Speaker 1: Quest Love Supreme is a production of iHeartRadio. Yeo Yo Yo,
Speaker 1: What up y'all?
Speaker 2: This is Fonte Fonte Delo and we are back with
Speaker 2: part two of our New York City in Studio interview
Speaker 2: with filmmaker, music executive and all around wonderful human being
Speaker 2: Lisa Cortes. In this episode, we're gonna talk about her
Speaker 2: new documentary Little Richard I Am Everything, which you should
Speaker 2: definitely check out because this is a great film and
Speaker 2: it is available on YouTube, Amazon Prime, wherever you rent,
Speaker 2: wherever you stream. Also, please listen to part one, where
Speaker 2: at Lista talks about growing up for early musical memories
Speaker 2: and also working at Deaf Drum Records at a very
Speaker 2: crucial time in its history. We love this compo, and
Speaker 2: we hope y'all do too. All right, Quest Love Supreme Peace.
Speaker 3: I always wanted to know since you were there around
Speaker 3: like eighty nine to ninety post Terodom, post Griff interview,
Speaker 3: there is like a really scary period where like some
Speaker 3: of us thart, like Deaf Jam was about to shut
Speaker 3: down during the entire you know, Griff interview Public Enemy.
Speaker 3: Things I remember, like seeing Chuck on Entertainment tonight. I
Speaker 3: think with tape over his mouth or had a like
Speaker 3: he sat for an interview but then like I'm not
Speaker 3: giving any comment or whatever.
Speaker 1: How weird was that period?
Speaker 3: Like, were you guys the type to embrace a controversy.
Speaker 3: Was it sort of like Dan the JDL might shut
Speaker 3: us down or that sort of thing, or did le
Speaker 3: or have to sort of get in front of the
Speaker 3: bullet did his thing?
Speaker 1: Okay?
Speaker 4: I think the Ladler has always been an important strategist
Speaker 4: in telling the true story of the artists and where
Speaker 4: they were coming from. Bill was a great interpreter. Who
Speaker 4: could call a guy trembay, who could you know, talk
Speaker 4: to all these different people to really give them the
Speaker 4: broader context of who this person is and what they're
Speaker 4: talking about, why they're talking about it.
Speaker 1: We got to get Bill ed on the show. Oh
Speaker 1: my gosh, it too.
Speaker 5: We got Lisa now.
Speaker 1: So yeah, are you doing contact with your Oh my gosh.
Speaker 4: Yes, Bill Ladler.
Speaker 5: I imagine y'all have Jamsey Williams, seasonal.
Speaker 4: Faith Smith, you know, even the deaf jam Soul songs artists.
Speaker 4: We had a little reunion, so.
Speaker 1: That's occasionally talked to. Did not know he was Puerto Rican.
Speaker 4: Orn Tay Shawn, Chuck Stanley and Alison Williams. Alison Williams
Speaker 4: and we went to Europe and I was the tour manager.
Speaker 4: It was one of those if it's Tuesday, it must
Speaker 4: be Belgium. Okay, if it's Wednesday, we got to get
Speaker 4: in the bus and get the Frankfurt. And that was
Speaker 4: Actually we had a reunion like two months ago, and
Speaker 4: even the band members, you know, we're all there.
Speaker 6: That's so full circle too, you said, Alison Williams. Then
Speaker 6: I thought about you with the Luther concert. Then I
Speaker 6: thought about Ramote, Harvey and.
Speaker 5: The whole I am. It's just it's a beautiful, circular
Speaker 5: kind of connection between all of y'all. That's beautiful.
Speaker 4: Why did we the ghost room my life?
Speaker 3: We would have been bffsed to, I believe. So, I mean, look,
Speaker 3: what made the deal irresistible was that, you know, most
Speaker 3: artists will the label will have options to instantly drop
Speaker 3: if they see the bands not fit. And we didn't
Speaker 3: even learn how to craft the song until our fourth album.
Speaker 3: So in this situation, the thing that brought us there
Speaker 3: was the fact that if you our contract was hooked
Speaker 3: up so that if you did album number one, they
Speaker 3: had to do two and three. If we did four,
Speaker 3: they had to do five and six. It was really
Speaker 3: the true reason why we've had seventeen albums under our
Speaker 3: belt because label trust me. There are many times where
Speaker 3: the label was like, get rid of it, damn another
Speaker 3: two records. And so that's that's the story. So why
Speaker 3: did you leave def Jam and what brought you to Mercury?
Speaker 4: Well, x Stein offered me a gig and then everybody
Speaker 4: did because people were afraid of Leora and Russell. But
Speaker 4: they were like, yo, ed off is talking to her.
Speaker 4: And then you know, I remember I met with Tommy
Speaker 4: Mottola and you know, and just like the whole gamut.
Speaker 4: And but I you know what I loved about ed
Speaker 4: and I still love is we grew up listening to
Speaker 4: all kinds of music, you know, because I got my
Speaker 4: you know, I can sing all the Stairway to Heaven
Speaker 4: and you know, Darkness on the Edge of Town Patty
Speaker 4: Smith and Nick Drake and you know, then do a
Speaker 4: little Brazilian lullaby with Sarah Vaugh and then drop into
Speaker 4: a Cumbia A multitudes.
Speaker 1: I think seems in love all day. She's talking about
Speaker 1: Darkness spixteen.
Speaker 4: Yeah, because there's a darkness on the edge of town.
Speaker 4: And so and Ed. You know, as the son of
Speaker 4: Billy x Stein growing up in California. He is a
Speaker 4: diverse He's a good one to talk.
Speaker 5: Talk to him. He's ready to go. Yeah.
Speaker 1: Yeah.
Speaker 4: And he said to me, Lisa, I said, and I
Speaker 4: don't know if I just want to do black music.
Speaker 4: He said, you can do whatever you want. And I
Speaker 4: knew that I would want to produce the cast recording
Speaker 4: of Jelly's Last cham which I did when I was
Speaker 4: there working with George Wolf. I did records with John Lucienne.
Speaker 4: You I just had loved so much, you know. And
Speaker 4: then on the flip side, I'm working with hip hop,
Speaker 4: I'm working with reggae. I worked with all kinds of music.
Speaker 1: You know.
Speaker 4: I was the person when Talking Loud came to the
Speaker 4: States because I was the person in Incognito Omar Young Disciples.
Speaker 1: So wait, were you the one that introduced.
Speaker 4: Might have wowse hip hop? Zeleig is now acid jazz.
Speaker 3: Literally, when Giles got the word that he lost us,
Speaker 3: he didn't take that line. He flew to Wendy was like,
Speaker 3: I still want and she let him do it because
Speaker 3: I used.
Speaker 4: To go to London and I was looped in with
Speaker 4: all those folks and I when they brought the Talking
Speaker 4: Loud label because of you know, it came to Mercury,
Speaker 4: and I was a person like, yes, I want to
Speaker 4: work with them, you know. I love what he was doing.
Speaker 4: And when even when I had my label, I was
Speaker 4: going to sign je Lisa Anderson and.
Speaker 1: Bobby birds stepdaughter or daughter.
Speaker 4: I think she's a cousin because Carleen is there is
Speaker 4: a daughter and she's a cousin Olisa.
Speaker 1: Oh shit, I worked on our record pressure.
Speaker 4: I was going to sign.
Speaker 7: This happens like once a week. Do you like?
Speaker 2: Oh?
Speaker 7: I played on her record.
Speaker 1: This is Do you have a lot of demos?
Speaker 3: I've worked on like five songs where her when we
Speaker 3: were living in London and never got to Me and
Speaker 3: the bass player of Jamaica Stewart, we worked on her
Speaker 3: record and it never came out.
Speaker 4: Well, it probably was for the UK label because I
Speaker 4: was going to sign her before my tragic again but
Speaker 4: we'll get to that.
Speaker 5: Oh yeah.
Speaker 4: So I was the point person for all the Talking
Speaker 4: Loud folks, so of course I knew, you know Moreen
Speaker 4: Spernstein and Jonathan doing Giant step and blah blah blah
Speaker 4: blah blah. And that was that, you know, I was
Speaker 4: so I love that Ed allowed me that space to
Speaker 4: connect with and try things out and really be able
Speaker 4: to broaden the scope of expression within black music, you know.
Speaker 4: And I worked with Angela Windbush Angela. Angela's not Angela,
Speaker 4: she's Angela. I thought it was Angelo, Okay, who is incredible.
Speaker 4: She is producer, songwriter, voice like an angel.
Speaker 1: You're in the studio with her or are you in?
Speaker 4: But she was married to Yeah. I went to their
Speaker 4: their Spaceship studio in California.
Speaker 2: Okay, I wanted to ask Lisa. You mentioned Larry Smith.
Speaker 2: He's just someone that we always just you know, very
Speaker 2: rare we get people that actually work with him. So like,
Speaker 2: what was he like in the studio? What was that
Speaker 2: relationship like working with him? Because he's just an unsung
Speaker 2: so it's.
Speaker 4: Me DEENI and you know, he had this whole connection
Speaker 4: to other UK artists because of Zomba multi instrumentalists and
Speaker 4: just and a peacemaker. Because you have to remember a
Speaker 4: lot of these artists are very young. This is all
Speaker 4: new that they had a way and a pace and
Speaker 4: Larry had come from where they had started, but he
Speaker 4: had traveled and he had had the hits, and he
Speaker 4: was really great talking to the artists and talking them
Speaker 4: down and cooling them out. And you know, it's funny.
Speaker 4: I ran into Paul Schaeffer, came to a screening of
Speaker 4: Little Richard over the weekend and Paul Schaeffer did a
Speaker 4: hip hop record.
Speaker 1: When My Radio is on.
Speaker 4: And Larry Smith produce that song he produced they know
Speaker 4: the album that has Will. Yeah, that's Larry didn't I
Speaker 4: didn't write songs. Might put that deal together, so you know.
Speaker 3: The world famous My first show was that Radio City
Speaker 3: Music Hall thing. So Dion of Dionna and the Belmont
Speaker 3: is also on the show and brings Paul Schafer out,
Speaker 3: who I guess obviously just released the single, and I
Speaker 3: remember like because Will and Jeff.
Speaker 1: Weren't there or whatever, and they wanted to do that song.
Speaker 3: And for half a second it's like they looked at
Speaker 3: my direction like, oh, do you know a rap like
Speaker 3: you know that sort of thing, and it was like, nah.
Speaker 1: I'm not doing that, but you orchestrated that song.
Speaker 4: Well that because it's a whole album with that Larry produces. Yeah,
Speaker 4: that let me just went out there.
Speaker 5: Let me be clear.
Speaker 1: Yes, it's a dou wop.
Speaker 3: It's like Dion of Dionna and the Bellmont's run around
Speaker 3: soon it's it's Deon is in Paul's mind. He's doing
Speaker 3: what boys the Men successfully did. He wanted to do
Speaker 3: a dou wop joint with hip hop modern, you know,
Speaker 3: and he's New York and you know, Paul was like
Speaker 3: a nerdy hip New Yorker type whatever, so he wanted
Speaker 3: to just a moogamate all that. And there was like
Speaker 3: a few performances where Jeff and Will and Dion and
Speaker 3: Paul Schafer.
Speaker 1: Yeah, well this was no. It's eighty nine, so it's
Speaker 1: like you don't say no to Paul Schafer.
Speaker 5: Yeah, the check was.
Speaker 1: Good, the opportunity, right, But you.
Speaker 4: Know it's also how they then get invited to go
Speaker 4: on David Letterman. The opportunity to tell us, yeah, that
Speaker 4: was that was like how it didn't just happen there.
Speaker 4: You know, all these people were resistant, you know, the
Speaker 4: way now that they want to have push a t
Speaker 4: on it whoever on the show. They didn't want to
Speaker 4: have these artists. They did not, you know, want that children,
Speaker 4: just like with Little Richard to be exposed.
Speaker 3: He produced that song, So like, how do you you
Speaker 3: became president of what was your highest position of mercury?
Speaker 4: I was Vpvynar.
Speaker 3: So for you in music, what do you deem like
Speaker 3: your three crowning achievements? Yeah, like I seedd this and
Speaker 3: blah blah blah happened? I like that song.
Speaker 1: When my radio? How do you all know this, Steve?
Speaker 1: Because I have taste?
Speaker 4: It wasn't look because we should look up?
Speaker 1: Wait because dad am I allowed to play this song
Speaker 1: talking about.
Speaker 5: Yeah, he gave you the things until he cuts things.
Speaker 5: Her answers, all, right, here we go.
Speaker 7: Ten seconds said yeah, ten seconds? Whose ten seconds?
Speaker 8: I got it? So that's ten seconds. That's ten seconds
Speaker 8: in the NFL. Well, this ship made mt V. Oh,
Speaker 8: this is definitely Larry Smith drum track.
Speaker 3: Straight from the Whodini's open Sesame sessions.
Speaker 5: But what is Paul Shaffer doing?
Speaker 1: Paul do you not know?
Speaker 2: In the song he's the DJ college Oh.
Speaker 1: I didn't even know that. Who DENI was a part
Speaker 1: of this.
Speaker 3: But you gotta understand, like in like Johnny Carson was
Speaker 3: just the standard of Late Night.
Speaker 1: I get it, and the lerman was like he was
Speaker 1: hip him and Paul are as nerdy as they were.
Speaker 3: They were like the cool guys that like not stuffy
Speaker 3: suit like Carson. So you know this, I mean, no
Speaker 3: one brought this ship and only nerd me. I'm the
Speaker 3: one person that knows this song, all right, So okay,
Speaker 3: I brought it. I'm sorry, go ahead, thank you.
Speaker 4: For giving me time.
Speaker 5: You see, how do so wait?
Speaker 7: Three achievements?
Speaker 3: Achievements or three magic moments that you got the witness
Speaker 3: because I'm very impressed about you being in the room
Speaker 3: with the Bomb Squad.
Speaker 4: Okay, so Bomb Squad and Ice Cube singing back up
Speaker 4: on the Lesson Zero soundtrack, the Danzig song and the
Speaker 4: Roy Orbison song who Fades Away a Danzig Lonely and
Speaker 4: Lesson Zero and Rick Rubin producers. Yeah, because you know,
Speaker 4: I had thoughts that I was going to be a singer.
Speaker 4: That's how I thought I could get a job in
Speaker 4: the music industry and get discovered. And I very quickly
Speaker 4: learned that it's not just about you got a great
Speaker 4: voice and you you know, have a look and a
Speaker 4: style and a vibe, but you also have the right label,
Speaker 4: you have the right manager. You have like all the
Speaker 4: stars have to line up and when I fell into
Speaker 4: this Motley family that was so exciting and all these
Speaker 4: different characters, and you know, in the office, you got
Speaker 4: bottles coming in, you got people smoking crack outside. You
Speaker 4: got like it was craziness. And I was like, I
Speaker 4: can do the art, but I can also do the
Speaker 4: commerce and I can be an advocate. And so I
Speaker 4: gave up the singing. But for some reason they needed
Speaker 4: a fourth voice, and I think I worked my way
Speaker 4: in to join. So I love that moment because we're
Speaker 4: not credited on those two songs, but it's Chuck Stanley, Allison, myself,
Speaker 4: and I think Tayshawn might have been singing.
Speaker 7: Yeah.
Speaker 3: Really, So when did you, in your mind leave the
Speaker 3: music industry?
Speaker 4: So I started this label after several years at Mercury,
Speaker 4: I was going to go to another label. So my
Speaker 4: label was called Loose Cannon. Yeah, And it was very
Speaker 4: challenging to have a small boutique label, struggling to have
Speaker 4: the promotion. People take your records out because you know,
Speaker 4: you become second and third. And I had like my
Speaker 4: little team and we're doing our own you know, street
Speaker 4: team and blah dah blah, and I just hit the
Speaker 4: glass ceiling. I hit the ceiling and I ultimately left.
Speaker 4: I took action for gender and racial discrimination. I was
Speaker 4: the only woman in this worldwide company, and I didn't
Speaker 4: have the same opportunities that I saw people around me
Speaker 4: who were failing but going up, and you know I
Speaker 4: and it was for my parents, because my parents were
Speaker 4: so about we're not you know, like we as black
Speaker 4: people have to stand up for injustices, not only for ourselves,
Speaker 4: to be example for others, you know that, and not
Speaker 4: only them, but their grand their parents, my grand you know,
Speaker 4: they like I come from people who just were always
Speaker 4: fighting to and not accepting and finding, you know, trying
Speaker 4: to bring community forward. So I left and I didn't
Speaker 4: listen to music for six months, and.
Speaker 1: You established this label and established I.
Speaker 4: Did the Till Shiloh record with Boujeoux, but and you know,
Speaker 4: I'm I like all different shit. I put out a
Speaker 4: folk group of Aboriginal women from Australia called Tittus. I
Speaker 4: put out.
Speaker 1: Titties titt I want to buy that record that on
Speaker 1: Spotify was that.
Speaker 3: I would actually play your own song if you had
Speaker 3: a song, you gotta make yourself a song.
Speaker 4: Do you have to make a titty record? And I'll
Speaker 4: say background made, I'll come out, I'll come out of retirement.
Speaker 1: I gotta have titties.
Speaker 7: The musicales the musical.
Speaker 4: He t I D d y Okay Australian Aboriginal now.
Speaker 3: Okay, just so that I not feel like I'm not crazy,
Speaker 3: Like there is definitely a discussion on like, guys, are
Speaker 3: you sure this is the name that you want to
Speaker 3: go by?
Speaker 7: Aboriginal nipples?
Speaker 1: They changed from nipple that was, and then they.
Speaker 4: Tried but that didn't.
Speaker 1: This is why you're you're so quick? Okay. I love it.
Speaker 4: I love till Shiloh. It's a record I'm incredibly proud of.
Speaker 4: But I also did the I reissued Red Fox and
Speaker 4: Richard Pryor all those early comedy.
Speaker 1: Records records they had been on. Laugh that's you, yes,
Speaker 1: the reason for this.
Speaker 4: Yeah, and so I got that catalog. I got people
Speaker 4: like Walter Moseley to write the liner notes.
Speaker 3: Come on, people don't even know about they he.
Speaker 4: And so yeah, so boom, chapter close. I'm not listening
Speaker 4: to music. What do you do?
Speaker 5: You go to India?
Speaker 4: So I went.
Speaker 1: In India.
Speaker 4: Well, I just I wanted to get away from everything,
Speaker 4: to figure out what was gonna being next, and why
Speaker 4: not go to a place where I was going to
Speaker 4: be challenged?
Speaker 7: And what year was this for you, Lisen?
Speaker 4: This is nineteen ninety seven.
Speaker 5: Okay, after the movie, before the movie.
Speaker 4: This was before the movie. Yes, And I didn't really
Speaker 4: eat that much.
Speaker 1: I was I was afraid to eat.
Speaker 4: I'm like, I don't know, I'm just gonna be a
Speaker 4: vegetarian for three mouths. But I was traveling and just
Speaker 4: like reading books by local, you know, Indian authors like
Speaker 4: Mystery and Salomon Rushdie, and hanging out with tabola players
Speaker 4: and Varanasi and just like doing yoga and going to
Speaker 4: the beach and you know whatever. And I went to
Speaker 4: a movie theater. When I was in the middle of
Speaker 4: watching this film, I realized, like, I want to make movies.
Speaker 4: And I had studied film as an undergrad, and I
Speaker 4: just saw that film gave me a bigger platform to communicate.
Speaker 4: And even if you watch a little Richard and you
Speaker 4: don't understand language, you're going to see the this roller
Speaker 4: coaster ride he goes on, You're going to have a
Speaker 4: sense of how his music affected people. You're going to
Speaker 4: see his legacy. And so film then became my next
Speaker 4: kind of place to go to. I came back to
Speaker 4: New York. I took a production class at New York
Speaker 4: Film Academy. I started volunteering. I started from ground zero,
Speaker 4: and I just did the hustle, you know. I worked
Speaker 4: at Urban World Film Festival. I put the panels together,
Speaker 4: I met people. I went to the Toronto Film Festival.
Speaker 4: I would watch four films a day. I would go
Speaker 4: meet directors, I would volunteer. I would use my music
Speaker 4: background and try to help people out. And then finally,
Speaker 4: one day I got a call from someone I had
Speaker 4: known for many years, and he said, I'm going to
Speaker 4: New Orleans to make a movie. Would you like to
Speaker 4: come and work for me and also for the director?
Speaker 4: And that was Lee Daniels and that was Monster's Ball.
Speaker 2: Oh you said go to New Orleans. I immediately thought.
Speaker 2: My first thought was about it by Master F I was.
Speaker 2: I was so hoping whatever you worked on about it?
Speaker 4: But Lee Davis school too, you know, in the metaverse, maybe.
Speaker 2: I did you know what I'm saying, I could totally
Speaker 2: see you fitting in with Master V and I so would.
Speaker 4: I mean like I would just I would love to
Speaker 4: be there because I love these these people who are
Speaker 4: entrepreneurs who are and are pulling, you know, from a
Speaker 4: space and at the same time moving culture forward.
Speaker 1: But that was the Oscar winner. What were you experiences like?
Speaker 5: So it was.
Speaker 4: Really fantastic because Lee, so I'm insisting him. I'm assisting
Speaker 4: Mark Forrester the director, and I would do the famous
Speaker 4: drive to take our talent up to the place where
Speaker 4: we shot all the andla.
Speaker 1: So he's most was three hours.
Speaker 4: Oh well, because I had worked with Most in the
Speaker 4: interim years and I had done with Danny Hasten's a
Speaker 4: video for Most. I had done Most and Tali Quali ePK,
Speaker 4: you know, And I said to I told Lee about Most.
Speaker 4: I was like, I love him and he's great and
Speaker 4: he can act. Also Banam Badah part one then part two.
Speaker 4: I would have to take the talent to Angola. So
Speaker 4: we were all in New Orleans and we knew we
Speaker 4: were going to go there at one point to shoot
Speaker 4: some of the scenes there. So I remember like driving,
Speaker 4: you know, the hour and a half with each way
Speaker 4: with Heath Ledger and talking about life and books and whatever.
Speaker 4: And then you go and you tour this place, that
Speaker 4: former plantation still a plantation, and you know, seeing the
Speaker 4: actual room that they execute people in and then the
Speaker 4: drive back home in that conversation. So I spent a
Speaker 4: lot of time with the talent, but I also started
Speaker 4: spending time with the DP, with the accountant, with wardrobe
Speaker 4: and understanding like what they did and scheduling and lead
Speaker 4: like gave me that space to go and learn. So
Speaker 4: I had my little indie knowledge, but I also have
Speaker 4: arts and crafts knowledge. My mother was really big about
Speaker 4: making things. I like to make things, whether it's a
Speaker 4: record or a movie or a documentary. I get a
Speaker 4: lot of joy with all the people I get to
Speaker 4: work with and the assembly of it. And so that
Speaker 4: opportunity allowed me to have that access. And and you know,
Speaker 4: that was a low budget film, you know, Holly, but
Speaker 4: it was. There's so many funny, crazy stories.
Speaker 1: Can I ask what was the budget for it?
Speaker 4: It's like around three three point five million.
Speaker 1: Oh, y'all had to really cut corners and so nothing.
Speaker 4: And you know, it's it's interesting because originally Wes Bentley
Speaker 4: was supposed to play the lead and then Wes Bentley
Speaker 4: kind of went off the rails, disappeared and Heath Ledger
Speaker 4: was huge, but like we had, Yeah, so we had
Speaker 4: to convince them that that Heath Ledger could do this
Speaker 4: because he didn't have a Southern accent, and we got
Speaker 4: him this. I did like I had my own little
Speaker 4: mixing a dialogue coach, and then I had to splice.
Speaker 4: I had to play from cassette to cassette to make
Speaker 4: something that would sound good to So it was a
Speaker 4: lot of fun. It was very interesting. Getting to live
Speaker 4: in New Orleans was fantastic job.
Speaker 6: Keep it light on the set because it was so heavy, like,
Speaker 6: you know, a lot of love.
Speaker 4: A lot of care, a lot of taking care of people,
Speaker 4: you know, mama, but but also you know Mark Fordster.
Speaker 4: It is his second film, and he just is a
Speaker 4: brilliant director, very loving and caring, you know, creating that
Speaker 4: safe space have the right people, like you know, when
Speaker 4: you're doing certain scenes, you don't have everybody standing around,
Speaker 4: you do last looks and then everybody's out and you
Speaker 4: have to give them that privacy to go to some
Speaker 4: really deep, emotional, vulnerable places. But nobody thought that that
Speaker 4: film was going to do what it did, that halle
Speaker 4: Berry would win the Academy Award, that it would go
Speaker 4: on to make over thirty million dollars for a three
Speaker 4: million dollar film. But what happened is Lee's like Miyon's Gate.
Speaker 4: They made all the money. I'm not making any money.
Speaker 4: I'm going to take Lee Daniels Entertainment that had been
Speaker 4: a management company. Lee had represented Michael Shannon, Marina Baker,
Speaker 4: and Wes Bentley. He represented all this great talent and
Speaker 4: he said, let's start Lee Daniels Entertainment as a production company.
Speaker 4: So the first film that we then did on our own,
Speaker 4: which was very hip hop, was The Woodsman Kevin Bacon.
Speaker 4: So that's when I then moved to phill Dai to
Speaker 4: then make two films there. I'm a two one five a.
Speaker 5: Day girl all day.
Speaker 6: Yeah, yeah, that Cuba Good and Junior Joint that was
Speaker 6: my shadow box was Joint.
Speaker 5: That's the best I.
Speaker 4: Ever I really liked, and most stuff you know, He's
Speaker 4: in that also and Dave all and Greer and Eve.
Speaker 4: So that was the other thing we always wanted to
Speaker 4: be mixed up. Yeah, the music and and making it
Speaker 4: interesting with the casting. And with those films, we found
Speaker 4: the scripts, we developed them, we found the internet, you know,
Speaker 4: our our investors, we did our pre sales, we did
Speaker 4: the production, all the deals, and then the you know
Speaker 4: post and then bringing it to a festival and delivery.
Speaker 4: And in the beginning it was Lee, a guy named
Speaker 4: Dave Robinson who did international sales, and myself and you know,
Speaker 4: we were doing material that other people were not all
Speaker 4: looking at. And after shadow Boxer with Helen Mirren and
Speaker 4: Joseph Gordon Levin, Monique Cuba Gooding Jr. That's when Sapphire,
Speaker 4: who we had been chasing for years, gave us the
Speaker 4: option to push.
Speaker 3: What took it so long that it was a struggle
Speaker 3: to nail that deal down.
Speaker 4: She just was protective of who to give her work to.
Speaker 4: I know she had been chased when the book first
Speaker 4: came out by Madonna, who had wanted to tell it right.
Speaker 1: She directly called her and was like, all I know.
Speaker 4: Is that she wanted to option the material. Yeah, and
Speaker 4: we showed a shadow Boxer and she said, Yo, you
Speaker 4: guys are afraid to go there because she remember in
Speaker 4: the film there's Helen Maren who was an assassin and
Speaker 4: she carries off hits with her step son K Gooding Jr.
Speaker 4: Who's also her lover.
Speaker 5: I read the script and I was blown away.
Speaker 6: So when I saw the vision when it got done,
Speaker 6: I was like, Yo, it's really one of my favorite films.
Speaker 6: I'm sorry, I'm so hype about it, but it was
Speaker 6: just a mind blower.
Speaker 3: In doing the Apollo Theater documentary, where is the Apollos
Speaker 3: their footage of I would have thought they would have
Speaker 3: had more footage at least between their early years in
Speaker 3: the forties and up until the mid seventies. They never
Speaker 3: recorded or documented those shows at all.
Speaker 4: There's very few shows that were that were captured, and
Speaker 4: I mean, I've become like a you know, a big
Speaker 4: archival person. And luckily on that show, there was a
Speaker 4: Jerry I forgot Jerry's name, who had worked with Percy
Speaker 4: when Percy took over and did the remodeling, and Jerry
Speaker 4: lives in Yonkers, and I went to his house and
Speaker 4: we crawled through the basement and he had those beautiful
Speaker 4: tapes of the renovation and the reveal because Percy tried
Speaker 4: to have a multimedia center, so he had he started taping.
Speaker 4: And that's also the onslite of you know, showtime at
Speaker 4: the Apollo. But you know, I mean, I would have
Speaker 4: loved to have seen when in the Motown review was there,
Speaker 4: and so many of those incredible classic moments but it
Speaker 4: didn't exist, you know. And you know, I think the
Speaker 4: thing about documenting Black stories is that oftentimes our archival
Speaker 4: has been lost because we had to leave our homes
Speaker 4: in the middle of the night and escape, or our
Speaker 4: homes got burnt down, or you know, the flood came,
Speaker 4: like you know.
Speaker 1: Or we're just not sentimental. Well maybe that's a lot
Speaker 1: I get.
Speaker 3: Doctor willi Is literally blew up the Soul Trained stage
Speaker 3: and everything the science because he didn't he didn't want
Speaker 3: to pay for storage.
Speaker 1: So he was like get rid of it all.
Speaker 3: So they had to like crush it and like literally
Speaker 3: his entire history.
Speaker 1: He didn't care.
Speaker 4: Yeah, and the value of black cultural product and black
Speaker 4: cultural archival is is really important to me because as
Speaker 4: I tell these stories, as you tell the stories you're doing,
Speaker 4: we want to bring people back to that moment. We
Speaker 4: just don't want a bunch of contemporary people saying it
Speaker 4: was like this, It was like that. No, we wanted
Speaker 4: to be immersive and we want you to see and
Speaker 4: feel and get a sense of the journey that we're on.
Speaker 1: We were talking outside before we started taping.
Speaker 2: You said this documentary, the Little Richard doc about two
Speaker 2: years working on what was the hardest part. Like what
Speaker 2: was I guess the biggest kind of the bottleneck that
Speaker 2: took the most time.
Speaker 4: Well, you know, we have this great partner, CNN Films,
Speaker 4: and when you do a film from them, it's ninety
Speaker 4: eight minutes, ninety seven and one hundred and one. Because
Speaker 4: I kind of go like, we can it be one
Speaker 4: hundred and one? No, So you know, like when you
Speaker 4: got to back into that time, there's things that have
Speaker 4: to fall out. For me, I wanted to talk a
Speaker 4: little bit more in the film about the Shenanigans of
Speaker 4: the music business, how it is that you can sign
Speaker 4: someone and take everything and that they don't see. Yeah,
Speaker 4: but as I like to say, I had to stay
Speaker 4: on ninety five and not get off on exit five,
Speaker 4: you know, because that would have taken us too long.
Speaker 4: Our run time is.
Speaker 1: This because they for broadcast purposes, you had to fit.
Speaker 4: Yeah, that's their broadcast standard.
Speaker 3: I was under the impression, and I believe that he
Speaker 3: said this, that Michael Jackson at V gave him his
Speaker 3: rights back.
Speaker 4: So that's why John Branca is in the film. That's
Speaker 4: why I interviewed him. Because John Branco, of course had
Speaker 4: the relationship with Richard when Richard officiated at his marriage
Speaker 4: that Michael Jackson was and Bubbles were best men at
Speaker 4: for John Branca. There are pictures.
Speaker 1: I just got maritate that.
Speaker 5: Google.
Speaker 4: Yes, it's the craziest picture.
Speaker 7: Really. Yes.
Speaker 4: And so Bronca, who you know, was Michael Jackson's attorney
Speaker 4: and is still involved in the estate. I interviewed him
Speaker 4: not only about that moment, but because when Richard protested
Speaker 4: at ATV Music for his royalties and then Michael Jackson
Speaker 4: bought the catalog. So in his books, in his autobiography,
Speaker 4: Richard goes, oh, yeah, Michael gave me money. But I
Speaker 4: learned very early on making this film that a lot
Speaker 4: of things that Richard said, you know, were not completely true.
Speaker 4: So I was like, okay, John Marica, you were there,
Speaker 4: you were there all the time. Did Michael Jackson give
Speaker 4: Little Richard money? And yes he did. I should have
Speaker 4: asked him about sly Stone and Doris Day because maybe
Speaker 4: he would have known about We could confirm, you know,
Speaker 4: his h that Michael Jackson felt really bad, and he
Speaker 4: did he gave him some bucks.
Speaker 3: In your opinion, like, what was your mission statement in
Speaker 3: doing Little Richard's story, Because there's so much to uncover
Speaker 3: as an artist, as a human being, as a pop
Speaker 3: culture figure, Like, what was your mission statement at like
Speaker 3: before day one? I'm going to when people watch this,
Speaker 3: they are going to blank.
Speaker 4: The thesis mission was Little Richard's an icon? Why is
Speaker 4: he an icon? Why is it that when he passed away,
Speaker 4: this wide range of people from Bob Dylan to Harry
Speaker 4: Allen to you know, Dave Grohl are talking to Bruce
Speaker 4: Bingston talking about how important he is. He's so, why
Speaker 4: is he an icon? Why does he matter? And if
Speaker 4: he is the innovator, the architect, what did it take
Speaker 4: to get there? Who is his fore mother, forefather? And
Speaker 4: how does blackness and queerness factor into a conversation about
Speaker 4: rock and roll?
Speaker 6: Oh my god, the black queer conversation that you start
Speaker 6: very early on in the movie. That was the initial
Speaker 6: thing that blew me away seeing black queer people, beautiful
Speaker 6: black queer people of that time because we don't see
Speaker 6: black and white photos of like trans people and what
Speaker 6: that meant. So after I saw the movie, I had
Speaker 6: a physical reaction, Like, I had so much of a
Speaker 6: reaction I had to like, I had to reach out
Speaker 6: to Lisa. Did you expect for us to not only
Speaker 6: be of course empathetic and sympathetic, but also pissed.
Speaker 5: I was mad at times. Towards the end.
Speaker 6: I got mad seeing like Mick Jacker and you know,
Speaker 6: the Paul McCartneys of it. I don't know, I got
Speaker 6: mad because I was like, I got mad when Little
Speaker 6: Richard said, you know, Elvis told me that it was
Speaker 6: if it wasn't for me, there would be no him. Basically,
Speaker 6: did you know that that was?
Speaker 4: I knew. I wanted it to be immersive, you know,
Speaker 4: because you can't just do Little Richard at shut up.
Speaker 4: You know, he's more than the one note comedic foil
Speaker 4: that he had it become on these talk shows. He
Speaker 4: is so deeply nuanced. And also he's this connector to
Speaker 4: the Beatles, to the Rolling Stones, to Jimmy Hendricks, James Brown.
Speaker 4: He brings him to making and that's where James cuts
Speaker 4: his first hit. And when Little Richard blows up at
Speaker 4: the same time and goes to Hollywood to be in
Speaker 4: these you know, rock and roll movies, he has James
Speaker 4: Brown got on the road as him because people didn't
Speaker 4: know what Little Richard looked like. So he's like, oh,
Speaker 4: you go out as me? You know he was Also
Speaker 4: he was so giving and has been there's been a
Speaker 4: lot of erasure about his contributions. So yeah, you gotta
Speaker 4: be you gotta feel moved by it. You got to
Speaker 4: be mad, and you have to say, you know what,
Speaker 4: we need to know our history and an inclusive history,
Speaker 4: a history that many people are trying to either negate
Speaker 4: or criminalize. And you know what, sorry, people, this is America.
Speaker 4: There's documentation of drag balls in DC in eighteen hundred.
Speaker 4: So don't come through now and say like, no, this
Speaker 4: has always been here.
Speaker 3: What is your hope, because I think this is probably
Speaker 3: the most compelling argument that one can happen again. I
Speaker 3: know that there's a big sort of divide between and
Speaker 3: really I'm not just saying conservative people. I'm being real
Speaker 3: like with conservative blacks, like would turn a blind eye
Speaker 3: to them or whatever.
Speaker 4: Like.
Speaker 3: It's very interesting even in watching like Soul Train a
Speaker 3: place where literally like you know that you know the
Speaker 3: LGBTQIA culture is, especially in the mid seventies and disco
Speaker 3: period and all that stuff. There's an artist from DC,
Speaker 3: a group named the Dynamic Superiors. They give one of
Speaker 3: the greatest performances I've ever seen on a show, but
Speaker 3: the lead singer is way beyond what we would call
Speaker 3: like flamboyant whatever like, and Don's reaction to him is
Speaker 3: it's it's clearly like I'm just going to act like
Speaker 3: you're not.
Speaker 1: There, like yeah, he got it.
Speaker 3: Yeah, it wasn't even it wasn't even like hostility, and
Speaker 3: it wasn't it was I've never even seen indifference, Like
Speaker 3: most people will just be like ignoring, like okay, like
Speaker 3: you're not there. But it's it's a level of conservatism
Speaker 3: that I can't even describe that Don does to him.
Speaker 1: Whereas like I'm clearly not going to acknowledge the.
Speaker 3: What I see here is what I feel I don't understand,
Speaker 3: so let me just act like it's not there. But
Speaker 3: I feel like this film could actually sort of open
Speaker 3: that door, Like is that for you?
Speaker 4: Like yeah, I think people learning this history, learning that
Speaker 4: you know the complexities of someone that most people really
Speaker 4: love little Richard, Like you know, you say little Richard
Speaker 4: like oh tooty fruity Lontel Sally, you people start shouting.
Speaker 1: Literally, I didn't know about that.
Speaker 7: I don't know what but you do.
Speaker 1: Now I have no doubt.
Speaker 4: And I went to Florida to screen it. I was like, God,
Speaker 4: I don't want to go to Florida. We know it's
Speaker 4: going on in.
Speaker 3: Florida, an even as we'll go to America's.
Speaker 4: It was the best thing. First of all, there's like
Speaker 4: all these older people who you know, they've got this
Speaker 4: memory of the routines and they saw him and they
Speaker 4: love this story and they embraced this story. They didn't go, oh,
Speaker 4: I like this part, but I don't like the queer part.
Speaker 4: And then I talked to the young people who were like, yeah,
Speaker 4: they want to take African American, you know, ap history out.
Speaker 4: And so what this film does, it's very corrective to
Speaker 4: to a history that has not included the multitudes that
Speaker 4: someone like a Richard contained.
Speaker 2: Do you think that he I mean, we accepted all
Speaker 2: of him. Do you think he accepted all of himself.
Speaker 4: I don't think so. I mean he's on such a
Speaker 4: roller coaster.
Speaker 3: And that part where you really go into the eighties
Speaker 3: version of him where we deny it, like that made
Speaker 3: me inherently sad. Yeah, yeah, like nothing sadder than a
Speaker 3: person that has to suffer as themselves or whatever.
Speaker 1: So have you screened it for anyone with the two
Speaker 1: on the far left digit of their birth year, like
Speaker 1: a millennials gen z. What is their reaction to it?
Speaker 4: They actually are like, oh, this isn't some old fogy stuff.
Speaker 4: They're all I think, I get a lot of where
Speaker 4: can I get a mirrored suit? I have that great
Speaker 4: fashion moment. But I think that you know, they like
Speaker 4: the music and they're they're really captivated by how his
Speaker 4: DNA went forth to artists like and how he paved away.
Speaker 4: You don't have saucy Santana, you don't have next, you
Speaker 4: don't have.
Speaker 5: Right, yes, a little. I was like, I wanted all
Speaker 5: of them in it. Actually at the end, towards the end,
Speaker 5: you start talking about.
Speaker 1: That, did they not want to?
Speaker 4: I called the people I always do charts when I'm
Speaker 4: directing films of you know, who's the family, who are
Speaker 4: the friends, who's the artists, and in this case, who
Speaker 4: are the incredible black and queer scholars who are not
Speaker 4: the usual history of rock and roll. I was very
Speaker 4: intentional in the academic voices who are narrating.
Speaker 2: I was really happy to see Sandre in it like she.
Speaker 4: I mean when she says, you know, it's not appropriation,
Speaker 4: it's obliteration. I was like, okay, everybody could go okay,
Speaker 4: you know what it's about, and like it tore him asunder.
Speaker 4: And I love that in this film we have that
Speaker 4: level of commentary because that's who we are. You know,
Speaker 4: we can we can be talking about we can deconstructuty
Speaker 4: fruity and you know Richard on the as Princess Levone
Speaker 4: as a drag queen, but we can also talk about
Speaker 4: a harm to our community because those are all apart.
Speaker 4: You know, if someone said to me, they'll take our rhythm,
Speaker 4: but they won't take.
Speaker 6: Right.
Speaker 4: And so to know little Richard, you know, you need
Speaker 4: to know the joy, but you also need to know
Speaker 4: the intense pain of him feeling invisible, feeling that all
Speaker 4: of his contributions and all these people he helped out
Speaker 4: are not there. Like when he's at the Otis Redding,
Speaker 4: he goes, I still sing, you can record with me,
Speaker 4: you know, call me, And and that is the part
Speaker 4: of the complexity of his journey that is more than
Speaker 4: oh I'm the bronze lie Barachi.
Speaker 5: You made us get to know him a little more.
Speaker 6: And I actually also kind of answered the conflict with it,
Speaker 6: I think all of us because it was like was
Speaker 6: he wasn't he Now I understand even his own personal
Speaker 6: conflict and why I felt that way because he was unsure.
Speaker 5: Yeah, yeah, yeah, I wish you would have known that.
Speaker 5: We would have loved him regardless, but thank you all.
Speaker 2: I definitely feel like it will help people now you
Speaker 2: really it's a beautiful film, like we we've.
Speaker 7: Super enjoyed it.
Speaker 6: The black dust, that's what I wanted to ask about.
Speaker 6: I'm sorry, what was the black dust in your mind
Speaker 6: throughout the movie?
Speaker 4: It's beautiful black dust sis energy. I believe he is elemental.
Speaker 4: He came from another planet. He's a super nova, and
Speaker 4: he arrived and unleashed this energy that we established in
Speaker 4: the beginning of the film, and it continues and it
Speaker 4: grows in specific places of innovation, of expansion, of creation
Speaker 4: and how the energy is him. And that was a
Speaker 4: great motif, you know, working with the editors, because I
Speaker 4: was like, how do we do it? How do we
Speaker 4: show this?
Speaker 7: You know?
Speaker 1: And sequences to the music, Yeah, how did you choose them?
Speaker 7: The reinterpreters of the song.
Speaker 4: So when I pitched this film, I always said I
Speaker 4: wanted to have dreamscapes. I love magic realism, and I
Speaker 4: wanted to have contemporary artists who are part of his legacy.
Speaker 4: You know, when I spoke to Valerie June, who does
Speaker 4: the Sister Rosetta tharp uh scene, I said sister and
Speaker 4: she said Rosetta. I mean, she just like completed good
Speaker 4: and she understood why Sister Rosetta is important to this.
Speaker 4: Corey Henry I adore, and Corey started in the church.
Speaker 4: Then he goes and you know, he does gospel, hip hop,
Speaker 4: jazz pop, and I just thought musically he could bring
Speaker 4: so much. He's such a he's so fantastic and Pastor
Speaker 4: Key that that is not a little Richard song. But
Speaker 4: I'm a big fan of John p Key and that's
Speaker 4: one of my favorite songs standing in Need of Prayer,
Speaker 4: and I thought it really spoke to how low Richard
Speaker 4: is when he has lost every everything and like the
Speaker 4: only thing he has is God.
Speaker 1: Was there convincing him to do it?
Speaker 5: No?
Speaker 1: Oh really, Okay.
Speaker 4: We've been talking for years about a project I want
Speaker 4: to do with him, Okay, And when I called and
Speaker 4: I told him what was about, he said yes, and
Speaker 4: he knew Richard and he was really helpful for us
Speaker 4: by even finding the church, et cetera. So you know,
Speaker 4: all of those artists are part of this desire to
Speaker 4: make this immersive and to be also in scenes that
Speaker 4: are part of portal's opening portals of possibility for Richard
Speaker 4: being seen by a sister Rosetta creating Tooty Fruity, and
Speaker 4: even the portal of I've lost everything and I'm now
Speaker 4: going back to the church. There, they're big emotional shifts
Speaker 4: for him.
Speaker 3: I hate to admit this, Fonte, but my actual introduction
Speaker 3: to John p Key.
Speaker 1: Crash, John Peakey, Oh wow.
Speaker 3: Well you know what, at least as we wrap up,
Speaker 3: I'm actually sitting here like in some sort of Paltrow
Speaker 3: esque sliding doors.
Speaker 1: I'm expansive.
Speaker 7: You are the expansivest.
Speaker 3: Just a forty eight hour decision changed the entire course
Speaker 3: of my life, of which I am extremely happy of
Speaker 3: my journey, especially in light of Okay, so.
Speaker 1: Yeah, I would have got seventeen albums on Death Jam Doug.
Speaker 3: Right, But even if that, I'm like, Okay, this is
Speaker 3: a tourist in the hair journey and was it better
Speaker 3: for me on my second album to sell seventeen million copies?
Speaker 3: And now you know, twenty twenty three, I'm going to
Speaker 3: jail for Sbiona.
Speaker 1: Wow or to be on this path. But now I'm like, damn.
Speaker 3: If I just signed in Mercury, I think I would
Speaker 3: have had an amazing ass relationship with Lisa Kurtez.
Speaker 5: Like it's never too late.
Speaker 3: I never had regrets, but I'm now trying to figure
Speaker 3: out what would have happened in my life if we
Speaker 3: just went through it and we had Lisa at the.
Speaker 2: Top of the pyraid could have been on Brian McKnight albums.
Speaker 2: Yeah you know what I mean.
Speaker 4: You would have met ralph raphaelsa earlier.
Speaker 5: Wow?
Speaker 7: Right? Oh oh yeah? Do you have a Latin quarter story?
Speaker 4: I survived a story?
Speaker 1: Oh so she?
Speaker 5: I mean she had to she had to go.
Speaker 4: No, I've had many hit the ground, hit the ground.
Speaker 5: Before we rap.
Speaker 6: I just want to say Lisa, because I said to
Speaker 6: Lisa after I watched this movie, Okay, so.
Speaker 5: Lisa, this was amazing. I don't know what you're going
Speaker 5: to do next.
Speaker 6: Can you just tell the folks the two projects that
Speaker 6: you got cooking that's going to be blowing their minds
Speaker 6: away too.
Speaker 4: So premiering at Rebecca, I have something called The Space Race.
Speaker 4: It is the story of Ed Dwight who almost became
Speaker 4: an astronaut black Man. But and it focuses on the shuttlemen,
Speaker 4: the black astronauts who in nineteen eighty three, Guy Blueford,
Speaker 4: Fred Gregory, Ron McNee, you go to space. But it's
Speaker 4: really about this community because it's also Victor Glover and
Speaker 4: Leland Melvin. It's about afrofuturism and black astronauts and moving
Speaker 4: things forward. So that's the space you're doing this. Yep,
Speaker 4: it's all done.
Speaker 1: I've got to get thunder Cat to do the score.
Speaker 4: Tomp is on it, so it's a good. Next one
Speaker 4: is The Empire of Ebony. It's a three part series
Speaker 4: on Eunice Johnson and I know somebody here as a
Speaker 4: collection of these maxaxines.
Speaker 1: I do I do? You know?
Speaker 3: At one point I was part of the board, so
Speaker 3: you know the moment. So they're doing the food version
Speaker 3: of the moment. And at one point we owned the
Speaker 3: Ebony Kitchen.
Speaker 1: We had to dismantle the.
Speaker 3: Board and you know, raise more money, so we had
Speaker 3: to sell our Ebony Kitchen.
Speaker 1: But literally they move it to me from the building when.
Speaker 3: We dismantled it, and very meticulous and we moved it
Speaker 3: to New York and set it up back in its
Speaker 3: original seventies sixties.
Speaker 4: Sort of like but yeah, man, I was, Yeah, it's
Speaker 4: you know, how do you build a media empire where
Speaker 4: in a space that did not exist? And how can
Speaker 4: you be a race man and a capitalists doing this?
Speaker 4: And then finally I'm eating a rate film coming out.
Speaker 4: The milk goes on forever, the art of David Hammond's
Speaker 4: and I produced The Invisible Beauty, which is the story
Speaker 4: of Beth and the model music activists.
Speaker 1: All right, so closing, can you give us a tale
Speaker 1: from the Latin quarter.
Speaker 7: The fucking Timbola ships so good every time.
Speaker 1: Well, it's like Mexican Colombia.
Speaker 7: Every there's some Kombea in it. I'm just saying.
Speaker 4: Anyway, moving, I remember going and having to hide in
Speaker 4: the bathroom and and that's all I'll say.
Speaker 1: I take the shift, ladies and gentlemen. That was tilt.
Speaker 1: I can't stop doing it. Thank you very much. I
Speaker 1: appreciate it. I apologize.
Speaker 3: And it took three decades for our BFF courtship to start,
Speaker 3: but no time like the president.
Speaker 4: Well, and congratulations to you, thank you. I feel like
Speaker 4: every Academy Awards we need to go back and give
Speaker 4: you guys, your award again properly. But the art, the
Speaker 4: work is there. So many people talk about the glorious
Speaker 4: summer soul. But thank you and you know, like and
Speaker 4: all the projects you. I want to come and interview
Speaker 4: and to hear you talk about all your films that
Speaker 4: you're doing like you're doing.
Speaker 1: The risk of talk about myself all the time.
Speaker 5: Yes, we don't.
Speaker 7: On the next Quest Love Supreme, Quest.
Speaker 5: Love, we don't do that. We are going to do that.
Speaker 4: Oh no, thank you.
Speaker 3: And Sugar Steve and I'm Big Bill and the Great
Speaker 3: Polsa Cortez Quest Love out cousin Jake and Brittany and
Speaker 3: also thank you again live live at cd M Studios
Speaker 3: in Manhattan.
Speaker 1: Thank you very much for hosting us. Count that money,
Speaker 1: that money, count that money.
Speaker 7: That's what that's that's go around.
Speaker 1: What's Love Supreme is a production of iHeart Radio.
Speaker 3: For more podcasts from iHeart Radio, visit the iHeart Radio app,
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