.320 So I went. 0:18:51.480 --> 0:18:52.040 In India. 0:18:53.480 --> 0:18:57.360 Well, I just I wanted to get away from everything, 0:18:58.040 --> 0:19:01.200 to figure out what was gonna being next, and why 0:19:01.240 --> 0:19:02.800 not go to a place where I was going to 0:19:02.880 --> 0:19:03.480 be challenged? 0:19:03.560 --> 0:19:04.960 And what year was this for you, Lisen? 0:19:05.119 --> 0:19:07.000 This is nineteen ninety seven. 0:19:06.960 --> 0:19:08.840 Okay, after the movie, before the movie. 0:19:09.520 --> 0:19:13.240 This was before the movie. Yes, And I didn't really 0:19:13.280 --> 0:19:13.960 eat that much. 0:19:14.040 --> 0:19:15.480 I was I was afraid to eat. 0:19:15.840 --> 0:19:17.240 I'm like, I don't know, I'm just gonna be a 0:19:17.320 --> 0:19:22.160 vegetarian for three mouths. But I was traveling and just 0:19:22.320 --> 0:19:25.919 like reading books by local, you know, Indian authors like 0:19:26.119 --> 0:19:31.000 Mystery and Salomon Rushdie, and hanging out with tabola players 0:19:31.040 --> 0:19:35.320 and Varanasi and just like doing yoga and going to 0:19:35.359 --> 0:19:39.080 the beach and you know whatever. And I went to 0:19:39.119 --> 0:19:41.520 a movie theater. When I was in the middle of 0:19:41.600 --> 0:19:45.600 watching this film, I realized, like, I want to make movies. 0:19:45.960 --> 0:19:50.040 And I had studied film as an undergrad, and I 0:19:50.160 --> 0:19:54.600 just saw that film gave me a bigger platform to communicate. 0:19:55.160 --> 0:19:57.119 And even if you watch a little Richard and you 0:19:57.160 --> 0:20:00.440 don't understand language, you're going to see the this roller 0:20:00.440 --> 0:20:03.960 coaster ride he goes on, You're going to have a 0:20:04.040 --> 0:20:07.680 sense of how his music affected people. You're going to 0:20:07.720 --> 0:20:11.919 see his legacy. And so film then became my next 0:20:12.400 --> 0:20:14.520 kind of place to go to. I came back to 0:20:14.600 --> 0:20:17.320 New York. I took a production class at New York 0:20:17.320 --> 0:20:21.160 Film Academy. I started volunteering. I started from ground zero, 0:20:21.520 --> 0:20:23.640 and I just did the hustle, you know. I worked 0:20:23.680 --> 0:20:26.280 at Urban World Film Festival. I put the panels together, 0:20:26.600 --> 0:20:29.159 I met people. I went to the Toronto Film Festival. 0:20:29.200 --> 0:20:31.800 I would watch four films a day. I would go 0:20:31.880 --> 0:20:35.280 meet directors, I would volunteer. I would use my music 0:20:35.320 --> 0:20:39.320 background and try to help people out. And then finally, 0:20:39.359 --> 0:20:41.720 one day I got a call from someone I had 0:20:41.760 --> 0:20:45.760 known for many years, and he said, I'm going to 0:20:45.840 --> 0:20:48.679 New Orleans to make a movie. Would you like to 0:20:48.680 --> 0:20:52.320 come and work for me and also for the director? 0:20:52.920 --> 0:20:57.320 And that was Lee Daniels and that was Monster's Ball. 0:20:58.200 --> 0:21:03.440 Oh you said go to New Orleans. I immediately thought. 0:21:03.440 --> 0:21:05.480 My first thought was about it by Master F I was. 0:21:07.160 --> 0:21:09.280 I was so hoping whatever you worked on about it? 0:21:11.119 --> 0:21:15.440 But Lee Davis school too, you know, in the metaverse, maybe. 0:21:15.200 --> 0:21:17.000 I did you know what I'm saying, I could totally 0:21:17.040 --> 0:21:20.920 see you fitting in with Master V and I so would. 0:21:21.240 --> 0:21:23.359 I mean like I would just I would love to 0:21:23.400 --> 0:21:26.800 be there because I love these these people who are 0:21:26.960 --> 0:21:31.760 entrepreneurs who are and are pulling, you know, from a 0:21:31.840 --> 0:21:34.719 space and at the same time moving culture forward. 0:21:34.960 --> 0:21:37.320 But that was the Oscar winner. What were you experiences like? 0:21:37.760 --> 0:21:38.840 So it was. 0:21:39.160 --> 0:21:45.080 Really fantastic because Lee, so I'm insisting him. I'm assisting 0:21:45.160 --> 0:21:49.440 Mark Forrester the director, and I would do the famous 0:21:49.880 --> 0:21:54.440 drive to take our talent up to the place where 0:21:54.480 --> 0:21:57.600 we shot all the andla. 0:21:58.480 --> 0:21:59.880 So he's most was three hours. 0:22:00.520 --> 0:22:03.400 Oh well, because I had worked with Most in the 0:22:03.440 --> 0:22:07.399 interim years and I had done with Danny Hasten's a 0:22:07.560 --> 0:22:12.720 video for Most. I had done Most and Tali Quali ePK, 0:22:13.760 --> 0:22:16.280 you know, And I said to I told Lee about Most. 0:22:16.400 --> 0:22:18.159 I was like, I love him and he's great and 0:22:18.200 --> 0:22:21.760 he can act. Also Banam Badah part one then part two. 0:22:22.000 --> 0:22:24.359 I would have to take the talent to Angola. So 0:22:24.400 --> 0:22:26.800 we were all in New Orleans and we knew we 0:22:26.800 --> 0:22:28.800 were going to go there at one point to shoot 0:22:28.880 --> 0:22:31.840 some of the scenes there. So I remember like driving, 0:22:32.119 --> 0:22:34.879 you know, the hour and a half with each way 0:22:35.080 --> 0:22:38.040 with Heath Ledger and talking about life and books and whatever. 0:22:38.400 --> 0:22:40.520 And then you go and you tour this place, that 0:22:41.400 --> 0:22:46.280 former plantation still a plantation, and you know, seeing the 0:22:46.359 --> 0:22:50.199 actual room that they execute people in and then the 0:22:50.320 --> 0:22:53.680 drive back home in that conversation. So I spent a 0:22:53.720 --> 0:22:57.000 lot of time with the talent, but I also started 0:22:57.000 --> 0:23:02.880 spending time with the DP, with the accountant, with wardrobe 0:23:03.280 --> 0:23:11.679 and understanding like what they did and scheduling and lead 0:23:11.720 --> 0:23:14.320 like gave me that space to go and learn. So 0:23:14.400 --> 0:23:18.159 I had my little indie knowledge, but I also have 0:23:18.560 --> 0:23:21.359 arts and crafts knowledge. My mother was really big about 0:23:21.400 --> 0:23:24.440 making things. I like to make things, whether it's a 0:23:24.480 --> 0:23:28.800 record or a movie or a documentary. I get a 0:23:28.840 --> 0:23:31.080 lot of joy with all the people I get to 0:23:31.160 --> 0:23:36.120 work with and the assembly of it. And so that 0:23:36.240 --> 0:23:40.680 opportunity allowed me to have that access. And and you know, 0:23:40.840 --> 0:23:44.560 that was a low budget film, you know, Holly, but 0:23:44.600 --> 0:23:46.960 it was. There's so many funny, crazy stories. 0:23:47.000 --> 0:23:48.719 Can I ask what was the budget for it? 0:23:48.720 --> 0:23:51.040 It's like around three three point five million. 0:23:51.200 --> 0:23:54.040 Oh, y'all had to really cut corners and so nothing. 0:23:55.480 --> 0:23:59.240 And you know, it's it's interesting because originally Wes Bentley 0:23:59.400 --> 0:24:02.640 was supposed to play the lead and then Wes Bentley 0:24:03.200 --> 0:24:06.679 kind of went off the rails, disappeared and Heath Ledger 0:24:06.840 --> 0:24:14.560 was huge, but like we had, Yeah, so we had 0:24:14.560 --> 0:24:17.399 to convince them that that Heath Ledger could do this 0:24:17.440 --> 0:24:20.280 because he didn't have a Southern accent, and we got 0:24:20.359 --> 0:24:22.639 him this. I did like I had my own little 0:24:22.720 --> 0:24:26.320 mixing a dialogue coach, and then I had to splice. 0:24:26.400 --> 0:24:28.800 I had to play from cassette to cassette to make 0:24:28.880 --> 0:24:31.679 something that would sound good to So it was a 0:24:31.680 --> 0:24:34.040 lot of fun. It was very interesting. Getting to live 0:24:34.080 --> 0:24:37.160 in New Orleans was fantastic job. 0:24:37.520 --> 0:24:40.040 Keep it light on the set because it was so heavy, like, 0:24:40.200 --> 0:24:41.680 you know, a lot of love. 0:24:41.480 --> 0:24:43.679 A lot of care, a lot of taking care of people, 0:24:45.600 --> 0:24:51.119 you know, mama, but but also you know Mark Fordster. 0:24:51.200 --> 0:24:54.720 It is his second film, and he just is a 0:24:54.760 --> 0:24:59.080 brilliant director, very loving and caring, you know, creating that 0:24:59.160 --> 0:25:02.240 safe space have the right people, like you know, when 0:25:02.280 --> 0:25:07.040 you're doing certain scenes, you don't have everybody standing around, 0:25:06.680 --> 0:25:10.240 you do last looks and then everybody's out and you 0:25:10.320 --> 0:25:13.560 have to give them that privacy to go to some 0:25:13.600 --> 0:25:18.199 really deep, emotional, vulnerable places. But nobody thought that that 0:25:18.359 --> 0:25:21.000 film was going to do what it did, that halle 0:25:21.080 --> 0:25:23.639 Berry would win the Academy Award, that it would go 0:25:23.680 --> 0:25:26.120 on to make over thirty million dollars for a three 0:25:26.160 --> 0:25:31.520 million dollar film. But what happened is Lee's like Miyon's Gate. 0:25:31.560 --> 0:25:33.680 They made all the money. I'm not making any money. 0:25:34.119 --> 0:25:36.399 I'm going to take Lee Daniels Entertainment that had been 0:25:36.440 --> 0:25:41.240 a management company. Lee had represented Michael Shannon, Marina Baker, 0:25:41.359 --> 0:25:46.239 and Wes Bentley. He represented all this great talent and 0:25:46.280 --> 0:25:50.080 he said, let's start Lee Daniels Entertainment as a production company. 0:25:50.359 --> 0:25:53.320 So the first film that we then did on our own, 0:25:53.800 --> 0:25:57.679 which was very hip hop, was The Woodsman Kevin Bacon. 0:25:58.200 --> 0:26:00.800 So that's when I then moved to phill Dai to 0:26:00.920 --> 0:26:04.639 then make two films there. I'm a two one five a. 0:26:04.840 --> 0:26:05.960 Day girl all day. 0:26:06.080 --> 0:26:08.480 Yeah, yeah, that Cuba Good and Junior Joint that was 0:26:08.480 --> 0:26:11.359 my shadow box was Joint. 0:26:11.400 --> 0:26:11.879 That's the best I. 0:26:12.000 --> 0:26:15.880 Ever I really liked, and most stuff you know, He's 0:26:15.880 --> 0:26:18.960 in that also and Dave all and Greer and Eve. 0:26:19.359 --> 0:26:21.200 So that was the other thing we always wanted to 0:26:21.240 --> 0:26:25.359 be mixed up. Yeah, the music and and making it 0:26:25.480 --> 0:26:29.200 interesting with the casting. And with those films, we found 0:26:29.240 --> 0:26:32.840 the scripts, we developed them, we found the internet, you know, 0:26:32.960 --> 0:26:36.560 our our investors, we did our pre sales, we did 0:26:36.560 --> 0:26:39.919 the production, all the deals, and then the you know 0:26:40.080 --> 0:26:43.520 post and then bringing it to a festival and delivery. 0:26:43.640 --> 0:26:45.920 And in the beginning it was Lee, a guy named 0:26:45.960 --> 0:26:50.679 Dave Robinson who did international sales, and myself and you know, 0:26:51.240 --> 0:26:53.600 we were doing material that other people were not all 0:26:53.600 --> 0:26:57.439 looking at. And after shadow Boxer with Helen Mirren and 0:26:57.520 --> 0:27:04.119 Joseph Gordon Levin, Monique Cuba Gooding Jr. That's when Sapphire, 0:27:04.280 --> 0:27:06.760 who we had been chasing for years, gave us the 0:27:06.880 --> 0:27:09.320 option to push. 0:27:09.720 --> 0:27:12.720 What took it so long that it was a struggle 0:27:12.760 --> 0:27:14.880 to nail that deal down. 0:27:15.200 --> 0:27:18.199 She just was protective of who to give her work to. 0:27:18.320 --> 0:27:20.080 I know she had been chased when the book first 0:27:20.080 --> 0:27:23.000 came out by Madonna, who had wanted to tell it right. 0:27:23.160 --> 0:27:25.960 She directly called her and was like, all I know. 0:27:25.920 --> 0:27:29.960 Is that she wanted to option the material. Yeah, and 0:27:30.920 --> 0:27:33.399 we showed a shadow Boxer and she said, Yo, you 0:27:33.440 --> 0:27:36.359 guys are afraid to go there because she remember in 0:27:36.359 --> 0:27:39.679 the film there's Helen Maren who was an assassin and 0:27:39.720 --> 0:27:44.000 she carries off hits with her step son K Gooding Jr. 0:27:44.000 --> 0:27:44.960 Who's also her lover. 0:27:46.119 --> 0:27:48.560 I read the script and I was blown away. 0:27:48.560 --> 0:27:50.200 So when I saw the vision when it got done, 0:27:50.240 --> 0:27:52.440 I was like, Yo, it's really one of my favorite films. 0:27:52.440 --> 0:27:54.199 I'm sorry, I'm so hype about it, but it was 0:27:54.240 --> 0:27:55.000 just a mind blower. 0:27:55.280 --> 0:28:01.680 In doing the Apollo Theater documentary, where is the Apollos 0:28:01.960 --> 0:28:04.320 their footage of I would have thought they would have 0:28:04.320 --> 0:28:09.080 had more footage at least between their early years in 0:28:09.119 --> 0:28:13.320 the forties and up until the mid seventies. They never 0:28:13.480 --> 0:28:15.880 recorded or documented those shows at all. 0:28:16.359 --> 0:28:22.239 There's very few shows that were that were captured, and 0:28:22.640 --> 0:28:25.040 I mean, I've become like a you know, a big 0:28:25.200 --> 0:28:29.199 archival person. And luckily on that show, there was a 0:28:29.400 --> 0:28:32.000 Jerry I forgot Jerry's name, who had worked with Percy 0:28:32.040 --> 0:28:36.440 when Percy took over and did the remodeling, and Jerry 0:28:36.480 --> 0:28:38.680 lives in Yonkers, and I went to his house and 0:28:38.720 --> 0:28:42.120 we crawled through the basement and he had those beautiful 0:28:42.160 --> 0:28:47.760 tapes of the renovation and the reveal because Percy tried 0:28:47.800 --> 0:28:51.200 to have a multimedia center, so he had he started taping. 0:28:51.520 --> 0:28:54.040 And that's also the onslite of you know, showtime at 0:28:54.040 --> 0:28:56.960 the Apollo. But you know, I mean, I would have 0:28:57.000 --> 0:28:59.120 loved to have seen when in the Motown review was there, 0:28:59.240 --> 0:29:02.720 and so many of those incredible classic moments but it 0:29:02.760 --> 0:29:05.360 didn't exist, you know. And you know, I think the 0:29:05.440 --> 0:29:11.520 thing about documenting Black stories is that oftentimes our archival 0:29:11.760 --> 0:29:14.800 has been lost because we had to leave our homes 0:29:14.880 --> 0:29:17.200 in the middle of the night and escape, or our 0:29:17.240 --> 0:29:20.480 homes got burnt down, or you know, the flood came, 0:29:21.000 --> 0:29:21.640 like you know. 0:29:22.080 --> 0:29:25.040 Or we're just not sentimental. Well maybe that's a lot 0:29:25.080 --> 0:29:25.880 I get. 0:29:27.320 --> 0:29:31.760 Doctor willi Is literally blew up the Soul Trained stage 0:29:31.800 --> 0:29:33.920 and everything the science because he didn't he didn't want 0:29:33.920 --> 0:29:36.760 to pay for storage. 0:29:36.760 --> 0:29:38.840 So he was like get rid of it all. 0:29:38.880 --> 0:29:42.120 So they had to like crush it and like literally 0:29:42.160 --> 0:29:43.000 his entire history. 0:29:43.000 --> 0:29:43.560 He didn't care. 0:29:43.760 --> 0:29:46.600 Yeah, and the value of black cultural product and black 0:29:46.640 --> 0:29:51.400 cultural archival is is really important to me because as 0:29:51.840 --> 0:29:54.360 I tell these stories, as you tell the stories you're doing, 0:29:54.720 --> 0:29:56.800 we want to bring people back to that moment. We 0:29:56.880 --> 0:29:58.920 just don't want a bunch of contemporary people saying it 0:29:58.960 --> 0:30:00.920 was like this, It was like that. No, we wanted 0:30:00.960 --> 0:30:03.200 to be immersive and we want you to see and 0:30:03.280 --> 0:30:06.320 feel and get a sense of the journey that we're on. 0:30:06.760 --> 0:30:09.000 We were talking outside before we started taping. 0:30:09.280 --> 0:30:12.680 You said this documentary, the Little Richard doc about two 0:30:12.720 --> 0:30:15.680 years working on what was the hardest part. Like what 0:30:15.800 --> 0:30:17.840 was I guess the biggest kind of the bottleneck that 0:30:18.000 --> 0:30:18.720 took the most time. 0:30:19.280 --> 0:30:21.920 Well, you know, we have this great partner, CNN Films, 0:30:21.960 --> 0:30:23.880 and when you do a film from them, it's ninety 0:30:23.880 --> 0:30:28.360 eight minutes, ninety seven and one hundred and one. Because 0:30:28.400 --> 0:30:29.960 I kind of go like, we can it be one 0:30:30.040 --> 0:30:33.160 hundred and one? No, So you know, like when you 0:30:33.240 --> 0:30:36.560 got to back into that time, there's things that have 0:30:36.680 --> 0:30:40.000 to fall out. For me, I wanted to talk a 0:30:40.040 --> 0:30:43.600 little bit more in the film about the Shenanigans of 0:30:43.880 --> 0:30:46.640 the music business, how it is that you can sign 0:30:46.680 --> 0:30:50.760 someone and take everything and that they don't see. Yeah, 0:30:51.120 --> 0:30:53.640 but as I like to say, I had to stay 0:30:53.640 --> 0:30:56.600 on ninety five and not get off on exit five, 0:30:56.920 --> 0:30:59.840 you know, because that would have taken us too long. 0:31:00.040 --> 0:31:01.160 Our run time is. 0:31:01.120 --> 0:31:04.760 This because they for broadcast purposes, you had to fit. 0:31:04.920 --> 0:31:07.200 Yeah, that's their broadcast standard. 0:31:07.320 --> 0:31:10.280 I was under the impression, and I believe that he 0:31:10.800 --> 0:31:15.040 said this, that Michael Jackson at V gave him his 0:31:15.200 --> 0:31:15.720 rights back. 0:31:16.000 --> 0:31:18.880 So that's why John Branca is in the film. That's 0:31:18.880 --> 0:31:22.719 why I interviewed him. Because John Branco, of course had 0:31:22.760 --> 0:31:26.920 the relationship with Richard when Richard officiated at his marriage 0:31:27.200 --> 0:31:30.600 that Michael Jackson was and Bubbles were best men at 0:31:30.680 --> 0:31:33.240 for John Branca. There are pictures. 0:31:38.360 --> 0:31:39.800 I just got maritate that. 0:31:41.560 --> 0:31:41.880 Google. 0:31:42.320 --> 0:31:44.320 Yes, it's the craziest picture. 0:31:46.520 --> 0:31:50.040 Really. Yes. 0:31:50.280 --> 0:31:53.440 And so Bronca, who you know, was Michael Jackson's attorney 0:31:53.480 --> 0:31:56.720 and is still involved in the estate. I interviewed him 0:31:57.280 --> 0:32:01.360 not only about that moment, but because when Richard protested 0:32:01.360 --> 0:32:05.760 at ATV Music for his royalties and then Michael Jackson 0:32:05.840 --> 0:32:10.440 bought the catalog. So in his books, in his autobiography, 0:32:10.920 --> 0:32:13.200 Richard goes, oh, yeah, Michael gave me money. But I 0:32:13.280 --> 0:32:16.880 learned very early on making this film that a lot 0:32:16.920 --> 0:32:20.360 of things that Richard said, you know, were not completely true. 0:32:20.760 --> 0:32:23.560 So I was like, okay, John Marica, you were there, 0:32:23.600 --> 0:32:26.440 you were there all the time. Did Michael Jackson give 0:32:26.640 --> 0:32:29.880 Little Richard money? And yes he did. I should have 0:32:29.920 --> 0:32:33.480 asked him about sly Stone and Doris Day because maybe 0:32:33.480 --> 0:32:38.360 he would have known about We could confirm, you know, 0:32:38.520 --> 0:32:41.480 his h that Michael Jackson felt really bad, and he 0:32:41.520 --> 0:32:42.960 did he gave him some bucks. 0:32:43.280 --> 0:32:47.760 In your opinion, like, what was your mission statement in 0:32:47.920 --> 0:32:52.800 doing Little Richard's story, Because there's so much to uncover 0:32:53.440 --> 0:32:56.840 as an artist, as a human being, as a pop 0:32:56.880 --> 0:32:59.840 culture figure, Like, what was your mission statement at like 0:33:00.600 --> 0:33:04.440 before day one? I'm going to when people watch this, 0:33:04.640 --> 0:33:06.360 they are going to blank. 0:33:07.000 --> 0:33:11.720 The thesis mission was Little Richard's an icon? Why is 0:33:11.760 --> 0:33:16.000 he an icon? Why is it that when he passed away, 0:33:17.040 --> 0:33:22.120 this wide range of people from Bob Dylan to Harry 0:33:22.120 --> 0:33:27.640 Allen to you know, Dave Grohl are talking to Bruce 0:33:27.680 --> 0:33:31.800 Bingston talking about how important he is. He's so, why 0:33:31.880 --> 0:33:35.800 is he an icon? Why does he matter? And if 0:33:35.840 --> 0:33:42.320 he is the innovator, the architect, what did it take 0:33:42.400 --> 0:33:48.800 to get there? Who is his fore mother, forefather? And 0:33:48.840 --> 0:33:53.920 how does blackness and queerness factor into a conversation about 0:33:54.160 --> 0:33:54.760 rock and roll? 0:33:54.840 --> 0:33:58.200 Oh my god, the black queer conversation that you start 0:33:58.280 --> 0:34:01.200 very early on in the movie. That was the initial 0:34:01.240 --> 0:34:05.040 thing that blew me away seeing black queer people, beautiful 0:34:05.080 --> 0:34:08.040 black queer people of that time because we don't see 0:34:08.080 --> 0:34:12.680 black and white photos of like trans people and what 0:34:12.760 --> 0:34:15.680 that meant. So after I saw the movie, I had 0:34:15.680 --> 0:34:17.640 a physical reaction, Like, I had so much of a 0:34:17.719 --> 0:34:19.839 reaction I had to like, I had to reach out 0:34:19.840 --> 0:34:22.280 to Lisa. Did you expect for us to not only 0:34:22.560 --> 0:34:26.240 be of course empathetic and sympathetic, but also pissed. 0:34:26.680 --> 0:34:29.239 I was mad at times. Towards the end. 0:34:29.280 --> 0:34:33.279 I got mad seeing like Mick Jacker and you know, 0:34:33.320 --> 0:34:35.560 the Paul McCartneys of it. I don't know, I got 0:34:35.600 --> 0:34:37.759 mad because I was like, I got mad when Little 0:34:37.800 --> 0:34:40.960 Richard said, you know, Elvis told me that it was 0:34:41.040 --> 0:34:43.400 if it wasn't for me, there would be no him. Basically, 0:34:44.239 --> 0:34:45.480 did you know that that was? 0:34:46.160 --> 0:34:48.200 I knew. I wanted it to be immersive, you know, 0:34:48.239 --> 0:34:50.799 because you can't just do Little Richard at shut up. 0:34:51.120 --> 0:34:54.680 You know, he's more than the one note comedic foil 0:34:55.160 --> 0:34:58.840 that he had it become on these talk shows. He 0:34:58.960 --> 0:35:03.440 is so deeply nuanced. And also he's this connector to 0:35:03.600 --> 0:35:07.280 the Beatles, to the Rolling Stones, to Jimmy Hendricks, James Brown. 0:35:07.840 --> 0:35:11.800 He brings him to making and that's where James cuts 0:35:11.920 --> 0:35:15.040 his first hit. And when Little Richard blows up at 0:35:15.040 --> 0:35:18.200 the same time and goes to Hollywood to be in 0:35:18.239 --> 0:35:21.040 these you know, rock and roll movies, he has James 0:35:21.080 --> 0:35:24.680 Brown got on the road as him because people didn't 0:35:24.680 --> 0:35:26.879 know what Little Richard looked like. So he's like, oh, 0:35:26.920 --> 0:35:29.800 you go out as me? You know he was Also 0:35:29.840 --> 0:35:33.840 he was so giving and has been there's been a 0:35:33.880 --> 0:35:38.759 lot of erasure about his contributions. So yeah, you gotta 0:35:38.840 --> 0:35:41.360 be you gotta feel moved by it. You got to 0:35:41.400 --> 0:35:43.360 be mad, and you have to say, you know what, 0:35:43.640 --> 0:35:48.480 we need to know our history and an inclusive history, 0:35:49.120 --> 0:35:52.280 a history that many people are trying to either negate 0:35:52.520 --> 0:35:58.000 or criminalize. And you know what, sorry, people, this is America. 0:35:58.520 --> 0:36:04.360 There's documentation of drag balls in DC in eighteen hundred. 0:36:04.960 --> 0:36:09.319 So don't come through now and say like, no, this 0:36:09.360 --> 0:36:10.439 has always been here. 0:36:15.320 --> 0:36:18.320 What is your hope, because I think this is probably 0:36:18.360 --> 0:36:21.680 the most compelling argument that one can happen again. I 0:36:21.760 --> 0:36:28.360 know that there's a big sort of divide between and 0:36:28.440 --> 0:36:31.520 really I'm not just saying conservative people. I'm being real 0:36:31.600 --> 0:36:35.560 like with conservative blacks, like would turn a blind eye 0:36:35.640 --> 0:36:36.560 to them or whatever. 0:36:36.719 --> 0:36:36.799 Like. 0:36:36.840 --> 0:36:41.640 It's very interesting even in watching like Soul Train a 0:36:41.719 --> 0:36:45.920 place where literally like you know that you know the 0:36:46.040 --> 0:36:50.920 LGBTQIA culture is, especially in the mid seventies and disco 0:36:50.920 --> 0:36:53.319 period and all that stuff. There's an artist from DC, 0:36:54.280 --> 0:36:58.000 a group named the Dynamic Superiors. They give one of 0:36:58.040 --> 0:37:01.120 the greatest performances I've ever seen on a show, but 0:37:01.280 --> 0:37:04.080 the lead singer is way beyond what we would call 0:37:04.160 --> 0:37:10.239 like flamboyant whatever like, and Don's reaction to him is 0:37:10.320 --> 0:37:13.160 it's it's clearly like I'm just going to act like 0:37:13.600 --> 0:37:14.080 you're not. 0:37:14.160 --> 0:37:16.560 There, like yeah, he got it. 0:37:16.840 --> 0:37:21.680 Yeah, it wasn't even it wasn't even like hostility, and 0:37:21.719 --> 0:37:24.839 it wasn't it was I've never even seen indifference, Like 0:37:25.920 --> 0:37:28.239 most people will just be like ignoring, like okay, like 0:37:28.320 --> 0:37:32.440 you're not there. But it's it's a level of conservatism 0:37:32.520 --> 0:37:36.440 that I can't even describe that Don does to him. 0:37:35.840 --> 0:37:38.520 Whereas like I'm clearly not going to acknowledge the. 0:37:38.719 --> 0:37:41.720 What I see here is what I feel I don't understand, 0:37:41.800 --> 0:37:43.840 so let me just act like it's not there. But 0:37:43.880 --> 0:37:47.840 I feel like this film could actually sort of open 0:37:49.320 --> 0:37:51.960 that door, Like is that for you? 0:37:52.040 --> 0:37:55.279 Like yeah, I think people learning this history, learning that 0:37:55.600 --> 0:37:59.040 you know the complexities of someone that most people really 0:37:59.080 --> 0:38:01.560 love little Richard, Like you know, you say little Richard 0:38:01.680 --> 0:38:05.480 like oh tooty fruity Lontel Sally, you people start shouting. 0:38:05.600 --> 0:38:06.520 Literally, I didn't know about that. 0:38:07.800 --> 0:38:10.160 I don't know what but you do. 0:38:10.280 --> 0:38:12.720 Now I have no doubt. 0:38:12.840 --> 0:38:16.319 And I went to Florida to screen it. I was like, God, 0:38:16.320 --> 0:38:18.000 I don't want to go to Florida. We know it's 0:38:18.040 --> 0:38:18.480 going on in. 0:38:18.560 --> 0:38:28.960 Florida, an even as we'll go to America's. 0:38:25.520 --> 0:38:27.719 It was the best thing. First of all, there's like 0:38:27.760 --> 0:38:30.400 all these older people who you know, they've got this 0:38:30.520 --> 0:38:33.480 memory of the routines and they saw him and they 0:38:33.520 --> 0:38:37.799 love this story and they embraced this story. They didn't go, oh, 0:38:37.840 --> 0:38:39.719 I like this part, but I don't like the queer part. 0:38:40.160 --> 0:38:42.719 And then I talked to the young people who were like, yeah, 0:38:42.760 --> 0:38:45.719 they want to take African American, you know, ap history out. 0:38:46.400 --> 0:38:50.920 And so what this film does, it's very corrective to 0:38:50.920 --> 0:38:55.440 to a history that has not included the multitudes that 0:38:55.560 --> 0:38:57.719 someone like a Richard contained. 0:38:57.880 --> 0:39:00.719 Do you think that he I mean, we accepted all 0:39:00.760 --> 0:39:03.760 of him. Do you think he accepted all of himself. 0:39:04.480 --> 0:39:06.840 I don't think so. I mean he's on such a 0:39:06.920 --> 0:39:07.480 roller coaster. 0:39:07.600 --> 0:39:11.480 And that part where you really go into the eighties 0:39:11.560 --> 0:39:14.080 version of him where we deny it, like that made 0:39:14.120 --> 0:39:17.440 me inherently sad. Yeah, yeah, like nothing sadder than a 0:39:17.480 --> 0:39:20.520 person that has to suffer as themselves or whatever. 0:39:20.719 --> 0:39:25.560 So have you screened it for anyone with the two 0:39:25.680 --> 0:39:27.759 on the far left digit of their birth year, like 0:39:27.840 --> 0:39:31.960 a millennials gen z. What is their reaction to it? 0:39:32.800 --> 0:39:36.400 They actually are like, oh, this isn't some old fogy stuff. 0:39:37.440 --> 0:39:39.600 They're all I think, I get a lot of where 0:39:39.640 --> 0:39:44.359 can I get a mirrored suit? I have that great 0:39:44.400 --> 0:39:47.840 fashion moment. But I think that you know, they like 0:39:47.920 --> 0:39:52.960 the music and they're they're really captivated by how his 0:39:53.080 --> 0:39:58.560 DNA went forth to artists like and how he paved away. 0:39:58.920 --> 0:40:03.080 You don't have saucy Santana, you don't have next, you 0:40:03.160 --> 0:40:03.880 don't have. 0:40:03.960 --> 0:40:06.040 Right, yes, a little. I was like, I wanted all 0:40:06.040 --> 0:40:08.040 of them in it. Actually at the end, towards the end, 0:40:08.239 --> 0:40:09.960 you start talking about. 0:40:09.080 --> 0:40:12.200 That, did they not want to? 0:40:12.600 --> 0:40:15.120 I called the people I always do charts when I'm 0:40:15.200 --> 0:40:19.200 directing films of you know, who's the family, who are 0:40:19.200 --> 0:40:23.719 the friends, who's the artists, and in this case, who 0:40:23.760 --> 0:40:28.080 are the incredible black and queer scholars who are not 0:40:28.320 --> 0:40:32.200 the usual history of rock and roll. I was very 0:40:32.239 --> 0:40:38.080 intentional in the academic voices who are narrating. 0:40:38.440 --> 0:40:44.080 I was really happy to see Sandre in it like she. 0:40:43.960 --> 0:40:47.760 I mean when she says, you know, it's not appropriation, 0:40:48.560 --> 0:40:53.680 it's obliteration. I was like, okay, everybody could go okay, 0:40:53.880 --> 0:40:57.080 you know what it's about, and like it tore him asunder. 0:40:57.920 --> 0:41:01.319 And I love that in this film we have that 0:41:01.440 --> 0:41:05.040 level of commentary because that's who we are. You know, 0:41:05.760 --> 0:41:08.680 we can we can be talking about we can deconstructuty 0:41:08.719 --> 0:41:13.040 fruity and you know Richard on the as Princess Levone 0:41:13.160 --> 0:41:15.439 as a drag queen, but we can also talk about 0:41:15.520 --> 0:41:20.800 a harm to our community because those are all apart. 0:41:21.080 --> 0:41:24.160 You know, if someone said to me, they'll take our rhythm, 0:41:24.200 --> 0:41:25.240 but they won't take. 0:41:26.840 --> 0:41:27.040 Right. 0:41:27.920 --> 0:41:30.359 And so to know little Richard, you know, you need 0:41:30.400 --> 0:41:32.480 to know the joy, but you also need to know 0:41:33.080 --> 0:41:37.640 the intense pain of him feeling invisible, feeling that all 0:41:37.680 --> 0:41:40.399 of his contributions and all these people he helped out 0:41:41.239 --> 0:41:44.080 are not there. Like when he's at the Otis Redding, 0:41:44.160 --> 0:41:47.440 he goes, I still sing, you can record with me, 0:41:47.719 --> 0:41:51.439 you know, call me, And and that is the part 0:41:51.440 --> 0:41:54.839 of the complexity of his journey that is more than 0:41:55.160 --> 0:41:56.799 oh I'm the bronze lie Barachi. 0:41:58.360 --> 0:41:59.719 You made us get to know him a little more. 0:41:59.719 --> 0:42:02.239 And I actually also kind of answered the conflict with it, 0:42:02.280 --> 0:42:04.440 I think all of us because it was like was 0:42:04.480 --> 0:42:07.920 he wasn't he Now I understand even his own personal 0:42:07.920 --> 0:42:11.000 conflict and why I felt that way because he was unsure. 0:42:11.320 --> 0:42:13.520 Yeah, yeah, yeah, I wish you would have known that. 0:42:13.520 --> 0:42:16.359 We would have loved him regardless, but thank you all. 0:42:16.480 --> 0:42:19.400 I definitely feel like it will help people now you 0:42:19.480 --> 0:42:22.279 really it's a beautiful film, like we we've. 0:42:22.440 --> 0:42:23.120 Super enjoyed it. 0:42:23.160 --> 0:42:24.680 The black dust, that's what I wanted to ask about. 0:42:24.719 --> 0:42:26.600 I'm sorry, what was the black dust in your mind 0:42:28.520 --> 0:42:29.360 throughout the movie? 0:42:29.560 --> 0:42:34.560 It's beautiful black dust sis energy. I believe he is elemental. 0:42:35.080 --> 0:42:39.399 He came from another planet. He's a super nova, and 0:42:39.520 --> 0:42:44.880 he arrived and unleashed this energy that we established in 0:42:44.920 --> 0:42:47.239 the beginning of the film, and it continues and it 0:42:47.320 --> 0:42:53.440 grows in specific places of innovation, of expansion, of creation 0:42:54.200 --> 0:42:58.040 and how the energy is him. And that was a 0:42:58.080 --> 0:43:01.799 great motif, you know, working with the editors, because I 0:43:01.840 --> 0:43:03.759 was like, how do we do it? How do we 0:43:03.800 --> 0:43:04.279 show this? 0:43:04.640 --> 0:43:04.840 You know? 0:43:05.600 --> 0:43:12.520 And sequences to the music, Yeah, how did you choose them? 0:43:12.960 --> 0:43:14.120 The reinterpreters of the song. 0:43:14.280 --> 0:43:17.279 So when I pitched this film, I always said I 0:43:17.320 --> 0:43:22.080 wanted to have dreamscapes. I love magic realism, and I 0:43:22.160 --> 0:43:26.560 wanted to have contemporary artists who are part of his legacy. 0:43:27.120 --> 0:43:29.759 You know, when I spoke to Valerie June, who does 0:43:29.760 --> 0:43:34.120 the Sister Rosetta tharp uh scene, I said sister and 0:43:34.160 --> 0:43:37.399 she said Rosetta. I mean, she just like completed good 0:43:37.760 --> 0:43:41.600 and she understood why Sister Rosetta is important to this. 0:43:42.280 --> 0:43:46.600 Corey Henry I adore, and Corey started in the church. 0:43:47.239 --> 0:43:50.960 Then he goes and you know, he does gospel, hip hop, 0:43:51.400 --> 0:43:55.720 jazz pop, and I just thought musically he could bring 0:43:55.800 --> 0:43:59.120 so much. He's such a he's so fantastic and Pastor 0:43:59.239 --> 0:44:01.960 Key that that is not a little Richard song. But 0:44:02.080 --> 0:44:05.319 I'm a big fan of John p Key and that's 0:44:05.360 --> 0:44:07.880 one of my favorite songs standing in Need of Prayer, 0:44:08.200 --> 0:44:12.760 and I thought it really spoke to how low Richard 0:44:13.000 --> 0:44:17.879 is when he has lost every everything and like the 0:44:17.960 --> 0:44:19.800 only thing he has is God. 0:44:20.280 --> 0:44:21.799 Was there convincing him to do it? 0:44:22.440 --> 0:44:22.560 No? 0:44:23.360 --> 0:44:24.240 Oh really, Okay. 0:44:24.400 --> 0:44:26.879 We've been talking for years about a project I want 0:44:26.880 --> 0:44:30.040 to do with him, Okay, And when I called and 0:44:30.080 --> 0:44:33.040 I told him what was about, he said yes, and 0:44:33.080 --> 0:44:37.000 he knew Richard and he was really helpful for us 0:44:37.040 --> 0:44:40.560 by even finding the church, et cetera. So you know, 0:44:40.640 --> 0:44:45.200 all of those artists are part of this desire to 0:44:45.280 --> 0:44:49.279 make this immersive and to be also in scenes that 0:44:49.560 --> 0:44:54.200 are part of portal's opening portals of possibility for Richard 0:44:54.239 --> 0:44:58.239 being seen by a sister Rosetta creating Tooty Fruity, and 0:44:58.320 --> 0:45:03.279 even the portal of I've lost everything and I'm now 0:45:03.320 --> 0:45:06.480 going back to the church. There, they're big emotional shifts 0:45:06.520 --> 0:45:06.879 for him. 0:45:07.600 --> 0:45:11.320 I hate to admit this, Fonte, but my actual introduction 0:45:11.400 --> 0:45:12.440 to John p Key. 0:45:14.320 --> 0:45:20.520 Crash, John Peakey, Oh wow. 0:45:20.760 --> 0:45:24.160 Well you know what, at least as we wrap up, 0:45:24.760 --> 0:45:28.239 I'm actually sitting here like in some sort of Paltrow 0:45:28.560 --> 0:45:30.720 esque sliding doors. 0:45:34.200 --> 0:45:34.960 I'm expansive. 0:45:35.520 --> 0:45:36.960 You are the expansivest. 0:45:37.120 --> 0:45:41.680 Just a forty eight hour decision changed the entire course 0:45:41.719 --> 0:45:46.960 of my life, of which I am extremely happy of 0:45:47.480 --> 0:45:50.000 my journey, especially in light of Okay, so. 0:45:50.080 --> 0:45:52.400 Yeah, I would have got seventeen albums on Death Jam Doug. 0:45:52.640 --> 0:45:56.200 Right, But even if that, I'm like, Okay, this is 0:45:56.200 --> 0:45:59.879 a tourist in the hair journey and was it better 0:45:59.920 --> 0:46:03.960 for me on my second album to sell seventeen million copies? 0:46:05.040 --> 0:46:07.320 And now you know, twenty twenty three, I'm going to 0:46:07.360 --> 0:46:08.960 jail for Sbiona. 0:46:08.760 --> 0:46:14.520 Wow or to be on this path. But now I'm like, damn. 0:46:14.960 --> 0:46:18.279 If I just signed in Mercury, I think I would 0:46:18.320 --> 0:46:22.120 have had an amazing ass relationship with Lisa Kurtez. 0:46:22.440 --> 0:46:23.600 Like it's never too late. 0:46:23.680 --> 0:46:26.320 I never had regrets, but I'm now trying to figure 0:46:26.320 --> 0:46:30.120 out what would have happened in my life if we 0:46:30.320 --> 0:46:32.759 just went through it and we had Lisa at the. 0:46:32.719 --> 0:46:35.440 Top of the pyraid could have been on Brian McKnight albums. 0:46:35.680 --> 0:46:37.279 Yeah you know what I mean. 0:46:38.080 --> 0:46:40.800 You would have met ralph raphaelsa earlier. 0:46:41.000 --> 0:46:41.560 Wow? 0:46:41.719 --> 0:46:45.880 Right? Oh oh yeah? Do you have a Latin quarter story? 0:46:46.680 --> 0:46:48.959 I survived a story? 0:46:49.160 --> 0:46:50.480 Oh so she? 0:46:50.520 --> 0:46:51.799 I mean she had to she had to go. 0:46:52.760 --> 0:46:55.279 No, I've had many hit the ground, hit the ground. 0:46:55.080 --> 0:46:55.719 Before we rap. 0:46:55.760 --> 0:46:57.200 I just want to say Lisa, because I said to 0:46:57.239 --> 0:46:58.680 Lisa after I watched this movie, Okay, so. 0:46:58.640 --> 0:47:00.880 Lisa, this was amazing. I don't know what you're going 0:47:00.960 --> 0:47:01.479 to do next. 0:47:01.560 --> 0:47:03.520 Can you just tell the folks the two projects that 0:47:03.560 --> 0:47:05.560 you got cooking that's going to be blowing their minds 0:47:05.600 --> 0:47:05.960 away too. 0:47:06.880 --> 0:47:10.560 So premiering at Rebecca, I have something called The Space Race. 0:47:11.000 --> 0:47:15.000 It is the story of Ed Dwight who almost became 0:47:15.080 --> 0:47:19.640 an astronaut black Man. But and it focuses on the shuttlemen, 0:47:20.200 --> 0:47:23.920 the black astronauts who in nineteen eighty three, Guy Blueford, 0:47:23.920 --> 0:47:28.279 Fred Gregory, Ron McNee, you go to space. But it's 0:47:28.280 --> 0:47:31.440 really about this community because it's also Victor Glover and 0:47:31.520 --> 0:47:37.880 Leland Melvin. It's about afrofuturism and black astronauts and moving 0:47:37.960 --> 0:47:40.919 things forward. So that's the space you're doing this. Yep, 0:47:40.920 --> 0:47:41.520 it's all done. 0:47:41.600 --> 0:47:44.080 I've got to get thunder Cat to do the score. 0:47:47.280 --> 0:47:53.240 Tomp is on it, so it's a good. Next one 0:47:53.600 --> 0:47:57.920 is The Empire of Ebony. It's a three part series 0:47:58.000 --> 0:48:03.040 on Eunice Johnson and I know somebody here as a 0:48:03.080 --> 0:48:05.120 collection of these maxaxines. 0:48:05.239 --> 0:48:07.560 I do I do? You know? 0:48:07.600 --> 0:48:10.480 At one point I was part of the board, so 0:48:10.960 --> 0:48:13.720 you know the moment. So they're doing the food version 0:48:13.719 --> 0:48:18.799 of the moment. And at one point we owned the 0:48:18.840 --> 0:48:19.680 Ebony Kitchen. 0:48:21.160 --> 0:48:22.399 We had to dismantle the. 0:48:22.360 --> 0:48:25.400 Board and you know, raise more money, so we had 0:48:25.400 --> 0:48:26.680 to sell our Ebony Kitchen. 0:48:26.719 --> 0:48:30.480 But literally they move it to me from the building when. 0:48:30.280 --> 0:48:34.440 We dismantled it, and very meticulous and we moved it 0:48:34.520 --> 0:48:37.040 to New York and set it up back in its 0:48:37.040 --> 0:48:40.600 original seventies sixties. 0:48:41.840 --> 0:48:46.799 Sort of like but yeah, man, I was, Yeah, it's 0:48:47.239 --> 0:48:51.080 you know, how do you build a media empire where 0:48:51.120 --> 0:48:54.080 in a space that did not exist? And how can 0:48:54.120 --> 0:48:57.480 you be a race man and a capitalists doing this? 0:48:58.600 --> 0:49:01.000 And then finally I'm eating a rate film coming out. 0:49:01.080 --> 0:49:05.560 The milk goes on forever, the art of David Hammond's 0:49:05.640 --> 0:49:09.480 and I produced The Invisible Beauty, which is the story 0:49:09.480 --> 0:49:14.400 of Beth and the model music activists. 0:49:14.400 --> 0:49:28.160 All right, so closing, can you give us a tale 0:49:28.200 --> 0:49:29.040 from the Latin quarter. 0:49:29.760 --> 0:49:32.640 The fucking Timbola ships so good every time. 0:49:32.760 --> 0:49:34.520 Well, it's like Mexican Colombia. 0:49:34.920 --> 0:49:37.120 Every there's some Kombea in it. I'm just saying. 0:49:37.239 --> 0:49:42.920 Anyway, moving, I remember going and having to hide in 0:49:42.960 --> 0:49:45.400 the bathroom and and that's all I'll say. 0:49:46.320 --> 0:49:48.920 I take the shift, ladies and gentlemen. That was tilt. 0:49:52.400 --> 0:50:02.520 I can't stop doing it. Thank you very much. I 0:50:02.560 --> 0:50:04.120 appreciate it. I apologize. 0:50:04.160 --> 0:50:08.880 And it took three decades for our BFF courtship to start, 0:50:08.920 --> 0:50:11.880 but no time like the president. 0:50:11.640 --> 0:50:15.600 Well, and congratulations to you, thank you. I feel like 0:50:15.840 --> 0:50:19.560 every Academy Awards we need to go back and give 0:50:19.600 --> 0:50:25.480 you guys, your award again properly. But the art, the 0:50:25.520 --> 0:50:29.680 work is there. So many people talk about the glorious 0:50:29.680 --> 0:50:32.960 summer soul. But thank you and you know, like and 0:50:33.080 --> 0:50:35.360 all the projects you. I want to come and interview 0:50:35.400 --> 0:50:38.319 and to hear you talk about all your films that 0:50:38.360 --> 0:50:39.640 you're doing like you're doing. 0:50:39.440 --> 0:50:41.600 The risk of talk about myself all the time. 0:50:41.680 --> 0:50:44.440 Yes, we don't. 0:50:44.640 --> 0:50:46.800 On the next Quest Love Supreme, Quest. 0:50:46.600 --> 0:50:50.160 Love, we don't do that. We are going to do that. 0:50:50.280 --> 0:50:51.400 Oh no, thank you. 0:50:54.239 --> 0:50:57.000 And Sugar Steve and I'm Big Bill and the Great 0:50:57.040 --> 0:51:02.400 Polsa Cortez Quest Love out cousin Jake and Brittany and 0:51:02.520 --> 0:51:07.600 also thank you again live live at cd M Studios 0:51:07.600 --> 0:51:08.239 in Manhattan. 0:51:08.440 --> 0:51:11.080 Thank you very much for hosting us. Count that money, 0:51:13.160 --> 0:51:14.439 that money, count that money. 0:51:15.640 --> 0:51:18.720 That's what that's that's go around. 0:51:27.480 --> 0:51:30.360 What's Love Supreme is a production of iHeart Radio. 0:51:33.760 --> 0:51:37.080 For more podcasts from iHeart Radio, visit the iHeart Radio app, 0:51:37.280 --> 0:51:40.360 Apple Podcasts, or wherever you listen to your favorite shows.