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Speaker 1: Every day I wake click, yours.

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Speaker 2: Up the breakfast Club.

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Speaker 1: You don't finish for y'all done morning.

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Speaker 2: Everybody is the j N v Ess hilarious, Charlamagne the guy.

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Speaker 2: We are the breakfast Club. We got a special guest

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Speaker 2: in the building.

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Speaker 1: Yes, indeed, Icon.

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Speaker 2: Ladies and gentlemen, Teddy Riley, welcome back.

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Speaker 3: Thank you man, you look good. Thank you Vegan. But

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Speaker 3: I don't eat beef for pork or chicken. I just

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Speaker 3: kind of stay away from a lot of things.

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Speaker 4: I feel like, when you get to a certain age,

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Speaker 4: you have to tell other men what the secrets are.

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Speaker 3: Oh yeah, you got to all the time.

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Speaker 5: Yeah, so you're just crescatarianism pretty much close.

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Speaker 3: You know. I don't. I just don't do a lot

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Speaker 3: of stuff. I don't eat a lot of stuff, you know.

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Speaker 3: I stay close to liquids and waters and and uh

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Speaker 3: mainly yeah.

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Speaker 1: Nice, you know.

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Speaker 4: Teddy Riley had a new book coming out called Remember

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Speaker 4: the Times. Right, man, you got a lot of First

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Speaker 4: of all, you have an amazing story. But I was

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Speaker 4: thinking when I saw the title, you got a lot

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Speaker 4: of titles you probably could choose from, right, like songs

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Speaker 4: that you could choose titles?

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Speaker 1: Why remember the Times.

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Speaker 3: Remember the Time is truly the biggest R and B

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Speaker 3: record I've ever made. Really, Yeah, but it's really not

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Speaker 3: about the song. It's really about people remembering where I

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Speaker 3: came from, and it's you know, you can say so

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Speaker 3: many things behind that, you know, remembering when I first

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Speaker 3: wanted to be in music, when I first wanted to

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Speaker 3: be a star, when I got picked up on the

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Speaker 3: stage by Gladys Knight at five years old, you know,

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Speaker 3: So remembering those times just made me say, it's a

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Speaker 3: great title. I didn't want to call it just Teddy Roley,

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Speaker 3: you know, I feel like it's bigger than me.

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Speaker 2: So I mean with this book is it's so hard

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Speaker 2: to interview Teddy Riley because it's so many different lanes

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Speaker 2: angles ways you can go, and I know so much

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Speaker 2: about them. I don't even know where to start. So

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Speaker 2: I guess we start with when did you know music

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Speaker 2: was gonna be your passion and it was gonna be

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Speaker 2: your love?

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Speaker 3: When I got busted, talk about it.

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Speaker 5: That's the way of how.

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Speaker 3: Very when I got busted by the police. I used

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Speaker 3: to be a hustler verse and you know I used

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Speaker 3: to go to the club Hallomworld to actually see all

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Speaker 3: of my idols and people like Dougie Fretsch who I

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Speaker 3: went to school with. And I think it was around

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Speaker 3: maybe a few weeks after that, I felt like the

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Speaker 3: most house, like I'm gonna take you out of here.

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Speaker 3: And then the crew, my crew shot coup. We all here,

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Speaker 3: it's about seventeen of us of us left, and they

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Speaker 3: kicked me off the streets. It's like, nah, you can't

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Speaker 3: come back on. I said, okay, but I gave him

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Speaker 3: a fight. And when I did that, you know, I

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Speaker 3: felt like that was the right thing for them to do.

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Speaker 3: And my guys always talk about it. My Guy's Supreme

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Speaker 3: and al Capone. You know, it's like, man, I wish

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Speaker 3: they would have kicked us off of the block too.

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Speaker 3: So but yeah, that's how what made me want to

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Speaker 3: be in music, and just that was my only choice

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Speaker 3: because I went back to church to play for the

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Speaker 3: church and did everything that I can to make ends

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Speaker 3: meet for my family, my mother, single parent.

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Speaker 4: What was it they heard that made them kick you

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Speaker 4: off the street?

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Speaker 3: No, they always knew I did music because I used

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Speaker 3: to carry my little Cassio around and while hustling, I

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Speaker 3: used to carry my cassire and they just they used

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Speaker 3: to rap while I'm playing. And actually Supreme is the

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Speaker 3: one who's the skinny kid that was battling Biggie. He's

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Speaker 3: the one who brought me to the crew. So yeah,

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Speaker 3: we were well connected. You know when it comes to music,

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Speaker 3: all of us did music. It's just that we didn't

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Speaker 3: have a way to get into.

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Speaker 4: It when you moved to Virginia Beach, right, you know,

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Speaker 4: we grew up in all and moved to Virginia Beach.

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Speaker 4: How did that shift? You know, how did that shift

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Speaker 4: shape your worldview and your and your sound.

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Speaker 3: It didn't shift. It wasn't even a shift. I just

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Speaker 3: went to Virginia. The reason why I went to Virginia.

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Speaker 3: We used to go to Virginia every summer, fourth week

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Speaker 3: the whole summer. It was King's dominion, you know. So

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Speaker 3: I would go there every every summer with like, uh

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Speaker 3: my friends from school, Deferred, Alpo, Rich Porter, all of us.

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Speaker 3: We try a bus and and we just go. So

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Speaker 3: one day I went, actually with the mother of my

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Speaker 3: daughter's mother. I went with her and we were at

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Speaker 3: the hotel. Was that the holiday? It's not the holiday?

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Speaker 3: And it's called the holiday? And I told her, I said, man,

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Speaker 3: I would want to move here. And next thing, you know,

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Speaker 3: about two years later, I did it.

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Speaker 2: M hmm, what what did you see special in Virginia?

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Speaker 3: The water? It was something in the water. Wow, and uh,

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Speaker 3: it just made me want to be there. You know,

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Speaker 3: Cornea Island wasn't it for me? Wasn't it? But it

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Speaker 3: was something in the water of Virginia that made me

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Speaker 3: just want to be there. And that's why I did

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Speaker 3: the first video there. I'm shaker. It was history, wasn't it.

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Speaker 2: Was a Virginia accepting to you when you first moved in,

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Speaker 2: When you first went there.

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Speaker 3: I didn't really know anybody because we came here. We

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Speaker 3: came there just solo. We just came there and moved there. Well,

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Speaker 3: we got a lot of people, just you know, police

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Speaker 3: pulling up on us because we all had, you know,

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Speaker 3: for our reason, cars and all of that stuff, and

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Speaker 3: they would just kind of pull up on us, even

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Speaker 3: at my house. And then when we had the studio,

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Speaker 3: that's when everything started evolving and to us being able

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Speaker 3: to do talent shows and do stuff for the community.

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Speaker 3: And basically what I did for the community was kind

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Speaker 3: of kept the kids off the streets. I had basketball

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Speaker 3: tournaments for the biddies. I had celebrity tournaments. Alan Iverson

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Speaker 3: and all those guys used to play for my team.

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Speaker 3: So Virginia became just I mean when I went there

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Speaker 3: there was no music. You know that there was Jimmy Buffett.

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Speaker 3: And then after that, you know, just getting acquainted with

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Speaker 3: the radio stations. I got a couple of people jobs,

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Speaker 3: like what's Shaggy? I got him his job at one, O,

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Speaker 3: four and three and one of one of the three chams,

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Speaker 3: but he was at Z what's that? Yeah?

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Speaker 2: Yeah, they had the station R.

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Speaker 1: Yeah.

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Speaker 3: So yeah, just being able to be connected and help

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Speaker 3: people just get jobs and opportunities for kids to play

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Speaker 3: ball and softball. We had softball team. We just had

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Speaker 3: everything going and uh, that's what they recognized. But Virginia

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Speaker 3: didn't recognize me. The people did.

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Speaker 2: Do you remember meeting for Rell? What the first time

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Speaker 2: you remember meeting for Real and Chad And what was

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Speaker 2: that like the first time you met them? And did

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Speaker 2: you see the greatness at that time of them?

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Speaker 3: Of course, when I gave the talent show, everybody's going

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Speaker 3: for the people were saying I will always love you

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Speaker 3: and all of these high long notes songs and I said, nah,

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Speaker 3: they're not the winners. They're the winners, and they don't

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Speaker 3: even have the concept. They just went in just freestyle Chad,

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Speaker 3: you know, switching instruments, and that really intrigued me. I

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Speaker 3: was like very impressed with what they can do. And

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Speaker 3: that's that was my goal, is just to find more creators,

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Speaker 3: you know, and just take them to the next level.

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Speaker 3: So I did that for a lot of people. Rodney

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Speaker 3: Jerkins came down, you know. I just built a synergy

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Speaker 3: that brought everybody down. Even had executive is Russell Simmons,

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Speaker 3: all of them. It came down heavy d So just

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Speaker 3: that's what made it big for me. It made it

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Speaker 3: even more attractive.

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Speaker 2: Now you bought the community. And I remember going to

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Speaker 2: that studio. We used to have these times where he

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Speaker 2: would bring students, local people and everybody just to come

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Speaker 2: listen to projects, used to come listen to music. And

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Speaker 2: I remember seeing the first time I ever seen it

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Speaker 2: in my life. And it's gonna sound crazy now, I

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Speaker 2: think you might have had the first plasma television in

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Speaker 2: the world.

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Speaker 3: It's like, you know that was a gift from Michael Jackson. Wow,

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Speaker 3: what come on?

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Speaker 1: I think it was like.

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Speaker 3: It was it was a lot, but I said I

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Speaker 3: wouldn't buy it. But he's just you know, one thing

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Speaker 3: I did with Michael, we built a brotherhood. You know

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Speaker 3: where this guy anytime when I had my my daughter,

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Speaker 3: my second daughter, he just bought everything for I didn't

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Speaker 3: have to buy nothing. So it was like that, you know.

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Speaker 3: And when his kids out, my kids used to babysit

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Speaker 3: his kids. You know, when he came down to Virginia.

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Speaker 3: You know where did he.

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Speaker 2: Stay when he was in Virginia? Did you renter my house?

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Speaker 2: Was it a hotel? Because it was It would have

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Speaker 2: been crazy the fact that Michael Jackson was in Virginia.

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Speaker 3: He tried to stay in the hotel to Marriott. And

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Speaker 3: that's the reason why I don't stand in that Marriott.

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Speaker 3: I stay in the new hotel down the street. But

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Speaker 3: they invaded his privacy Wavy TV and they went in

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Speaker 3: his room when a employee gave a key to the

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Speaker 3: television station and they walked into this room. And he

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Speaker 3: was like, no, get out, no security.

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Speaker 1: That's crazy.

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Speaker 3: So I moved him out and put him in one

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Speaker 3: of my places. And when I put him on it

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Speaker 3: was so private because I had bought a place in

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Speaker 3: like a senior citizen community and it was over. It

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Speaker 3: had a golf course and everything, and I just said,

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Speaker 3: you know what, Michael, would you like to stand here?

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Speaker 3: She said, I would love to say anywhere that's private.

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Speaker 3: So I gave him the condos brand new, and uh,

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Speaker 3: he bought the kids and everything, and then he mostly

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Speaker 3: stayed at the studio or on the bus, so I

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Speaker 3: would give him the bus, him and the kids, and uh,

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Speaker 3: you know while we.

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Speaker 6: Made music and you said no security, I was by

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Speaker 6: like his choice or they just wasn't there at that moment.

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Speaker 6: What's that when you said no security when he was asking, oh.

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Speaker 3: No, he had his security, but his security. But it

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Speaker 3: was like two o'clock in the morning, you know.

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Speaker 5: I mean they went to his room and two o'clock

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Speaker 5: in the morning. Yeah, did they get in trouble for that?

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Speaker 5: I'm just like, that's not normal.

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Speaker 3: He got to the bottom of it and the person

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Speaker 3: got fired.

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Speaker 1: Absolutely right. Check too. How when you did the show,

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Speaker 1: you was like, what seventeen eighteen?

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Speaker 3: Yeah, seventeen damn.

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Speaker 4: I always when you were when Michael Jackson made me

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Speaker 4: think about it, because when you were producing those hits

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Speaker 4: to the teenage, who was protecting Teddy Riley the Kid.

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Speaker 4: Like you know, people might have been celebrating your genius

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Speaker 4: at the time, but they might not have realized how

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Speaker 4: young you were.

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Speaker 1: So who was protecting you there?

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Speaker 3: Nobody did you have. That's the reason why you know

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Speaker 3: a lot of things that back then I didn't know,

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Speaker 3: and I sort of didn't have a concern because I

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Speaker 3: just want my music. I wanted my music on the radio.

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Speaker 3: I just wanted my music out there, and I blew

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Speaker 3: a lout of opportunities. At the same time, a lot

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Speaker 3: of my business wasn't done. You know. Example, I did

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Speaker 3: the Key Sweat album. I've only made fifteen hundred dollars

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Speaker 3: from that to this day today, Jesus. But I got

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Speaker 3: the publishing, but I never got my royalties. No one

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Speaker 3: never looked out for me. So now we're going through

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Speaker 3: different channels because you can't, you know, have a person's

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Speaker 3: name on the album and as a producer and not

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Speaker 3: have a contract. Wow, I understand. So thank god I

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Speaker 3: know the business now.

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Speaker 6: So there wasn't times though, when like even Michael himself

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Speaker 6: was kind of like trying to pour game into because

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Speaker 6: I saw, you say, working with him around the time

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Speaker 6: is like being in college, like you weren't. You weren't

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Speaker 6: asking him those mus didn't.

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Speaker 3: Oh yeah, I mean that's college. I've learned a lot

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Speaker 3: more than I'm supposed to, you know. Then I know

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Speaker 3: that then a lot more. And he just kind of

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Speaker 3: schooled me on a lot of things, like things that

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Speaker 3: I should be doing. And then even for all, you know,

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Speaker 3: for all knows, just something that like when we did

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Speaker 3: the Essence Festival and for was like, Yo, your name

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Speaker 3: is on that. You gotta get paid from that.

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Speaker 5: Mm hmm.

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Speaker 3: I was like, so those those are things that you know,

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Speaker 3: I feel like my friends, true friends, would you know, say, yo,

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Speaker 3: you got paid on that. You got paid on that.

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Speaker 3: So now the day is a whole total different day.

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Speaker 3: It's a beautiful day.

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Speaker 4: So you never made no money off the show either

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Speaker 4: because you was uncredited on that.

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Speaker 3: Yeah. God, I just wanted to hear my record on

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Speaker 3: the radio. You know. I just had stars in my

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Speaker 3: eyes and not business. You know, when I went down

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Speaker 3: to Virginia, I was even a little more established. You know,

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Speaker 3: I had a cool team and you know, actually the

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Speaker 3: mother of my son was my manager, Maddie, and she

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Speaker 3: helped me out a lot.

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Speaker 1: You know.

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Speaker 3: So my thing is I like to be creative and

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Speaker 3: most times, you know, you don't think about the business.

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Speaker 4: Whose job was it to correct that? Like you said, Dougie, first,

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Speaker 4: y'all went to school together.

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Speaker 1: Y'all was cool.

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Speaker 3: Like, well with Dougie, that situation is a little different,

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Speaker 3: and I'm cool. I'm really cool. Just my thing is,

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Speaker 3: if I'm just being mentioned, I'm good. It's not about

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Speaker 3: the money. It's really about, you know, the legacy.

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Speaker 2: So that's what rich people say you don't want to do.

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Speaker 2: Was there ever a time where you lost it all?

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Speaker 3: Yep?

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Speaker 2: And what happened with that? Because you know the reason

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Speaker 2: I asked is I remember the studio and then I remember.

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Speaker 2: They was like, not Teddy got rid of the studio

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Speaker 2: and the bus, and I'm like, that's Teddy's everything.

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Speaker 3: What happens?

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Speaker 2: I always want to know what happened during that time.

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Speaker 3: Aund that time, I moved to California because the work

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Speaker 3: wasn't coming to Virginia. So when I went to California,

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Speaker 3: I just kind of just built myself back and I

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Speaker 3: actually fought bankruptcy then and when I did that, it

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Speaker 3: gave me a whole new change and us so crazy.

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Speaker 3: Right after filing baby for see. I say about maybe

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Speaker 3: four or five months later, I just I was back

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Speaker 3: to where I was financially business wise. I had built

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Speaker 3: a new team, and then I wound up coming back

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Speaker 3: to Virginia. But I came back to Virginia to fight

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Speaker 3: for my kids, get the house in order. The studio

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Speaker 3: was actually stolen from me with a gentleman who's actually

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Speaker 3: seven about he had a thirty three years sentence, Troy Titus,

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Speaker 3: the tightest family, and uh that happened because of Chauncey

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Speaker 3: and myself. We just say, you know what, we gotta

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Speaker 3: do something about this. So I wound up going to

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Speaker 3: American Greed and uh we had to testify, and there

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Speaker 3: were so many other people for all of them they

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Speaker 3: were involved as well. He took money from a lot

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Speaker 3: of people and you know, kind of fortunately got us all.

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Speaker 3: But he's seven the time for it, and you know,

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Speaker 3: we're good m hm.

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Speaker 5: And you had a beautiful story, incredible story. Right when

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Speaker 5: you were writing a book, how did you decide what

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Speaker 5: parts you wanted to put in as a what parts

302
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Speaker 5: you didn't want to put in because it's a lot.

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Speaker 3: Well, I didn't leave that up. I left that up

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Speaker 3: to my writer who wrote it with me, Jake Brown,

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Speaker 3: you know, because I wanted someone outside of me to

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Speaker 3: put it in perspective, you know, more or less than

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Speaker 3: me saying I like that story. I like that one

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Speaker 3: of the most because it talks about everything, everything that

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Speaker 3: I've done my whole walk. So I think he did

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Speaker 3: a pretty good job, you know, with the direction. You know,

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Speaker 3: I think he did a real good job.

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Speaker 5: So how does that go? So you you just go

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Speaker 5: and you set with them and you tell them everything

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Speaker 5: and then they just yeah, but I wrote my book

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Speaker 5: by myself. Yeah, because the co writer costs you much.

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Speaker 5: So I was like, nah, I could do it, you

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Speaker 5: know what I mean. But I didn't realize. I totally

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Speaker 5: underestimated what the process of writing your.

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Speaker 2: Own book is.

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Speaker 5: I try, I'm gonna go ahead and get a cool writer,

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Speaker 5: you know what I mean. But is that what it was?

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Speaker 1: Like?

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Speaker 5: You said, and you told somebody your story and they

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Speaker 5: just they put it together for you.

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Speaker 3: Yeah. Well what I did was I have everything on

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Speaker 3: tape m I recorded my whole life, and then I

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Speaker 3: wanted to find the right person. And I had actually

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Speaker 3: a young lady who was like a sister to me, Courtney.

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Speaker 3: We actually have an animation film together, and she was

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Speaker 3: actually going to do it, and then she wound up

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Speaker 3: getting a job with Netflix, a huge position. So Jake came,

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Speaker 3: you know, and he's the guy who wrote I Think

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Speaker 3: Hip Hop Evolution and a bunch of other books, and

334
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Speaker 3: I said, you know, this will probably be a great match.

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Speaker 1: That's pretty dope.

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Speaker 4: Why was it important for you to include a chapter

337
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Speaker 4: from your mother's perspective? It's called a mother's Memory.

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Speaker 3: Because it's so crazy. I lost my mom twenty twenty four,

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Speaker 3: February tenth, which is why the release state is tomorrow.

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Speaker 3: And you know I always love making my mother proud.

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Speaker 3: You know that's another thing that you know, kind of

342
00:17:48,240 --> 00:17:53,120
Speaker 3: overrides money. You know, I made it. You know, every

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Speaker 3: little step that I've taken in the music industry, you know,

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Speaker 3: my mother was always a part of it.

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Speaker 6: So yeah, I was going to I've heard you talk

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Speaker 6: about kind of like your mam almost is like a

347
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Speaker 6: guiding spirit. I wonder now, like you know, with her

348
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Speaker 6: not being here, like, are there conversations that you have

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Speaker 6: or things that happen where you're like, I know that

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Speaker 6: was my mom.

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Speaker 3: Yeah all the time. You know, there's been many things

352
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Speaker 3: that have happened I didn't even expect and the great things.

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Speaker 3: You know, it's like, yeah, I know, it's her.

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Speaker 4: So it's interesting, you know when I think about like

355
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Speaker 4: you even talk about not being credited for certain records,

356
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Speaker 4: Like your mother told you early on, God's gonna bless you.

357
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Speaker 4: You just take what he gives you, and he's going

358
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Speaker 4: to bless you much later on. So did that early

359
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Speaker 4: lesson help you in those type of moments.

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Speaker 3: Yes, And that's the one thing I always for when

361
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Speaker 3: I make a decision, I always think about God. You know,

362
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Speaker 3: it's like, wow, what would he do? Then I think

363
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Speaker 3: about my mom. That's like the you know, that would

364
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Speaker 3: be the closer. You know. For me, it's always about

365
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Speaker 3: you know, our parents, just like you know, if kids

366
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Speaker 3: do not lean on their parents, they're not going to

367
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Speaker 3: be straight. They're gonna fall short. So I always lean

368
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Speaker 3: on my parents and you know, my godparents. They're still here.

369
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Speaker 3: She's still here and I still call her. You know,

370
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Speaker 3: she's the one who named me Teddy instead of Theater

371
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Speaker 3: because she didn't like Theodore. She was like, I'm calling.

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Speaker 4: Them Teddy would have been kind of fired too though.

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Speaker 2: Yeah, yeah, too long.

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Speaker 1: It is long.

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Speaker 5: Theodore.

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Speaker 3: That's crazy. That's the only thing Michael called me. He

377
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Speaker 3: never called me Teddy to the theatore. He called me theater.

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Speaker 5: That wasn't even your name, okay, just their ted go.

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Speaker 2: You ever thought about that? You know, if you would

380
00:19:52,640 --> 00:19:55,840
Speaker 2: have created a labels so far back, because you could

381
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Speaker 2: have been the Death Jam, you could have been the

382
00:19:59,320 --> 00:20:02,040
Speaker 2: bad Boy, you could have been up the Uptown Records

383
00:20:02,040 --> 00:20:04,040
Speaker 2: because you had all the acts and you produce all

384
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Speaker 2: the accents. You ever wish you did that.

385
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Speaker 6: They didn't have a production.

386
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Speaker 3: I did do it. I did it with Jimmy m hm,

387
00:20:10,720 --> 00:20:15,280
Speaker 3: and uh we made great success. I just wasn't, you know,

388
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Speaker 3: in the gatekeeper's room.

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Speaker 1: M M. What do you mean?

390
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Speaker 3: What do I mean? Well? I wasn't part of the gatekeepers,

391
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Speaker 3: you know, I'm I'm just totally like outside of that.

392
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Speaker 3: My thing was it was about the music. And in

393
00:20:34,320 --> 00:20:38,160
Speaker 3: so many aspects I've been pimped, you know what I mean.

394
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Speaker 3: You know, from the Jene Griffins, you know, to everybody

395
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Speaker 3: who I've done music with and never got paid.

396
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Speaker 2: I think about all the artists that you got a

397
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Speaker 2: chance to work with, and you created a sound, you

398
00:20:51,880 --> 00:20:55,720
Speaker 2: created a project. I mean from I mean shit, you

399
00:20:55,720 --> 00:20:59,040
Speaker 2: did everybody from Bobby Brown and Keeps Wet to you

400
00:20:59,080 --> 00:21:02,320
Speaker 2: know whatever. I always think about if you would have

401
00:21:02,400 --> 00:21:05,359
Speaker 2: ran your own label like an Uptown, like a they

402
00:21:05,359 --> 00:21:06,760
Speaker 2: would have all been signed to you. It would have

403
00:21:06,760 --> 00:21:09,199
Speaker 2: been your sound. But you created all these sounds for

404
00:21:09,280 --> 00:21:10,360
Speaker 2: all these different labels.

405
00:21:13,040 --> 00:21:14,240
Speaker 1: Was a little Man of Production company.

406
00:21:14,640 --> 00:21:18,359
Speaker 3: Little Man was a label, and then Future it was

407
00:21:18,359 --> 00:21:22,080
Speaker 3: a label with m c A. And when I left

408
00:21:22,200 --> 00:21:26,520
Speaker 3: MC I went to Insiscope. So before that I was

409
00:21:26,560 --> 00:21:30,840
Speaker 3: with Uptown, you know what I'm saying. So this is

410
00:21:30,840 --> 00:21:34,280
Speaker 3: how the whole thing pretty much went Unreel came to

411
00:21:34,320 --> 00:21:39,960
Speaker 3: the rooftop you guys are well that was a boller

412
00:21:40,000 --> 00:21:43,320
Speaker 3: skating ring that we owned, my partner Robert Wells Gusto.

413
00:21:44,680 --> 00:21:47,600
Speaker 3: We built the studio up there. We started a record label,

414
00:21:47,840 --> 00:21:52,960
Speaker 3: so it's Gustal myself, yeah, le Vapor and Greg g

415
00:21:54,359 --> 00:21:58,520
Speaker 3: and uh. When we did that, Andre Hiel came up

416
00:21:58,560 --> 00:22:00,720
Speaker 3: there because he wanted me to work with the heavy

417
00:22:00,800 --> 00:22:05,119
Speaker 3: D I'll be sure, and his artists. Before he came,

418
00:22:06,480 --> 00:22:11,880
Speaker 3: Like before he came, he it wasn't called Uptown. When

419
00:22:11,880 --> 00:22:15,199
Speaker 3: he came Uptown and he hung with us and he

420
00:22:15,320 --> 00:22:18,880
Speaker 3: tried to I guess do a deal with my partners,

421
00:22:18,960 --> 00:22:22,320
Speaker 3: and I wasn't in, you know, a factor to it.

422
00:22:22,800 --> 00:22:25,320
Speaker 3: I was just supposed to be the producer. And that's

423
00:22:25,320 --> 00:22:27,720
Speaker 3: why everybody always see me as a producer instead of

424
00:22:27,760 --> 00:22:31,479
Speaker 3: making me a partner. But my guys didn't do it,

425
00:22:31,520 --> 00:22:34,600
Speaker 3: and they didn't fall for the deal because I wasn't

426
00:22:34,640 --> 00:22:38,560
Speaker 3: implemented as a partner. So that's what I mean by

427
00:22:39,240 --> 00:22:46,000
Speaker 3: being pimped. So that's you know, I wasn't fortunate or

428
00:22:46,000 --> 00:22:49,240
Speaker 3: I wasn't in the right room to be that uptown.

429
00:22:50,160 --> 00:22:52,240
Speaker 3: But they always wanted to give me a label, which

430
00:22:52,280 --> 00:22:58,040
Speaker 3: is a high furbished, you know, production company. But now

431
00:22:58,080 --> 00:23:01,679
Speaker 3: it's a total different story. You know, I can pretty

432
00:23:01,760 --> 00:23:05,880
Speaker 3: much do anything and that in that.

433
00:23:05,800 --> 00:23:08,919
Speaker 2: Aspect that what artist did you get a chance to

434
00:23:09,119 --> 00:23:11,280
Speaker 2: possibly sign and say, you know what you let go

435
00:23:11,359 --> 00:23:12,119
Speaker 2: or you didn't.

436
00:23:11,840 --> 00:23:14,399
Speaker 3: Do that deal? What to say that again?

437
00:23:14,440 --> 00:23:15,840
Speaker 2: Is there an artist that you had a chance to

438
00:23:15,880 --> 00:23:17,960
Speaker 2: sign that you didn't that became out to be a

439
00:23:18,040 --> 00:23:19,200
Speaker 2: huge success.

440
00:23:19,600 --> 00:23:25,480
Speaker 3: M I had many opportunities to work with Uh. Missy

441
00:23:25,600 --> 00:23:28,280
Speaker 3: used to always come to the studio the brat did

442
00:23:28,320 --> 00:23:28,840
Speaker 3: you see the time?

443
00:23:29,000 --> 00:23:29,240
Speaker 2: Missy?

444
00:23:30,240 --> 00:23:32,720
Speaker 3: I'm the one who basically said to Missy, you should

445
00:23:32,720 --> 00:23:34,879
Speaker 3: be solo because she was with the group's sister sister,

446
00:23:35,240 --> 00:23:36,960
Speaker 3: and she used to always come to the studio and

447
00:23:37,000 --> 00:23:40,280
Speaker 3: she bought the group. You know, everybody's cool, but I said,

448
00:23:40,880 --> 00:23:46,919
Speaker 3: you need to be solo, and she did it. Also,

449
00:23:47,880 --> 00:23:48,359
Speaker 3: who else?

450
00:23:48,600 --> 00:23:49,240
Speaker 2: She said, the Brat?

451
00:23:49,760 --> 00:23:52,400
Speaker 3: The Brat. I've known the brad since she was fourteen,

452
00:23:53,520 --> 00:23:55,639
Speaker 3: and she used to come up with my best friend

453
00:23:55,960 --> 00:24:00,200
Speaker 3: darn and uh. I didn't know what to do with

454
00:24:00,240 --> 00:24:05,119
Speaker 3: her then, But when she went with j D, I

455
00:24:05,160 --> 00:24:08,920
Speaker 3: was like, that's the perfect combination. You know. Sometimes you gotta,

456
00:24:09,680 --> 00:24:11,920
Speaker 3: you know, let things be because it's gonna happen the

457
00:24:11,920 --> 00:24:17,800
Speaker 3: way it's supposed to, you know. So who else Chris

458
00:24:17,840 --> 00:24:24,720
Speaker 3: Brown for real Chris Brown. Alan Timmy Allen brought Chris

459
00:24:24,760 --> 00:24:29,200
Speaker 3: Brown to Virginia to the studio, to Virginia Beach and

460
00:24:29,240 --> 00:24:33,520
Speaker 3: then he was very very young, and I didn't know

461
00:24:33,920 --> 00:24:37,320
Speaker 3: what to do. I was so into Black Street, you know,

462
00:24:37,600 --> 00:24:41,560
Speaker 3: and I wasn't more like, you know, I was the

463
00:24:41,600 --> 00:24:44,399
Speaker 3: creative one working with my group, working with the groups,

464
00:24:44,440 --> 00:24:45,879
Speaker 3: you know, when I had the time to work with

465
00:24:45,920 --> 00:24:48,359
Speaker 3: groups outside of me and then work with Bobby Brown

466
00:24:48,440 --> 00:24:50,520
Speaker 3: and all the different ones. So I was kind of

467
00:24:50,560 --> 00:24:55,080
Speaker 3: spread then you know, to have a record label and

468
00:24:55,119 --> 00:24:58,280
Speaker 3: then have this and sign this person. So you know,

469
00:24:58,560 --> 00:25:01,080
Speaker 3: I signed as many as I could, and you know,

470
00:25:01,800 --> 00:25:02,520
Speaker 3: just kept it moving.

471
00:25:02,560 --> 00:25:03,440
Speaker 2: What about Timberland.

472
00:25:04,160 --> 00:25:08,919
Speaker 3: Tim Land was actually already signed working with Davante and

473
00:25:09,880 --> 00:25:13,760
Speaker 3: you know, but we all knew each other. Timberland used

474
00:25:13,760 --> 00:25:15,919
Speaker 3: to always come to the studio as well, and we

475
00:25:16,080 --> 00:25:18,480
Speaker 3: just built a friendship, you know, because we all from

476
00:25:18,600 --> 00:25:22,040
Speaker 3: you know, from Virginia. I moved to Virginia and you

477
00:25:22,080 --> 00:25:27,119
Speaker 3: know became from Virginia. So it was always a networking

478
00:25:27,200 --> 00:25:30,880
Speaker 3: thing and we always got had fun together. That's crazy.

479
00:25:30,920 --> 00:25:32,040
Speaker 1: You didn't know what to do with Chris when you

480
00:25:32,080 --> 00:25:33,720
Speaker 1: was a child proteger yourself.

481
00:25:35,359 --> 00:25:38,960
Speaker 3: Well, I'm different. I mean I was more of a producer.

482
00:25:39,640 --> 00:25:42,439
Speaker 3: I was more of let me work with somebody, you know.

483
00:25:43,280 --> 00:25:46,280
Speaker 3: But at that point in time, I was so into

484
00:25:46,400 --> 00:25:49,199
Speaker 3: like building Black Street, you know what I'm saying. Like

485
00:25:49,280 --> 00:25:52,280
Speaker 3: coming from guy, I said, yeah, I gotta build something else,

486
00:25:52,520 --> 00:25:56,600
Speaker 3: another dynasty. So I wasn't going to signing anybody at

487
00:25:56,600 --> 00:25:57,080
Speaker 3: that time.

488
00:25:57,920 --> 00:26:01,120
Speaker 5: So you were going for groups like not just solo artists. Yeah,

489
00:26:01,280 --> 00:26:03,359
Speaker 5: looking for another group anyway.

490
00:26:03,000 --> 00:26:05,600
Speaker 3: Because I signed nine to one one used to be

491
00:26:05,640 --> 00:26:10,920
Speaker 3: Basic Black today work with High Five, and I was like,

492
00:26:11,080 --> 00:26:12,240
Speaker 3: I love working with groups.

493
00:26:12,400 --> 00:26:15,120
Speaker 1: No underrated group, man, so underrated.

494
00:26:15,359 --> 00:26:16,960
Speaker 3: I'm actually working with them now.

495
00:26:17,359 --> 00:26:21,880
Speaker 1: Really, Wow, they got hit. That's a very underrated group.

496
00:26:22,080 --> 00:26:26,480
Speaker 3: Yeah. So Trisian and I the original members, they came

497
00:26:26,520 --> 00:26:29,320
Speaker 3: back and we're coming together to do the New Jack

498
00:26:29,359 --> 00:26:31,200
Speaker 3: Swing Tour with Dougie and everybody.

499
00:26:32,080 --> 00:26:35,360
Speaker 4: One of my favorite performances is High Five on Apollo

500
00:26:35,840 --> 00:26:38,359
Speaker 4: when they did I like and the reason I like

501
00:26:38,480 --> 00:26:42,560
Speaker 4: that performance so much is the coordination they all addressed it.

502
00:26:42,760 --> 00:26:45,159
Speaker 4: Like the choreography was hitting. You could tell that they

503
00:26:45,240 --> 00:26:48,840
Speaker 4: rehearsed in practice. You don't see that too much of

504
00:26:48,880 --> 00:26:52,920
Speaker 4: any group now, right.

505
00:26:53,200 --> 00:26:56,399
Speaker 3: Well, that's my goal, you know, I'm looking at working

506
00:26:56,400 --> 00:27:01,200
Speaker 3: with them and doing a partnership with them. God two

507
00:27:01,240 --> 00:27:06,439
Speaker 3: point oh and uh I say two point oh because

508
00:27:07,160 --> 00:27:10,200
Speaker 3: I can't say Guy because Guy's Guy. But Guy two

509
00:27:10,240 --> 00:27:13,000
Speaker 3: point oh is the new guys, and I can't wait

510
00:27:13,040 --> 00:27:15,640
Speaker 3: for y'all to hear them. You know. All I'm doing

511
00:27:15,760 --> 00:27:17,520
Speaker 3: is just keeping it consistent, air in it.

512
00:27:17,920 --> 00:27:20,960
Speaker 2: No, the new guys, it's some of the old members.

513
00:27:21,000 --> 00:27:25,760
Speaker 3: I'm assuming No, no, no, I don't think they're ready

514
00:27:25,760 --> 00:27:30,400
Speaker 3: for this. This is a whole nother whole, another aspect

515
00:27:30,480 --> 00:27:34,879
Speaker 3: of what music sound and the consistency because people are

516
00:27:34,880 --> 00:27:38,119
Speaker 3: looking for consistency. That's the reason why we don't have groups,

517
00:27:38,119 --> 00:27:42,239
Speaker 3: because everybody's breaking up and I'm really tired now of

518
00:27:42,400 --> 00:27:46,119
Speaker 3: just making people wait, especially to hear my music. How

519
00:27:46,119 --> 00:27:48,720
Speaker 3: are you gonna let a song go number one and you're

520
00:27:48,760 --> 00:27:53,080
Speaker 3: not standing behind it? I like when number one Booty Cards.

521
00:27:53,160 --> 00:27:55,639
Speaker 3: You know, these records have got line dances, and we

522
00:27:55,800 --> 00:27:58,000
Speaker 3: sit and just dorm. It doesn't work out.

523
00:27:58,200 --> 00:28:00,720
Speaker 4: Are you doing them a disservice by calling them guy

524
00:28:00,760 --> 00:28:01,240
Speaker 4: two point?

525
00:28:01,600 --> 00:28:03,960
Speaker 1: Because I know they got you, but god, damn Teddy,

526
00:28:04,040 --> 00:28:04,600
Speaker 1: let's chill.

527
00:28:05,520 --> 00:28:12,040
Speaker 3: I like, that's a beautiful, beautiful songs, of course it is,

528
00:28:12,240 --> 00:28:13,320
Speaker 3: but ask them to sing it?

529
00:28:13,920 --> 00:28:18,399
Speaker 2: Mm do you think you know everybody always has the

530
00:28:18,440 --> 00:28:20,720
Speaker 2: conversation to Aaron Hall and they always talk about R

531
00:28:20,840 --> 00:28:22,360
Speaker 2: Kelly taking Aaron Hall's whole thing.

532
00:28:22,760 --> 00:28:24,920
Speaker 4: Do you think, first of all, for the new people

533
00:28:25,000 --> 00:28:26,560
Speaker 4: that don't know what the hell you're talking about, spell

534
00:28:26,600 --> 00:28:26,920
Speaker 4: that out?

535
00:28:27,280 --> 00:28:28,480
Speaker 1: That sounds crazy.

536
00:28:28,600 --> 00:28:35,240
Speaker 7: People would always say that R Kelly, that yeah, stole

537
00:28:36,040 --> 00:28:39,200
Speaker 7: Aaron Hall style, stole the whole concept of the look

538
00:28:39,840 --> 00:28:41,000
Speaker 7: everything from Aaron Hall.

539
00:28:41,760 --> 00:28:43,000
Speaker 2: What were your thoughts on that.

540
00:28:43,120 --> 00:28:47,200
Speaker 3: NA he was inspired. You can't steal you know what

541
00:28:47,240 --> 00:28:49,560
Speaker 3: I'm saying. It's like me giving you sounds, and I'm

542
00:28:49,560 --> 00:28:51,880
Speaker 3: giving you sounds. I'm giving you sounding. We're not going

543
00:28:51,960 --> 00:28:55,040
Speaker 3: to sound the same. R. Kelly does not sound like

544
00:28:55,080 --> 00:28:59,160
Speaker 3: Aaron Hall, and Aaron Hall does not sound like Kelly.

545
00:28:59,360 --> 00:29:04,480
Speaker 3: He has its own sound, and he developed his signature,

546
00:29:05,520 --> 00:29:12,320
Speaker 3: Aaron developed his signature. He lost his signature. And I'm

547
00:29:12,400 --> 00:29:16,719
Speaker 3: sad to say this. You know, we're on tour and

548
00:29:16,760 --> 00:29:19,080
Speaker 3: if you have to always do this to the crowd,

549
00:29:20,800 --> 00:29:23,600
Speaker 3: it is what it is. And of course, I mean

550
00:29:23,640 --> 00:29:27,960
Speaker 3: you could say that Frankie Bevley at least Frankie Bevley

551
00:29:28,040 --> 00:29:31,360
Speaker 3: went out there and gave it his awe. When you

552
00:29:31,440 --> 00:29:33,120
Speaker 3: go out there and don't give it your awe and

553
00:29:33,120 --> 00:29:35,160
Speaker 3: then you're just going to pass the mic, it just

554
00:29:35,200 --> 00:29:38,280
Speaker 3: doesn't work that way. People want to hear your music

555
00:29:38,320 --> 00:29:41,520
Speaker 3: and they want to hear your record, and that's what

556
00:29:41,600 --> 00:29:45,600
Speaker 3: I've been really tired of, especially making the music and

557
00:29:45,680 --> 00:29:49,120
Speaker 3: being the architect of my sound. I want my sound

558
00:29:49,240 --> 00:29:51,920
Speaker 3: to show and there's so much I can't wait for

559
00:29:52,040 --> 00:29:55,400
Speaker 3: you all to hear that I'm doing. I'm doing the Symphony,

560
00:29:55,520 --> 00:30:00,520
Speaker 3: nu Jack Swing album with guest artists and people who

561
00:30:00,560 --> 00:30:04,680
Speaker 3: come and sing my music with strings. And I just

562
00:30:04,720 --> 00:30:08,000
Speaker 3: have a dream of just doing like the Carnegie Halls

563
00:30:08,040 --> 00:30:11,960
Speaker 3: and something special for us as a people where we

564
00:30:12,000 --> 00:30:16,080
Speaker 3: can be in tuxedos and be ghetto fabulous with this

565
00:30:16,160 --> 00:30:16,959
Speaker 3: bed of music.

566
00:30:17,920 --> 00:30:19,840
Speaker 6: So I have a question for you. I saw your

567
00:30:19,880 --> 00:30:22,200
Speaker 6: interview on Sway when you were talking about y'all your

568
00:30:22,240 --> 00:30:25,320
Speaker 6: relationship with all like original members, right, and you said

569
00:30:25,360 --> 00:30:27,000
Speaker 6: when he asked you kind of what and we just

570
00:30:27,000 --> 00:30:28,880
Speaker 6: asked you that they don't like you. That there was

571
00:30:28,920 --> 00:30:30,600
Speaker 6: like I love you, but you feel like they didn't

572
00:30:30,680 --> 00:30:33,040
Speaker 6: give you the love that you gave them at one point.

573
00:30:33,320 --> 00:30:37,600
Speaker 6: Has there been any conversations since that with anyone now

574
00:30:37,640 --> 00:30:39,440
Speaker 6: that they're hearing you kind of express all of this.

575
00:30:39,360 --> 00:30:42,400
Speaker 3: Stuff, Yeah, I mean, but not with them. You know.

576
00:30:42,680 --> 00:30:45,880
Speaker 3: I don't know if we'll ever get to speak again.

577
00:30:47,000 --> 00:30:51,320
Speaker 3: And it's only because I've been through this so many

578
00:30:51,360 --> 00:30:54,600
Speaker 3: times and you can't just keep going. It's like being

579
00:30:54,600 --> 00:30:58,280
Speaker 3: in a relationship and your husbands beating you. He's just

580
00:30:58,320 --> 00:31:01,120
Speaker 3: beating you, but he tells you he love you. That's

581
00:31:01,400 --> 00:31:05,760
Speaker 3: that's doesn't work. It doesn't equate and My thing is

582
00:31:06,680 --> 00:31:08,520
Speaker 3: I'm tired. I want to be around the people who

583
00:31:08,600 --> 00:31:11,480
Speaker 3: have loved for me, you know what I'm saying, who

584
00:31:11,520 --> 00:31:14,040
Speaker 3: have loved for the music and ready to do this,

585
00:31:14,200 --> 00:31:17,840
Speaker 3: who wanted as bad as I do. Still forty years

586
00:31:17,840 --> 00:31:20,800
Speaker 3: in the business and I still love this, you know

587
00:31:20,840 --> 00:31:23,760
Speaker 3: what I mean. So I want to give the people

588
00:31:24,040 --> 00:31:25,560
Speaker 3: what they've been waiting for.

589
00:31:26,280 --> 00:31:27,880
Speaker 4: M You know, I want to ask you, you know when

590
00:31:27,880 --> 00:31:30,760
Speaker 4: you when you remember the times like you know, being

591
00:31:30,800 --> 00:31:34,880
Speaker 4: a child protege in an adult industry, did you grieve

592
00:31:35,520 --> 00:31:37,960
Speaker 4: anything like you you feel like fame took from you

593
00:31:38,000 --> 00:31:40,040
Speaker 4: too early, like while you were writing it, you like, damn,

594
00:31:40,960 --> 00:31:42,320
Speaker 4: I feel like I missed out on it.

595
00:31:43,880 --> 00:31:48,280
Speaker 3: Yeah, I'll tell you. I was told by Michael that

596
00:31:48,320 --> 00:31:49,760
Speaker 3: I was supposed to be on the Bad album.

597
00:31:50,480 --> 00:31:50,840
Speaker 2: Mhmm.

598
00:31:51,720 --> 00:31:53,400
Speaker 3: And the reason why I wasn't on the Bad album

599
00:31:53,600 --> 00:31:57,959
Speaker 3: was because of Jeane Wow. And He's like, while I

600
00:31:58,000 --> 00:32:02,520
Speaker 3: was making a beat, he was looking and like, Wow,

601
00:32:02,800 --> 00:32:05,480
Speaker 3: I wish he would have done this on a bad album.

602
00:32:05,520 --> 00:32:09,080
Speaker 3: And then he popped the question, he said, what are

603
00:32:09,080 --> 00:32:12,400
Speaker 3: you still with the with that manager, that ball headed guy.

604
00:32:14,040 --> 00:32:16,680
Speaker 3: I said, we were talking about it kind of. I

605
00:32:16,720 --> 00:32:19,000
Speaker 3: didn't know if he knew about him. I was like,

606
00:32:19,240 --> 00:32:21,560
Speaker 3: maybe he do. He said yeah, we were trying to

607
00:32:21,600 --> 00:32:26,240
Speaker 3: work with you for the Bad album. I said really,

608
00:32:26,920 --> 00:32:30,480
Speaker 3: and what happened? He just broke it down. He said, well,

609
00:32:30,560 --> 00:32:33,400
Speaker 3: this guy, Jean, he didn't want me in the same

610
00:32:33,480 --> 00:32:35,680
Speaker 3: room with you. He didn't want me to talk to you.

611
00:32:35,800 --> 00:32:38,880
Speaker 3: He just whenever I talked to you, he have to

612
00:32:38,920 --> 00:32:43,040
Speaker 3: be present, and we just passed on you.

613
00:32:44,280 --> 00:32:46,080
Speaker 5: Michael said yeah, damn.

614
00:32:47,040 --> 00:32:50,480
Speaker 3: So when he said that, I was like, Wow, this

615
00:32:51,320 --> 00:32:55,840
Speaker 3: is how people work. They work in the backgrounds, you know,

616
00:32:55,960 --> 00:32:59,880
Speaker 3: against you. So that's why you know, now it's a

617
00:33:00,040 --> 00:33:02,400
Speaker 3: different day. You know, you got to be in your business.

618
00:33:03,240 --> 00:33:05,880
Speaker 4: You talk about learning music before business in the book.

619
00:33:06,200 --> 00:33:08,160
Speaker 4: If the book had existed when you were younger, younger,

620
00:33:08,200 --> 00:33:10,120
Speaker 4: like you know, in your teenage years, what chapter you

621
00:33:10,160 --> 00:33:11,960
Speaker 4: think would have saved you the most pain?

622
00:33:14,920 --> 00:33:19,320
Speaker 3: That one that it would have really enlightened me to

623
00:33:20,000 --> 00:33:22,640
Speaker 3: get the right representation, get the right people to back you,

624
00:33:23,040 --> 00:33:26,680
Speaker 3: and kind of keep some family around you, you know,

625
00:33:27,040 --> 00:33:29,160
Speaker 3: the ones that you know, because you do have some

626
00:33:29,240 --> 00:33:32,120
Speaker 3: family to be like, yeah, I'm just making money off

627
00:33:32,160 --> 00:33:34,600
Speaker 3: my cousin, you know, that type of stuff, But you

628
00:33:34,760 --> 00:33:39,080
Speaker 3: do have family like my daughters. You know, they they're

629
00:33:39,120 --> 00:33:42,040
Speaker 3: like my managers right now. I work for my children.

630
00:33:43,520 --> 00:33:46,760
Speaker 5: What's so weird about what you just said about not

631
00:33:46,800 --> 00:33:47,680
Speaker 5: being on a bad album?

632
00:33:47,720 --> 00:33:48,000
Speaker 3: Right?

633
00:33:48,120 --> 00:33:51,680
Speaker 5: So that was your manager. But wouldn't that have made

634
00:33:52,640 --> 00:33:54,560
Speaker 5: business better for him? If you would have done the

635
00:33:54,600 --> 00:33:55,360
Speaker 5: bad album?

636
00:33:56,160 --> 00:33:59,120
Speaker 3: It would have, But at that point in time, I

637
00:33:59,120 --> 00:34:01,840
Speaker 3: didn't think he thought about that, you know what I'm saying.

638
00:34:01,840 --> 00:34:04,840
Speaker 3: He just he didn't want Michael Jackson like to steal

639
00:34:04,880 --> 00:34:07,320
Speaker 3: me because he didn't really have a bona fide contract.

640
00:34:07,520 --> 00:34:10,640
Speaker 3: When I left him, it was just like, yo, I'm out,

641
00:34:10,800 --> 00:34:12,759
Speaker 3: and he couldn't do anything about it because when I

642
00:34:12,800 --> 00:34:16,000
Speaker 3: signed my contract, I was young and we knew the

643
00:34:16,080 --> 00:34:19,279
Speaker 3: laws then because you had to go through Pope Court

644
00:34:19,560 --> 00:34:22,640
Speaker 3: in order to be signed to any organization, you know,

645
00:34:22,719 --> 00:34:25,879
Speaker 3: under sixteen, and that's what he was holding on to

646
00:34:25,920 --> 00:34:30,359
Speaker 3: that contract, so he knew. When we broke up with him,

647
00:34:30,400 --> 00:34:32,440
Speaker 3: he's like, how am I going to do this? I

648
00:34:32,440 --> 00:34:35,520
Speaker 3: got to try and conn him into getting or taking

649
00:34:35,560 --> 00:34:39,120
Speaker 3: his money. You know, I was being paid ten thousand

650
00:34:39,200 --> 00:34:41,680
Speaker 3: dollars for stuff I've done like two hundred and fifty thousand,

651
00:34:42,360 --> 00:34:44,960
Speaker 3: two hundred thousand. He would take the money, and you

652
00:34:45,000 --> 00:34:50,120
Speaker 3: know do whatever. So it is what it is. You know,

653
00:34:50,360 --> 00:34:52,280
Speaker 3: you learn from the big mistakes.

654
00:34:52,680 --> 00:34:54,239
Speaker 2: How did you meet Gene? I'm just karing because if

655
00:34:54,239 --> 00:34:56,480
Speaker 2: you have a Google it it says before night there

656
00:34:56,520 --> 00:34:57,799
Speaker 2: was Gene.

657
00:34:58,200 --> 00:34:59,960
Speaker 1: How did you want too many good Gene stories?

658
00:35:01,040 --> 00:35:04,880
Speaker 3: Well, I met Jean the same time. I met a

659
00:35:05,960 --> 00:35:08,520
Speaker 3: guy who's like an uncle to me named David Hyatt.

660
00:35:09,040 --> 00:35:12,000
Speaker 3: David Hire is the actual guy that discovered R. Kelly

661
00:35:12,960 --> 00:35:16,120
Speaker 3: when they did Star Church, and he's the one that

662
00:35:16,160 --> 00:35:18,080
Speaker 3: put up the money I think about one hundred thousand

663
00:35:18,080 --> 00:35:21,319
Speaker 3: dollars to kind of just really build them. And I

664
00:35:21,400 --> 00:35:24,400
Speaker 3: used to go see David Hired in the same prison

665
00:35:24,880 --> 00:35:29,920
Speaker 3: that R. Kelly is in right now before he passed.

666
00:35:29,920 --> 00:35:31,799
Speaker 3: Two weeks before he passed, I seen him in that

667
00:35:31,840 --> 00:35:34,560
Speaker 3: same prison, and I used to see him consecutively, like

668
00:35:35,560 --> 00:35:38,560
Speaker 3: the last two years before that. And then my brother

669
00:35:38,680 --> 00:35:41,640
Speaker 3: wound up being in that prison before he got pardon.

670
00:35:43,040 --> 00:35:47,680
Speaker 3: He was in the same prison. So I met Jean.

671
00:35:48,320 --> 00:35:51,120
Speaker 3: He used to come around on the block in Harlem

672
00:35:51,400 --> 00:35:54,800
Speaker 3: with his Porsche Red Porsch, and David Hyatt used to

673
00:35:54,840 --> 00:35:58,040
Speaker 3: come with the blue Porsch and you know, you know, Matrix,

674
00:35:58,840 --> 00:36:01,200
Speaker 3: I picked the red you know, and he used to

675
00:36:01,200 --> 00:36:03,839
Speaker 3: come down and really just kind of figure out how

676
00:36:03,880 --> 00:36:08,040
Speaker 3: he can get us signed. And that's how we kind

677
00:36:08,080 --> 00:36:11,200
Speaker 3: of got it got with him. And then when we

678
00:36:11,480 --> 00:36:14,200
Speaker 3: broke up, he went to prison. And when he came

679
00:36:14,239 --> 00:36:18,000
Speaker 3: out of prison, Timmy Gallin is the cause of us

680
00:36:18,040 --> 00:36:22,440
Speaker 3: being with him. And then he quits the group the

681
00:36:22,480 --> 00:36:27,200
Speaker 3: first Guy album, so you know, that's my best friend.

682
00:36:27,200 --> 00:36:30,799
Speaker 3: But I still blame him. I would have never been

683
00:36:30,840 --> 00:36:33,920
Speaker 3: in this if he made the right decision, because you know,

684
00:36:34,080 --> 00:36:36,160
Speaker 3: he said, Yo, we should call I saw a Jeane.

685
00:36:36,160 --> 00:36:38,760
Speaker 3: He just got out of prison. You know, we should

686
00:36:38,760 --> 00:36:43,359
Speaker 3: go see him. I thought I was getting away from it,

687
00:36:44,040 --> 00:36:47,160
Speaker 3: but I followed him because you know he's older. I said,

688
00:36:47,160 --> 00:36:49,279
Speaker 3: all right, because I'm thinking, you know, he would have

689
00:36:49,360 --> 00:36:52,680
Speaker 3: my back, you know. So when he quit the group,

690
00:36:52,719 --> 00:36:55,279
Speaker 3: I'm looking like and y'all see it, you know, when

691
00:36:55,320 --> 00:36:59,000
Speaker 3: we we're developing now the TV film, when y'all see

692
00:36:59,000 --> 00:37:01,319
Speaker 3: this stuff, y'all, it's gonna be a lot in there

693
00:37:01,360 --> 00:37:04,400
Speaker 3: that you should have saw in other movies, like the

694
00:37:04,440 --> 00:37:07,680
Speaker 3: New Edition film. Y'all should have seen the beef. But

695
00:37:08,000 --> 00:37:09,080
Speaker 3: I'm gonna give you the beef.

696
00:37:09,600 --> 00:37:11,279
Speaker 2: Did you speak the gene before he passed did y'all

697
00:37:11,280 --> 00:37:12,399
Speaker 2: have that hard heart before he passed?

698
00:37:12,400 --> 00:37:14,720
Speaker 3: And no, sure did. I got back with him before

699
00:37:14,719 --> 00:37:18,799
Speaker 3: he passed, you know, and Uh I actually he was

700
00:37:19,360 --> 00:37:23,120
Speaker 3: in a home because he had Alzheimer's, and UH brought

701
00:37:23,160 --> 00:37:25,480
Speaker 3: him to the rehearsal with me, and you know, I

702
00:37:25,600 --> 00:37:29,040
Speaker 3: just kind of you know, in my book, I have

703
00:37:29,080 --> 00:37:32,080
Speaker 3: a chapter says forgiveness, and that's what it was about.

704
00:37:32,160 --> 00:37:34,360
Speaker 2: I'm gonna ask you, why why did you decide to forget.

705
00:37:34,200 --> 00:37:37,480
Speaker 3: After I just felt this? Right? You know, I always

706
00:37:37,600 --> 00:37:41,760
Speaker 3: like to walk straight line and put things either before

707
00:37:41,800 --> 00:37:44,319
Speaker 3: me or behind me, you know, so.

708
00:37:45,800 --> 00:37:48,239
Speaker 4: I said, when I think about stuff like that, right,

709
00:37:48,640 --> 00:37:51,320
Speaker 4: how much of your journey do you think was destiny?

710
00:37:51,360 --> 00:37:54,000
Speaker 4: And how much was just lack of protection for a

711
00:37:54,000 --> 00:37:58,200
Speaker 4: young black artist.

712
00:37:58,440 --> 00:38:01,200
Speaker 3: I guess the music part of it was destined, you know,

713
00:38:01,280 --> 00:38:06,120
Speaker 3: making good music for people. I always used to like

714
00:38:06,200 --> 00:38:10,440
Speaker 3: have people come before that, you know, living in the projects.

715
00:38:10,520 --> 00:38:13,400
Speaker 3: I lived on the first floor, so kids used to

716
00:38:13,400 --> 00:38:16,600
Speaker 3: be at my window every day. When they hear the music,

717
00:38:17,239 --> 00:38:20,120
Speaker 3: they would line, they would be right there just dancing

718
00:38:20,160 --> 00:38:22,319
Speaker 3: to it. And that really showed me, like that my

719
00:38:22,400 --> 00:38:26,560
Speaker 3: music is it's worthy of being on the radio or

720
00:38:26,800 --> 00:38:30,360
Speaker 3: being out there so that was the destined part of me.

721
00:38:32,560 --> 00:38:34,919
Speaker 3: The other part was really the lack of not knowing.

722
00:38:36,160 --> 00:38:40,200
Speaker 4: So yeah, but I feel like even as destiny based

723
00:38:40,239 --> 00:38:42,839
Speaker 4: off knowing who you are, because I see you pour

724
00:38:43,040 --> 00:38:45,920
Speaker 4: in to a lot of other people, and like, in

725
00:38:46,040 --> 00:38:48,279
Speaker 4: a lot of ways, you become that protection, you become

726
00:38:48,280 --> 00:38:49,560
Speaker 4: the adult you need an other job.

727
00:38:50,400 --> 00:38:53,440
Speaker 3: That's true, And that's the libor in me. You know,

728
00:38:54,520 --> 00:38:56,960
Speaker 3: I'm always that way. I'm not aware about my children,

729
00:38:57,800 --> 00:39:00,239
Speaker 3: you know, when it comes to me being in an

730
00:39:00,239 --> 00:39:03,840
Speaker 3: a limelight or getting bad media, you know, in Virginia.

731
00:39:04,000 --> 00:39:06,560
Speaker 3: Of course, Virginia always wanted to talk about us, you know,

732
00:39:07,120 --> 00:39:10,160
Speaker 3: and when that happened, I protected my children first, not me.

733
00:39:11,560 --> 00:39:14,640
Speaker 3: I made sure that they didn't hear it in the schools,

734
00:39:15,160 --> 00:39:18,239
Speaker 3: you know, I had a crisis, you know, pr who

735
00:39:18,320 --> 00:39:22,160
Speaker 3: would just make it go away, and it did. You know,

736
00:39:22,280 --> 00:39:26,160
Speaker 3: they never got teased or anything when anything happened with

737
00:39:26,200 --> 00:39:26,920
Speaker 3: me in Virginia.

738
00:39:28,000 --> 00:39:32,480
Speaker 4: So yeah, why did the industry ever gotten better when

739
00:39:32,480 --> 00:39:36,040
Speaker 4: it comes to how it treats artists, though, Like it

740
00:39:36,040 --> 00:39:38,640
Speaker 4: feels like it's always it's the same system. You always

741
00:39:38,640 --> 00:39:41,759
Speaker 4: hear about artists getting jerked. You always hear about artists

742
00:39:41,760 --> 00:39:43,480
Speaker 4: getting wrong, like it never changes.

743
00:39:44,880 --> 00:39:47,560
Speaker 3: What never changes because that's what they were, Like they

744
00:39:47,600 --> 00:39:51,239
Speaker 3: would either like us to be in that situation or

745
00:39:52,440 --> 00:39:56,000
Speaker 3: shooting at each other, you know, being against each other.

746
00:39:57,200 --> 00:40:00,440
Speaker 3: That makes the money, you know what I'm saying. And

747
00:40:01,800 --> 00:40:05,880
Speaker 3: I feel like that's changing now, you know, because people

748
00:40:05,880 --> 00:40:08,720
Speaker 3: are tired of being tired, you know. So I feel

749
00:40:08,760 --> 00:40:11,239
Speaker 3: like it's it's going to be a little different. You know.

750
00:40:13,880 --> 00:40:16,040
Speaker 3: I can't really talk about much that I'm about to

751
00:40:16,080 --> 00:40:18,839
Speaker 3: do because I've been, you know, sitting with some of

752
00:40:18,880 --> 00:40:24,040
Speaker 3: my people who really respect my music, you know, Jimmy Ivan,

753
00:40:24,960 --> 00:40:27,160
Speaker 3: you know, Doctor Dre. We all hung out like two

754
00:40:27,160 --> 00:40:30,640
Speaker 3: weeks ago, and Larry Jackson, and I just feel like

755
00:40:30,640 --> 00:40:34,160
Speaker 3: there's a place for me again, you know. And uh,

756
00:40:35,800 --> 00:40:38,000
Speaker 3: it's I can't wait for us, you know, kind of

757
00:40:38,000 --> 00:40:39,400
Speaker 3: hear what's about to happen.

758
00:40:40,840 --> 00:40:42,840
Speaker 5: For you again? Like when did you think there was

759
00:40:42,880 --> 00:40:43,480
Speaker 5: no place.

760
00:40:44,880 --> 00:40:47,200
Speaker 1: M a brick in this foundation?

761
00:40:47,760 --> 00:40:54,800
Speaker 3: You know y'all feel that way. For me, I'm just floating,

762
00:40:54,960 --> 00:40:57,840
Speaker 3: you know, getting where I fit in until I totally

763
00:40:57,880 --> 00:41:01,239
Speaker 3: fit cut it out. No, very serious, did you feel?

764
00:41:01,320 --> 00:41:03,400
Speaker 3: I'm very serious? You know?

765
00:41:05,520 --> 00:41:09,080
Speaker 1: Riley? Yeah, I laid foundations that people stand.

766
00:41:08,800 --> 00:41:11,759
Speaker 3: On, man, that is true, but I've never given the

767
00:41:11,800 --> 00:41:16,920
Speaker 3: credit for it. And it's okay because I feel like

768
00:41:17,000 --> 00:41:20,120
Speaker 3: if I'm still going, you know what I'm saying, I

769
00:41:20,160 --> 00:41:23,160
Speaker 3: stood the test of time. I'm forty years in this business.

770
00:41:23,239 --> 00:41:27,400
Speaker 3: I'm going to be sixty this year. So I stood

771
00:41:27,400 --> 00:41:30,759
Speaker 3: the test of time and I'm still going and I'm

772
00:41:30,800 --> 00:41:32,799
Speaker 3: still able to you know, a lot of people out

773
00:41:32,840 --> 00:41:37,040
Speaker 3: there are overexposed. I can still come outside and I

774
00:41:37,040 --> 00:41:40,200
Speaker 3: can still be me, and that's what I love about it.

775
00:41:40,440 --> 00:41:43,960
Speaker 3: If I was up there with Michael Jackson and Chris BROWNO,

776
00:41:44,239 --> 00:41:48,040
Speaker 3: they can't go outside all the time. Yeah, they can't

777
00:41:48,080 --> 00:41:50,359
Speaker 3: speak or sit down with some kids and really like

778
00:41:51,040 --> 00:41:55,120
Speaker 3: give them the roadmap. But I can do that. I

779
00:41:55,120 --> 00:41:58,879
Speaker 3: can still go to my hood and hang out at

780
00:41:58,880 --> 00:42:02,040
Speaker 3: the barber shop, you know that type of thing. And

781
00:42:02,200 --> 00:42:05,839
Speaker 3: that's because I've never really like had the high horse head,

782
00:42:06,000 --> 00:42:08,319
Speaker 3: you know, where people want to be like, yo, let's

783
00:42:08,360 --> 00:42:11,719
Speaker 3: give him. It's only because I've been that guy on

784
00:42:11,760 --> 00:42:17,600
Speaker 3: the streets. So that's why i feel like I'm not famous.

785
00:42:17,640 --> 00:42:24,839
Speaker 3: Chet I'm almost famous. I'm almost famous.

786
00:42:25,520 --> 00:42:26,839
Speaker 6: Verses feeling like that too.

787
00:42:26,800 --> 00:42:34,879
Speaker 3: Like I'm not under dog, y'all don't understand, like Babyface

788
00:42:35,200 --> 00:42:37,600
Speaker 3: is one of the best writers in the world. Absolutely,

789
00:42:39,520 --> 00:42:45,280
Speaker 3: he's older, he's got more, you know, experience. Right, I'm

790
00:42:45,360 --> 00:42:47,920
Speaker 3: a little teddy like I'm the guy that's coming up.

791
00:42:48,000 --> 00:42:51,280
Speaker 3: I'm the little kid on the What's that the Time magazine?

792
00:42:51,840 --> 00:42:53,880
Speaker 3: You know, you would see that big puzzle and you

793
00:42:53,920 --> 00:42:56,879
Speaker 3: got to find a little man. I'm that little man.

794
00:42:58,520 --> 00:43:01,520
Speaker 3: That's why I call my label Man Records.

795
00:43:02,360 --> 00:43:05,920
Speaker 2: I disagree, but you know, because although Babyface is a

796
00:43:05,920 --> 00:43:08,799
Speaker 2: phenomenal writer and the phenomenal artist and everything that you

797
00:43:08,800 --> 00:43:12,200
Speaker 2: could say, icon legend and all that love Babyface, but

798
00:43:12,560 --> 00:43:14,880
Speaker 2: you were the one that I seen. You were the

799
00:43:14,920 --> 00:43:17,120
Speaker 2: one that those kids seen, were able to touch, were

800
00:43:17,160 --> 00:43:21,560
Speaker 2: able to see and give inspiration. So it's a different feeling, right,

801
00:43:22,080 --> 00:43:25,200
Speaker 2: I didn't seen you drive amazing cars down Virginia Beach

802
00:43:25,239 --> 00:43:28,279
Speaker 2: and come on Hampton's campus. I didn't that see that.

803
00:43:29,160 --> 00:43:31,239
Speaker 2: I didn't see you in Harlem riding up one hundred

804
00:43:31,239 --> 00:43:33,560
Speaker 2: twenty fifth Street going to Grants Tomb and being able

805
00:43:33,560 --> 00:43:36,000
Speaker 2: to talk to you. So it's a different inspiration. Some

806
00:43:36,120 --> 00:43:38,560
Speaker 2: inspired by their music and some inspired by being able

807
00:43:38,600 --> 00:43:41,239
Speaker 2: to see. And that was the thing with me when

808
00:43:41,239 --> 00:43:42,440
Speaker 2: it came to Teddy Rabby.

809
00:43:43,480 --> 00:43:47,840
Speaker 3: Well, i'd say maybe to them and all of the

810
00:43:48,600 --> 00:43:51,920
Speaker 3: how you say, the high President's CEOs and all of that.

811
00:43:52,880 --> 00:43:55,160
Speaker 3: I don't think that they think of.

812
00:43:55,320 --> 00:43:57,880
Speaker 4: Me as It's not too many people can say they

813
00:43:57,960 --> 00:44:01,960
Speaker 4: created a genre of music. Yeah, like a whole genre

814
00:44:02,080 --> 00:44:05,120
Speaker 4: of music like that's.

815
00:44:05,600 --> 00:44:06,320
Speaker 1: But it's different.

816
00:44:06,920 --> 00:44:08,920
Speaker 3: Let me say this and I'm gonna keep it one hundred.

817
00:44:10,160 --> 00:44:14,440
Speaker 3: I created that music. It became a genre. Everybody loved it, right,

818
00:44:15,680 --> 00:44:18,200
Speaker 3: But when they can't control it, what do they do?

819
00:44:20,600 --> 00:44:24,960
Speaker 3: That's not don't don't don't let them get by that music.

820
00:44:25,000 --> 00:44:28,560
Speaker 3: Get up there. He's gonna take our job. You know

821
00:44:28,680 --> 00:44:30,839
Speaker 3: that type of thing. You know what I mean, y'all

822
00:44:30,880 --> 00:44:33,080
Speaker 3: get where I'm coming from. So that's why I stay

823
00:44:33,520 --> 00:44:36,239
Speaker 3: New true m hm. And that's why I can go

824
00:44:37,200 --> 00:44:40,439
Speaker 3: and hang out with the Jimy Ivins. And because I'm

825
00:44:40,480 --> 00:44:45,000
Speaker 3: not intimidating m I'm just little teddy.

826
00:44:45,840 --> 00:44:46,439
Speaker 1: I will say.

827
00:44:46,440 --> 00:44:50,920
Speaker 4: There are records that I didn't realize you even produced,

828
00:44:51,040 --> 00:44:53,520
Speaker 4: are co produced. Like one of my favorite songs of

829
00:44:53,600 --> 00:44:56,879
Speaker 4: all time, Like I'm literally like probably top three maybe

830
00:44:56,960 --> 00:44:58,240
Speaker 4: number one is marriage Oblige.

831
00:44:58,280 --> 00:45:01,000
Speaker 1: We have it. I know you the co produce on it.

832
00:45:01,200 --> 00:45:06,479
Speaker 3: No, I did the remix remix. No, I'm good, I'm good. Yeah,

833
00:45:06,800 --> 00:45:09,799
Speaker 3: I did the remix, actually did. He was the one

834
00:45:09,840 --> 00:45:14,080
Speaker 3: who wanted me to do the remix of that and

835
00:45:14,160 --> 00:45:19,000
Speaker 3: oh God, my love. Yeah, and uh it was another one.

836
00:45:19,400 --> 00:45:22,359
Speaker 3: But I just kept doing remixes. I was the remix guy,

837
00:45:23,200 --> 00:45:25,440
Speaker 3: you know, and then they would make me the co write,

838
00:45:25,719 --> 00:45:29,080
Speaker 3: co producer. But as far as I know, I was

839
00:45:29,120 --> 00:45:33,000
Speaker 3: just a remixer, you know. So like I said, anything

840
00:45:33,040 --> 00:45:34,759
Speaker 3: that came my way, I was just touching it.

841
00:45:35,800 --> 00:45:38,120
Speaker 2: What made you jump into the k pop game so early?

842
00:45:39,360 --> 00:45:42,880
Speaker 3: I went into the k pop game because of uh,

843
00:45:43,520 --> 00:45:47,000
Speaker 3: it's the first bad beatya I ever gotten? Was I

844
00:45:47,080 --> 00:45:49,680
Speaker 3: you know, got into a situation with my with my

845
00:45:49,800 --> 00:45:53,200
Speaker 3: daughter and and uh it just made me say, you

846
00:45:53,239 --> 00:45:58,600
Speaker 3: know what, let me go away, go to Korea. Yeah, yeah,

847
00:45:59,040 --> 00:46:02,560
Speaker 3: and yeah, y'all will see that, and y'all probably read it.

848
00:46:02,600 --> 00:46:06,440
Speaker 3: I think it's in the book because Robert. But I

849
00:46:06,520 --> 00:46:10,680
Speaker 3: went to Korea because some guys, a company out there

850
00:46:11,120 --> 00:46:13,759
Speaker 3: was stealing our publishing because we had we've been doing

851
00:46:13,800 --> 00:46:16,200
Speaker 3: the music for them, but they was taking the publishing

852
00:46:16,200 --> 00:46:19,520
Speaker 3: and we ain't know that ASKAP is just for America

853
00:46:20,239 --> 00:46:25,040
Speaker 3: and they had conquer and Korea that's their own music

854
00:46:25,080 --> 00:46:28,720
Speaker 3: society company, and it's like, man, they're stealing our music.

855
00:46:29,400 --> 00:46:33,680
Speaker 3: So me and my boys we were like, yo, we

856
00:46:33,800 --> 00:46:36,120
Speaker 3: need to take a trip to Korea. And we took

857
00:46:36,120 --> 00:46:37,520
Speaker 3: it to her and said, man, we ain't going to

858
00:46:37,560 --> 00:46:41,239
Speaker 3: Korea to fight. We're just going to find out what's

859
00:46:41,320 --> 00:46:43,920
Speaker 3: really going on and say, yo, it's this ain't fair.

860
00:46:44,760 --> 00:46:47,480
Speaker 3: And we wound up going out there and meeting sm

861
00:46:47,680 --> 00:46:54,120
Speaker 3: Entertainment and uh YG Music and you know, the movies

862
00:46:54,160 --> 00:46:57,480
Speaker 3: and the shakers out there, and we met one guy, Taysong.

863
00:46:57,719 --> 00:47:01,160
Speaker 3: He introduced us to everybody and he actually helped us

864
00:47:01,200 --> 00:47:05,440
Speaker 3: with getting our publishing and music rights back and it

865
00:47:05,600 --> 00:47:09,759
Speaker 3: was Shim who did it. Two weeks turned into two

866
00:47:09,800 --> 00:47:11,400
Speaker 3: months into two years.

867
00:47:11,560 --> 00:47:12,680
Speaker 2: So you lived out there for two years.

868
00:47:12,760 --> 00:47:12,960
Speaker 3: Yeah.

869
00:47:13,080 --> 00:47:14,560
Speaker 1: He loved it so much.

870
00:47:14,760 --> 00:47:15,200
Speaker 3: Amazing.

871
00:47:15,480 --> 00:47:15,680
Speaker 1: Yeah.

872
00:47:15,840 --> 00:47:19,000
Speaker 3: And then when Heavy D passed, I came back because

873
00:47:19,000 --> 00:47:20,480
Speaker 3: I was talking to Heavy D while I was out

874
00:47:20,480 --> 00:47:22,440
Speaker 3: there because he he wanted to work on his new

875
00:47:22,480 --> 00:47:25,960
Speaker 3: album and he's like, yo, you got to come back, man,

876
00:47:26,080 --> 00:47:28,840
Speaker 3: we need you on this album. And I said, okay,

877
00:47:29,600 --> 00:47:32,440
Speaker 3: I'll be back and we were talking on Skype and

878
00:47:33,680 --> 00:47:36,560
Speaker 3: next thing, you know, passed away.

879
00:47:38,200 --> 00:47:39,640
Speaker 4: When people read this book what do you hope they

880
00:47:39,719 --> 00:47:44,000
Speaker 4: understand about you that they never saw you know on stage.

881
00:47:43,719 --> 00:47:47,799
Speaker 3: Or in the music. Just a roadmap. Watch and read

882
00:47:47,840 --> 00:47:51,279
Speaker 3: about my mistakes so you don't make them, and then

883
00:47:51,320 --> 00:47:54,200
Speaker 3: read about the good things and try them. They'll work

884
00:47:54,239 --> 00:47:54,480
Speaker 3: for you.

885
00:47:55,800 --> 00:47:57,320
Speaker 5: What's your favorite song of your career?

886
00:48:00,360 --> 00:48:04,160
Speaker 3: Bag, I can't give you one. Okay, Remember the Time?

887
00:48:04,600 --> 00:48:06,359
Speaker 3: No diggity my prerogative.

888
00:48:06,960 --> 00:48:09,960
Speaker 5: No diggity is my favorite. Really, no diggity, no doubt,

889
00:48:10,840 --> 00:48:13,560
Speaker 5: it's one of my favorite. And then I wouldn't say, like,

890
00:48:13,560 --> 00:48:16,040
Speaker 5: what's your least well, what was the most complicated song

891
00:48:16,520 --> 00:48:20,000
Speaker 5: that you worked on the most complicated artists that you had?

892
00:48:20,880 --> 00:48:27,120
Speaker 3: Okay, I didn't really have a complicated artist, but complicated

893
00:48:27,239 --> 00:48:32,200
Speaker 3: song was Remember the Time. Really, I'll tell you why,

894
00:48:33,160 --> 00:48:36,320
Speaker 3: because we spent a lot of time on that record,

895
00:48:36,320 --> 00:48:38,400
Speaker 3: and Michael was just sent us back to the drawing

896
00:48:38,400 --> 00:48:42,040
Speaker 3: board when the mix wasn't right. So finally he was like,

897
00:48:42,560 --> 00:48:45,160
Speaker 3: do you think you should go back to Virginia and

898
00:48:45,640 --> 00:48:48,680
Speaker 3: mixed the song. We went back to Virginia to mix

899
00:48:48,719 --> 00:48:53,200
Speaker 3: that song, me and John Marie, and he was like,

900
00:48:53,239 --> 00:48:58,360
Speaker 3: so why are you there? Mixed dangerous to mix because

901
00:48:58,400 --> 00:49:02,880
Speaker 3: he loved the sound of Virginia and that's everybody. Everybody

902
00:49:02,920 --> 00:49:05,600
Speaker 3: would say, Yo, Virginia was probably one of the best

903
00:49:05,600 --> 00:49:09,680
Speaker 3: studios I've ever had. So it was remember the time

904
00:49:09,719 --> 00:49:15,399
Speaker 3: because we did the first verse. Michael. After the first verse,

905
00:49:15,440 --> 00:49:17,640
Speaker 3: he felt so good. The dude just took a trip

906
00:49:17,719 --> 00:49:21,319
Speaker 3: to Switzerland. He had built the mall in Switzerland and

907
00:49:21,360 --> 00:49:22,080
Speaker 3: he took a trip.

908
00:49:22,239 --> 00:49:24,160
Speaker 2: Michael built the mall, yeah.

909
00:49:24,480 --> 00:49:28,120
Speaker 3: And he had to approve the stores, so he went

910
00:49:28,160 --> 00:49:30,720
Speaker 3: out there and he spent two weeks. And I'm like, Michael,

911
00:49:30,840 --> 00:49:33,520
Speaker 3: come on, man, this is I was tired. I said,

912
00:49:33,560 --> 00:49:35,920
Speaker 3: I want to go back home to Virginia because I

913
00:49:35,960 --> 00:49:40,319
Speaker 3: had just had the studio built and everything, and I'm

914
00:49:40,320 --> 00:49:42,279
Speaker 3: sitting in the studio. We think he coming back. In

915
00:49:42,320 --> 00:49:48,240
Speaker 3: the same second verse, he was gone and I said, Michael,

916
00:49:48,680 --> 00:49:51,560
Speaker 3: I want to see my family. He's like, bring them,

917
00:49:51,719 --> 00:49:54,280
Speaker 3: bring them to to California. I said, well, I messed

918
00:49:54,280 --> 00:49:57,480
Speaker 3: my friends too. He said, bring them to So I

919
00:49:57,560 --> 00:50:00,440
Speaker 3: bust s brag everybody. They came down. I said, so,

920
00:50:00,480 --> 00:50:03,080
Speaker 3: what we're gonna do for cars? He said, do whatever

921
00:50:03,200 --> 00:50:08,120
Speaker 3: you need, just tell Norma. And uh That's when I

922
00:50:08,160 --> 00:50:10,759
Speaker 3: know I was like, wow, mm hmm, this guy is.

923
00:50:12,280 --> 00:50:14,360
Speaker 2: What Yeah, what do you mean for cars? And we

924
00:50:14,480 --> 00:50:16,720
Speaker 2: just got everybody calls, He got every white cars.

925
00:50:17,360 --> 00:50:21,520
Speaker 3: He switched our hotel to the Nico, which is now

926
00:50:21,640 --> 00:50:25,520
Speaker 3: the SLS. Yeah, it used to be the Nico. And

927
00:50:25,560 --> 00:50:29,880
Speaker 3: he put me in the room, the indecent proposal room

928
00:50:30,400 --> 00:50:32,839
Speaker 3: where they had the piano. He put me in there.

929
00:50:32,920 --> 00:50:35,000
Speaker 3: He's like, you know, your wife is coming down and

930
00:50:35,480 --> 00:50:39,400
Speaker 3: your daughter's coming down. I have something special for you.

931
00:50:39,520 --> 00:50:41,200
Speaker 3: And he put me in that room. And then all

932
00:50:41,280 --> 00:50:44,319
Speaker 3: my friends and everybody, he put them in rooms in

933
00:50:44,320 --> 00:50:46,880
Speaker 3: the Nico. So we all in the Nico. We had

934
00:50:46,920 --> 00:50:50,200
Speaker 3: spriend we had everything we wanted, and it's just like, wow,

935
00:50:50,719 --> 00:50:54,920
Speaker 3: that Michael's really special. You know. When we did Joy,

936
00:50:55,120 --> 00:50:58,520
Speaker 3: Joy was supposed to have been for the Micael album, and uh,

937
00:50:59,160 --> 00:51:01,920
Speaker 3: he didn't feel like he had that special person in

938
00:51:01,960 --> 00:51:04,480
Speaker 3: his life. So he's like, I think I'm gonna wait

939
00:51:04,520 --> 00:51:05,920
Speaker 3: on this. So I asked him, can we put it

940
00:51:05,960 --> 00:51:08,960
Speaker 3: on the Black Street album? And he was like sure,

941
00:51:10,080 --> 00:51:14,399
Speaker 3: can we use your name? Sure? Can we use your backgrounds?

942
00:51:15,400 --> 00:51:18,080
Speaker 3: Of course? Do I have to give you the money back?

943
00:51:19,520 --> 00:51:25,920
Speaker 3: He's like no, hmmm, the But that's how specially he

944
00:51:26,120 --> 00:51:29,439
Speaker 3: was to me. You know, he was just a great brother.

945
00:51:30,400 --> 00:51:33,120
Speaker 3: And he was that mentor that showed me a lot

946
00:51:33,120 --> 00:51:36,640
Speaker 3: of things, like I would call him about business and

947
00:51:37,360 --> 00:51:42,640
Speaker 3: decisions and he would call me about females. And I

948
00:51:42,640 --> 00:51:46,959
Speaker 3: could say that now you know, the non disclosure is over.

949
00:51:47,239 --> 00:51:49,799
Speaker 4: Did you don't feel pressure because you know he did

950
00:51:49,840 --> 00:51:52,520
Speaker 4: all that great work with Quincy Jones, like you know,

951
00:51:52,600 --> 00:51:54,640
Speaker 4: now it was your turn. Did you ever feel like,

952
00:51:54,680 --> 00:51:57,960
Speaker 4: oh man, I'm competing against what Quincy did.

953
00:51:58,400 --> 00:52:03,239
Speaker 3: No, because Quincy always pushed me. When you got someone

954
00:52:03,320 --> 00:52:06,279
Speaker 3: that's pushing you, you don't think of them as your competition.

955
00:52:06,560 --> 00:52:09,600
Speaker 3: They are the Sinsey. And I always say, you know,

956
00:52:09,840 --> 00:52:14,480
Speaker 3: you don't override the Sinsey. You go with the Sinsey,

957
00:52:15,280 --> 00:52:18,719
Speaker 3: follow his tutelage, you know. And that's what I did.

958
00:52:19,239 --> 00:52:22,280
Speaker 3: I just had to give Michael, you know, well, Quincy

959
00:52:22,320 --> 00:52:26,000
Speaker 3: gave big sound. It was really about big sound because

960
00:52:26,560 --> 00:52:29,879
Speaker 3: the music in this, you know, the lyrics, everything was there,

961
00:52:30,840 --> 00:52:32,359
Speaker 3: you know. And I had the white people. I had

962
00:52:32,400 --> 00:52:38,000
Speaker 3: Tammy Lucas, I had Bernard Bell, who won't remember the

963
00:52:38,080 --> 00:52:41,000
Speaker 3: time with me. I had Rex in effect, I bought Rex.

964
00:52:41,040 --> 00:52:45,560
Speaker 3: In effect, I introduced him to heavy D. Just putting

965
00:52:45,560 --> 00:52:47,920
Speaker 3: that whole thing together, and he really made me a

966
00:52:47,920 --> 00:52:50,120
Speaker 3: big part of that project.

967
00:52:51,080 --> 00:52:53,879
Speaker 6: When the world was having all those other conversations about

968
00:52:53,920 --> 00:52:55,880
Speaker 6: Michael Jackson, like the cases and all that stuff, Right,

969
00:52:55,920 --> 00:52:58,719
Speaker 6: you as a friend, like how did how did you?

970
00:52:59,080 --> 00:53:02,239
Speaker 6: I guess how was supporting him through that time because

971
00:53:02,239 --> 00:53:04,160
Speaker 6: he had done you know, a whole different side of him, right,

972
00:53:04,200 --> 00:53:06,480
Speaker 6: he had done so much for you As a friend.

973
00:53:06,239 --> 00:53:09,200
Speaker 3: Like college, I was always there. Yeah, yeah, I think

974
00:53:09,280 --> 00:53:12,480
Speaker 3: y'all saw that I went up against Oprah. I was like, Yo,

975
00:53:13,000 --> 00:53:15,920
Speaker 3: this is not right. You know, the whole thing about

976
00:53:16,360 --> 00:53:19,439
Speaker 3: all the lies about you know, what they think he did.

977
00:53:19,480 --> 00:53:22,799
Speaker 3: And I'm so happy that the actual evidence came up.

978
00:53:23,880 --> 00:53:27,160
Speaker 3: You know, it was all a plan. H Now, That's

979
00:53:27,160 --> 00:53:28,520
Speaker 3: why I stay private.

980
00:53:30,640 --> 00:53:33,320
Speaker 4: Michael is the one person, you know, and whenever celebrity

981
00:53:33,360 --> 00:53:36,080
Speaker 4: is getting stuff, they'd be like they trying to tap

982
00:53:36,160 --> 00:53:37,719
Speaker 4: him down, the system, trying to tay him down. He

983
00:53:37,760 --> 00:53:40,120
Speaker 4: was trying to buy NBC. He's the one celebrity I

984
00:53:40,120 --> 00:53:43,280
Speaker 4: always say, like, nah, they really was trying to get Michael.

985
00:53:43,280 --> 00:53:46,399
Speaker 4: Michael had too much power. Yeah, and I really hope

986
00:53:46,400 --> 00:53:48,920
Speaker 4: that in the movie they explore, you know, what he

987
00:53:48,960 --> 00:53:51,359
Speaker 4: did on the publishing side, so people know how much

988
00:53:51,400 --> 00:53:52,560
Speaker 4: power he actually had.

989
00:53:52,719 --> 00:53:54,759
Speaker 3: I hope so as well. I know that I have

990
00:53:54,840 --> 00:53:58,520
Speaker 3: a few songs in there, but I'm hoping that, you know,

991
00:53:59,719 --> 00:54:02,920
Speaker 3: they give that road map because most times they just

992
00:54:03,000 --> 00:54:06,640
Speaker 3: make the film and make it look glorious or whatever

993
00:54:06,680 --> 00:54:09,319
Speaker 3: it is. But I think the truth needs to come

994
00:54:09,360 --> 00:54:09,680
Speaker 3: out now.

995
00:54:10,760 --> 00:54:12,960
Speaker 5: Yeah, oh and real quick on the back right. I

996
00:54:13,000 --> 00:54:16,399
Speaker 5: can't help but to see all these beautiful remarks people

997
00:54:16,480 --> 00:54:19,080
Speaker 5: left for you. But doctor Ray said, Teddy's just dope.

998
00:54:19,080 --> 00:54:21,160
Speaker 5: I could rule something better than that. Did you ask

999
00:54:21,239 --> 00:54:23,600
Speaker 5: him to elaborate or expound on what you mean?

1000
00:54:24,040 --> 00:54:27,040
Speaker 3: No? I wasn't there, so you know what everybody wanted

1001
00:54:27,080 --> 00:54:30,560
Speaker 3: to say, you know, they said it, and you know

1002
00:54:30,719 --> 00:54:32,160
Speaker 3: Dre always felt that way.

1003
00:54:32,480 --> 00:54:33,920
Speaker 1: You know, you're just dope. Yeah.

1004
00:54:34,320 --> 00:54:37,120
Speaker 3: Me and him started at the same time with Jerry Curls,

1005
00:54:37,120 --> 00:54:40,120
Speaker 3: and at nineteen eighty five he was he was with

1006
00:54:40,160 --> 00:54:42,640
Speaker 3: the Wrecking Cool. I was with kids at work and

1007
00:54:42,680 --> 00:54:45,600
Speaker 3: we joked about it last week. You know, he was

1008
00:54:45,640 --> 00:54:47,480
Speaker 3: just like, oh, you know we started the same time.

1009
00:54:47,560 --> 00:54:52,040
Speaker 3: He's like, yeah, man, I said, he's like nineteen eighty

1010
00:54:52,080 --> 00:54:56,960
Speaker 3: five and we just bust out laughing. What about the Curls.

1011
00:54:57,840 --> 00:55:00,400
Speaker 3: So on the West Coast, it was the real stuff,

1012
00:55:00,440 --> 00:55:03,200
Speaker 3: like the parents stuff, on the East Coast. It was

1013
00:55:03,200 --> 00:55:06,200
Speaker 3: the s Curls with the pink juice and were just

1014
00:55:06,719 --> 00:55:13,880
Speaker 3: you know, lefting the butt. Why why.

1015
00:55:14,000 --> 00:55:17,320
Speaker 1: This is just it? Don't do that?

1016
00:55:19,680 --> 00:55:22,560
Speaker 4: It is I got two more questions, right, okay? Are

1017
00:55:22,560 --> 00:55:25,080
Speaker 4: you Are you tough on samples? Like when somebody wants

1018
00:55:25,080 --> 00:55:26,760
Speaker 4: to sample your music, are you tough on the artists?

1019
00:55:27,239 --> 00:55:30,160
Speaker 3: No? Actually, I'm getting to the bottom of that because

1020
00:55:30,160 --> 00:55:32,520
Speaker 3: a lot of stuff, a lot of my music have

1021
00:55:32,600 --> 00:55:38,120
Speaker 3: been sampled. And I think I've owned my publishing since

1022
00:55:38,400 --> 00:55:41,600
Speaker 3: twenty twenty three or twenty twenty two, and I have

1023
00:55:41,719 --> 00:55:45,400
Speaker 3: not gotten no clearance, nothing. And I have to be

1024
00:55:45,680 --> 00:55:49,319
Speaker 3: in a universal about this because it's not cool that

1025
00:55:49,840 --> 00:55:54,120
Speaker 3: I own. I don't owe nobody nothing. My publishing is

1026
00:55:54,160 --> 00:55:57,960
Speaker 3: free and clear. But you're still clearing my songs without

1027
00:55:58,000 --> 00:55:58,759
Speaker 3: my permission.

1028
00:55:59,080 --> 00:56:00,759
Speaker 2: What's the last what's the last song that you heard?

1029
00:56:00,760 --> 00:56:00,920
Speaker 1: That?

1030
00:56:03,560 --> 00:56:07,960
Speaker 3: It was a piece of my love and it was

1031
00:56:08,000 --> 00:56:12,359
Speaker 3: another one. In fact, we're we're we're checking them on

1032
00:56:12,440 --> 00:56:16,520
Speaker 3: this Michael Jackson film, because no one came to me

1033
00:56:17,160 --> 00:56:20,800
Speaker 3: about this Michael Jackson film. And I got dangerous, remember

1034
00:56:20,880 --> 00:56:25,480
Speaker 3: the time, and I think jamn.

1035
00:56:24,719 --> 00:56:25,799
Speaker 5: Mind out that the music was in there.

1036
00:56:26,040 --> 00:56:29,279
Speaker 3: Nobody came to but we found out through a friend

1037
00:56:29,320 --> 00:56:31,759
Speaker 3: of mine. He's you know, because they want me to

1038
00:56:32,239 --> 00:56:36,759
Speaker 3: go to the mayor in Indiana, and I said, I

1039
00:56:36,760 --> 00:56:39,319
Speaker 3: ain't going nowhere until I found out who did what.

1040
00:56:40,760 --> 00:56:43,879
Speaker 3: I will not support it. I'm like Quincy, I told you,

1041
00:56:44,200 --> 00:56:48,160
Speaker 3: I learned from my sense because he did the same thing.

1042
00:56:48,840 --> 00:56:51,879
Speaker 3: You gotta really get into your business, and I need

1043
00:56:51,920 --> 00:56:54,160
Speaker 3: to know why is that?

1044
00:56:54,840 --> 00:56:55,200
Speaker 1: Mhm.

1045
00:56:55,480 --> 00:56:59,120
Speaker 4: So there's a phenomenal artist from South Carolina named Trap Dickey.

1046
00:56:59,160 --> 00:57:04,040
Speaker 4: He saymple that yeah, fact him hear?

1047
00:57:04,200 --> 00:57:06,239
Speaker 2: Did they get that clear? Did they get that clean

1048
00:57:06,280 --> 00:57:06,560
Speaker 2: through you?

1049
00:57:07,000 --> 00:57:07,920
Speaker 3: Nobody came to us?

1050
00:57:08,440 --> 00:57:08,720
Speaker 1: Damn.

1051
00:57:08,920 --> 00:57:10,799
Speaker 3: So we'll get into the bottom of it.

1052
00:57:10,920 --> 00:57:16,600
Speaker 2: Yeah, record though, ye record, it's fire. Tell you you

1053
00:57:16,600 --> 00:57:17,200
Speaker 2: just got to get clear.

1054
00:57:18,640 --> 00:57:18,840
Speaker 3: Yeah.

1055
00:57:19,560 --> 00:57:22,120
Speaker 4: My last question, if you remember the Times were required

1056
00:57:22,200 --> 00:57:24,960
Speaker 4: reading for the music industry, what lesson do you think

1057
00:57:25,040 --> 00:57:27,720
Speaker 4: executives would be most uncomfortable confronting?

1058
00:57:31,480 --> 00:57:34,320
Speaker 3: You know, I didn't really say much about the executive.

1059
00:57:34,320 --> 00:57:37,120
Speaker 3: I said more about the people who have who have

1060
00:57:37,240 --> 00:57:41,600
Speaker 3: taken me to the executives and basically like you know

1061
00:57:42,520 --> 00:57:46,760
Speaker 3: to me, like yeah, here's my you know, it's my artist,

1062
00:57:46,800 --> 00:57:49,200
Speaker 3: it's my producer. You know, do whatever you want. With it.

1063
00:57:49,360 --> 00:57:53,960
Speaker 3: Just give me the money, damn. Yeah.

1064
00:57:55,320 --> 00:57:57,000
Speaker 1: And there's no way to protect artists from that.

1065
00:57:57,880 --> 00:58:01,360
Speaker 3: Well yeah, now of course, And that's why that's what

1066
00:58:01,440 --> 00:58:03,400
Speaker 3: I want people to read. This is the way you

1067
00:58:03,440 --> 00:58:06,560
Speaker 3: protect yourself. This is what you need to do. You know,

1068
00:58:06,720 --> 00:58:12,160
Speaker 3: sometimes you're gonna have to stop, hold up because they

1069
00:58:12,200 --> 00:58:16,120
Speaker 3: need you, they want your sound. But you got to

1070
00:58:16,160 --> 00:58:18,480
Speaker 3: get the business right. Just stop.

1071
00:58:19,840 --> 00:58:21,680
Speaker 2: Were you have it. Make sure you pick up the book.

1072
00:58:21,720 --> 00:58:26,760
Speaker 2: Remember the time February tenth, Teddy Icon Teddy. We appreciate

1073
00:58:26,800 --> 00:58:27,240
Speaker 2: you so much.

1074
00:58:27,680 --> 00:58:28,760
Speaker 3: I appreciate y'all too.

1075
00:58:29,000 --> 00:58:31,920
Speaker 2: You know, done for this community, is this culture, this

1076
00:58:32,080 --> 00:58:35,600
Speaker 2: music industry, boy, because like I said, the inspiration you

1077
00:58:35,600 --> 00:58:37,880
Speaker 2: gave so many kids is just the reason why a

1078
00:58:37,880 --> 00:58:39,720
Speaker 2: lot of kids, I'm sure are in this music industry

1079
00:58:39,800 --> 00:58:42,440
Speaker 2: right now. Just seeing the kids from Harlem that was

1080
00:58:42,480 --> 00:58:44,080
Speaker 2: able to make it, it means a lot to people.

1081
00:58:44,080 --> 00:58:46,920
Speaker 3: Brother. I'm so grateful to even know that you know,

1082
00:58:47,040 --> 00:58:49,320
Speaker 3: and and kids come up to me. I do like

1083
00:58:49,480 --> 00:58:53,880
Speaker 3: nam and all of the different confidence and shows and

1084
00:58:53,920 --> 00:58:57,040
Speaker 3: when I appear, you know, it's like a magnet and

1085
00:58:57,080 --> 00:58:58,919
Speaker 3: I love it, you know, to be able to talk

1086
00:58:58,960 --> 00:59:02,720
Speaker 3: to them. So I've never done a master class you know,

1087
00:59:03,040 --> 00:59:05,760
Speaker 3: which will be coming up soon. But all of this

1088
00:59:05,800 --> 00:59:08,760
Speaker 3: stuff is starting now, which I'm I'm happy being that

1089
00:59:08,840 --> 00:59:12,760
Speaker 3: I know my business. I know how to to do it,

1090
00:59:12,880 --> 00:59:16,000
Speaker 3: you know, and get the right what I'm worth, you know,

1091
00:59:16,040 --> 00:59:18,520
Speaker 3: because I've never gotten what i'm worth. What I'm worth.

1092
00:59:19,040 --> 00:59:22,480
Speaker 2: You have it, ladies, It's Teddy Riley. It's the Breakfast Club.

1093
00:59:22,520 --> 00:59:25,439
Speaker 2: Good morning every day I wake.

1094
00:59:26,040 --> 00:59:30,160
Speaker 1: Click your glass up, the Breakfast Club. Finish for y'all. Done,